JULY 2021 ( DESIGN LEGACY)

VOLUME 9 | ISSUE NO. 7 | RS 100 | Pages 70 ISSN NO : 2278-8972 |RNI NO : MAHENG/2012/43707

JUly 2021

the design legacy

PEER REVIEW PAPER :

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We represent in India the following Textile Machinery & Accessories manufacturers for Technical Textiles : LACOM GmbH, Germany : Hotmelt Laminating and Coating Systems – Multi Purpose, Multi Roller, Gravure Roller and Slot Die for complete range of Technical Textiles (Website: www.lacom-online.de) MORCHEM S.A.U., Spain : PUR Hotmelt Adhesives for Technical Textiles, Solvent Based, Water Based adhesives, cleaners and primers. (Website: https://www.morchem.com/markets-and-solutions/textile-lamination/ )

Fibres, Waste Recycling & Nonwovens : Margasa, Spain: Textile Hard Waste Recycling Lines -complete with preparation, cutting, Storage, feeding, tearing, filtration and fiber packing. Peripheral equipment, for nonwovens waste. Complete lines for “Airlay Nonwovens” with thermo or resin bonding. Cotton Waste Cleaning Lines.

(Website: http://www.margasa.com) FARE' S.p.A., Italy : Complete Lines for Spunbond / Meltblown nonwoven products /complete line to produce all type of fibers including mono and bicomponent including PET and PET fibers. Machines for producing Tapes and Rafia (website : www.farespa.com)

Conventional : Mariplast Spa, Italy : All type of Yarn Carriers for spun and filament yarns Cylindrical Tubes, Roving Bobbins, Ring Frame Bobbins, Cones and one time use and Reusable Dye Tubes (Website: www.mariplast.com) C + L Textilmaschinen GmbH, Germany : Reeling (Yarn Hank Forming) Machines, steaming, Bulking and Banding Machines for yarns (for Western and Southern India) (Website: www.croon-lucke.com) Contact : ASTRA TECH INDIA E-mail : info@astratech.co.in Website: www.astratechindia.co.in Contact Person : Mr. Hemant Dantkale Mobile : 98201 06018 Phone No.: 022-28516018 E-mail : hdantkale@astratech.co.in HEAD OFFICE: 406, “Kaveri” Jagannath Mandir Marg, Opp. Holiday Inn, Near Sakinaka Metro Station, Mumbai–400 072 Regd.Office: B-404, Monarch Manor, 90 Feet Road, Dsouza Nagar, Kurla (West), MUMBAI – 400 072 Branch Office : Coimbatore : email: Coimbatore@astratech.co.in

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Functional textiles, Manmade fabrics, Coated textiles

Contact us to book your booth Dolly Totla +91 82915 39319 dolly.totla@india.messefrankfurt.com Divya Patel +91 88500 64382 divya.patel@india.messefrankfurt.com www.techtextil-india.co.in

Scan the QR code to Book your booth

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CONTENTS HR UPDATE

COVER STORY

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FIBRES USED IN MAKING OF A SAREE bY DR. N. N. MAHAPATRA

13 22 24

REVIEW ON FANCY AND NOVELTY YARNS IN DESIGNING SHIRTING FABRICS by Mr. SADDAMHUSEN JAMADAR

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CREATING INNOVATIVE PRODUCTS FROM TRADITIONAL BAGRU by MS. KSHIPRA GADEY, Dr. Anshu Sharma & MS. Sayali Gaikwad

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Designs brings Sales in our Business - Mr. Shamik Valia

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Vegan and Sustainable fabric is the way forward - Mr. Shripat Jagirdar

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SUSTAINABLE FABRIC’S MARKET IS ON A GROWTH STAGE - Mr. NITIN SHAH

IMPORTANCE OF TEXTILE AND APPAREL DESIGN IN VALUE CHAIN by MR. AMRISH SHAHI WEAVING TOGETHER DECADES OF EXPERTISE by DR. KAVITA PATIL

34 35

Legacy of natural dyeing and printing: Pracheen

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THE SCOPES OF TEXTILE DESIGNERS BY Dr. B. BASU

44 17 37 47 50

REDOING MYSELF: REME

Personalisation, On demand Fashion leading to growth of web-to-print business Ms. Adele Genoni

PEER REVIEW PAPER A STUDY OF BLOCK PRINTING ON COTTON FABRIC

by DR. IRFANA SIDDIQUI & MD UZAM QUADRI RESPONSIBLY REDESIGNING BY Dr. A. J. SHUKLA

TECHNICAL TEXTILE Application of MEMS in textile industry BY MS. Sakshi Taori & MR. Yash Trivedi

NON-WOVENS NON-WOVENS: THE UPSURGING DEMAND DURING COVID-19 BY DR. POOJA SINGH

51 52 54 55

The Last Dance… Learnings for a Professional BY MR. RAJIV MISRA

COTTON UPDATE SIGNIFICANT GROWTH IN COTTON EXPORTS

YARN UPDATE

BY YARN BAZAAR Cotton yarn exports jump 58% in June

Man-made fibers update

56 57 58

Fibre prices continue to track raw material in July MMF- TRADE STATISTICS

Home textile update India- home textiles exports

Machinery update

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TEXTILE MACHINERY EXPORTS BOOST IN THE FIRST FIVE MONTHS OF 2021

Event update

62 64

Wool Research Association’s (WRA) Webinar on “Sportwear & Knitting Technology”

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FUTURE OF DESIGN WEBINAR by FASHION VALUE CHAIN

NATIONAL HANDLOOM DAY 2021 Webinar

by TEXTILE VALUE CHAIN

ADVERTISER INDEX Back Page: Raymond Back Inside: Raysil Front Inside: Rimtex Page 3: Astra Tech India Page 4: India ITME 2022 Page 5: LRT Page 6: Techtextil India Page 68: Trutzschler Spinning

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EDIT O R IAL

Handloom and Design Challenge Design is not just the art of making few lines, joining dots, scribbling; it is art combines with science considering the end consumer mindset with creative expression to any art and skill which will make a masterpiece. We see every part of life is designed whether it’s textile, home decor, food, infrastructure, everywhere there is art whether created by nature or created by humans, all have its aesthetic presence. A design is a plan or specification for the construction of an object or system or for the implementation of an activity or process, or the result of that plan or specification in the form of a prototype, product, or process. The verb to design expresses the process of developing a design.

Design in the Textile and Apparel industry whether it’s print design, surface design or weave design all are an integral part of the entire value chain. Design rules the entire industry. Fashion Design who makes garment pc with a vision of making some fabrics feel, touch, fall, drape, prints, embellishment, etc.; accordingly, fabric designer make the fabric, for making that kind of fabric, yarn manufacture work on twist, combine colors, combining fibers; fibers manufacture make more research and make fiber with for spinnability. From Retail / Fashion Designers to Fibres entire industry is connected, one value chain can’t independently work. But, Still, our industry work in clusters, segregated without care of each value chain concerns or problems.

Handloom industry lost in all value chain; it is part of the value chain but considered separate due to mainstream industry is far more ahead by technology than handloom.

Handloom is considered as Art fabrics made by an artisan. Artisans use traditional print, which is their identity and originality as per the geography they live in. Artisan fabric is recognized at the international level, due to lack of new design creativity and lack of information, they earn less as per what they deserve. The respect and value of art fabrics are given less importance as per what artisan deserves. With Design’s helping hand we can make the handloom industry more vibrant.

We wish you Happy Handloom Day and Independence Day…!!!

JIGNA SHAH EDITOR AND PUBLISHER

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FIBRES USED IN MAKING OF A SAREE Dr. N. N. MAHAPATRA Business Head (Dyes) SHREE PUSHKAR CHEMICALS & FERTILISERS LTD., MUMBAI Nature has everything that a man needs, be it food, clothes, techniques, and most importantly, ideas. Our ancestors wore clothes made out of natural fibers, of which Linen and Cotton were the most common ones. But with industrial aging, we developed new techniques to build yarns that produced longer-lasting synthetic fibers such as Nylon, microfibre, etc.

How much ever we grow, humans have the tendency to stay connected with their roots. In spite of the hovering dusk at the natural weaving techniques in the mid 20th century, we have come a full circle now where our love for naturally available fibers such as jute, linen, bamboo, banana, java cotton, etc. has resurfaced. In fact, wearing the age-old handloom sarees made out of vegetable stalks has now become a style statement.

Sarees crafted using yarns of natural fibers extracted from plants such as jute, bamboo, banana, hemp, aloe vera, etc. are called eco-friendly sarees. Each fabric made from these organic plants has a unique environmental quality that makes them nature-friendly. For instance, jute fibers are 100% processable, and there is no window of wastage when you yarn a saree out of this fabric. Similarly, other fibers have some properties that lend them the tag of being organic.

New Age Eco Sarees are Indian drapes made of natural fibers which do not tend to harm our environment. The principle of using fibers extracted from natural plants to yarn a saree that is not polluted using pesticides and insec-

ticides has earned the process another name- Organic Sarees. Crafted using deft artisanship of the weavers, these sarees are known to have a longer life than the fabrics made of synthetic fibers using unreliable machinery. This aspect coined another name for the very same concept- sustainable sarees or fibers. With features like recyclability, no wastage of water for plant development, and availability of stalks in abundance, sarees yarned out of these fibers do not do any harm to the environment. And thus the name, eco-friendly sarees. These are some of the names used to refer to a naturally manufactured fabric which includes linen, jute, banana, bamboo, wild silk, and more.

In 2011 a saree was weaved using 25 types of natural fibers and even made it into the Limca Book of Records.

1. Cotton- When comfort comes first, cotton is the primary choice. This saree fabric is so versatile that it can be worn both on an everyday basis and of course, on special occasions. From the office to weddings to festivals, cotton sarees remain the answer!

2. Silk - Silk, one of the oldest known fibers is a protein fiber, produced by the silkworm by spinning around its cocoon. The entire process of starting from the eggs till the worms are grown up and cocoons are formed as shown in the diagram below. The silk farmers let the caterpillars that make the largest cocoons, turn into moths. The moths then laid eggs and the eggs hatched out more caterpillars making even bigger cocoons. Over the centuries, the size of

the cocoon has increased and silkworm cocoons are now much bigger than the cocoons of other caterpillars. At least half a mile of continuous thread may come from one cocoon.

The silk threads are then dipped in color liquid and used for preparing the colorful silk Saree. Chinese are the ones who started manufacturing silk sarees. Out of the numerous species of silk moths, scientists have enumerated about 70 silk moths which are of some economic value. The four commercially known varieties of natural silk are (1) Mulberry silk (2) Tasar or Oak Tasar silk (3) Muga silk and (4) Eri silk.

Although the bulk of the world silk supply comes from the silk moth Bombyx Mori which is domesticated, the other varieties of silk are known as wild silk, as they are grown in remote forest trees in natural conditions.

The silk sarees of India are among the living examples of the excellent craftsmanship of the weavers of the country. Their mastery lies in the creation of floral designs, beautiful textures, fine geometry, the durability of such work, and not the least, the vibrant colors they choose for making sarees.

Many states in the country have their own variety of makes in silk as well as weaving centers with their traditional designs, weaving, and quality. The silk varieties are renowned by the place where it has been woven.

Banaras is one of the leading silk weaving centers in India. Amru silk, Jamvar, Navarangi, Jamdani, etc. are the types of Banaras Saris, in which Amru Silk brocades with a heavy pallu

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of flowering bushes or the flowering mango pattern are very famous.

Maharashtra is famous for its Paithani silk saris, generally with gold dots design and Kosa silk of Bhandara district.

Patola silk, known as the pride of Gujarat is noted for its bright colors and geometric designs with folk motifs.

Madhya Pradesh is famous for Chanderi, Maheshwari, and Tussar silk saris.

Specialties of these saris are the contrasting colors and depiction of animal and human figures on the sarees.

Silk Bomkai Sambalpuri saris from Orissa come in single and double Ikat weaves. Murshidabad in West Bengal is the home of the famous Baluchari sari in which untwisted silk threads are used for weaving brocades. In the south, heavy silk saris from Tanjore, Kumbakonam, and Kancheepuram in Tamil Nadu are known for their broad decorative borders and contrasting colors. Kancheepuram silks have an enviable position among the best silk sarees in the country for their texture, luster, durability, and finish. Kolegal and Molkalmoru in Karnataka are known for their simple Ikat weave with parrot motif on the borders.

Sarees have been a passion for every south Indian female. With regard to the silk sarees in Tamilnadu, it got its name from the location where the sarees were weaved. Like Kancheepuram, Aarani, Thirubuvanam, etc but nowadays people look for more and more varieties.

Hence the vendors started introducing new patterns in silk sarees, giving new names like Vasthirakala, Parampara, Samuthriga, Vivaha; bridal seven, etc.

Most of them are traditional silk sarees with additional stonework or added colorful embroideries in the silk sarees.

Tanchoi Silk: Weaving technique which is a blend of silk from the two countries, India and China.

Garad Silk: Garad originates in West Bengal, and is distinguished by its red border and small paisley motifs. Silk fabric used to weave Garad sarees is produced by the silk yarns woven close together which imparts the fine texture.

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Jamawar: Jamawar Silk is an adulterated form of Pashmina silk that contains a blend of cotton and wool. This is usually used in weaving shawls for the winters.

Matka Silk: A rough handloom silk fabric made from the waste Mulberry Silk without removing its gum (sericin) part, largely produced in Karnataka and Kashmir.

Banarasi/Benarasi Silk: A fine variant of silk evolving from the lands of Benaras or Varanasi, known for gold and silver work of brocade and zari on the fabric.

Mulberry Silk: The purest form of silk extracted from Silkworms, usually produced in yellow, white, or greenishyellow color.

Murshidabad Silk: Silk was produced at the ‘Silk Mecca’ of East India.

Bangalore Silk: Known for its simplicity and purity of Silk, Bangalore silk is produced in the silk farms of Bangalore.

Angora Silk: Known for tender texture, the Angora silk yarn is made up of the fur of meek ‘Angora’ rabbit.

Silk Embroidery: Intricate patterns embroidered in silk on various fabrics.

Pochampally/Pochampalli Silk: Type of silk originating from the town of Boodhan Pochampally, located in Nalgonda district of Andhra Pradesh, popularly known as the silk city of India.

Mysore Silk Crepe: Woven from handspun silk yarn and comes from the silk city of Mysore in Karnataka.

Sournachuri Silk: Originating from West Bengal, Sournachuri Silk has gold thread incorporated in the weave of silk, hence giving a rich shine to the fabric. It is also known as the ‘illustrious’ sister of the Baluchari Silk saree.

Raw Silk: Raw Silk is the most natural form of delicate fiber of silk with no twist and is an unprocessed form of silk that can be easily woven into different fabrics.

Kosa Silk: Comes from Chattisgarh, and is known for its soft texture and dull-brownish look, hence available in shades of gold pale, dark honey, cream,

etc. Kosa is one kind of Tussar Silk.

Tussar Silk: Also known as Wild Silk, Tussar radiates gold sheen in its fabric and is exclusively produced in India.

Muga Silk: Produced only in Assam, Muga silk yarns are totally yellow in color and is considered as strongest natural fiber Eri Silk: Also known as Errandi and Endi in most parts of India, Eri Silk is the purest form of silk from the east, with a dull yellow, gold-like sheen.

Dharamavaram Silk: Known for goldplated borders, Dharamavaram silk originates from Andhra Pradesh, and is also known as ‘Silk for the Bride.’

Narayanpet Silk: Originates from Andhra Pradesh, the textiles of Narayanpet have a checked surface design with embroidery and the border or pallu have intricate ethnic designs such as a temple.

Pat/Paat Silk: Produced in Eastern India, Pat silk is known for its distinctive brightness, high quality, and durable nature. It comes in brilliant white or off-white shades.

Cotton Silk: A well-blended combination of cotton and silk, Cotton silk is cheaper-priced silk. When you want to keep it simple yet classy, cotton silk is a perfect choice. A beautiful hybrid of cotton and silk yarns, it gets its soft feel from the silk yarns and its airy weave from the cotton yarns. A heavier look can be achieved as it can support embroidery, and that it comes in crafts like Kalamkari Cotton Silk, Mughal Prints, and more, that impart the traditional, sophisticated look to your saree.

Mashru Silk: Though majorly made out of silk yarns as compared to its cotton component, this fabric has the unique feature of having a silky feel on the outer side of the fabric, while having the comfortable cotton weave on the inner side of the fabric. This fabric is on the thicker side, weighing around 210 grams per meter, but which also allows heavy detailing to be done on it. Going as simple as just having crafts like Ajrak, Kalamkari, Shibori done on it, or as heavy as embossing with embroi-

C O V E R ST O R Y dery work, either would turn out to be a silky look and traditional feel.

the slight crumpling of fabric in different directions.

Kanchipuram: Silk from the village called Kanchipuram in Tamil Nadu, India, is known for its durability and shine. The rich quality combined with an amazing finish makes them last longer.

For example like crepe, rayon and chiffon are ideal for those who are not regular sari wearers. Known for their lightweight yet soft and smooth texture, they are easy to pull off for those who are not used to managing the elaborate fall and the pallu of heavier sarees. In the form of Saree, the fabric adds shimmer and texture to the overall appearance.

Bhagalpuri Silk: Known as the ‘Queen of all fabrics’, Bhagalpuri Silk originates from West Bengal and is very well known for its unique and striking resilience and superior quality.

Uppada Silk: Also known as Uppada Pattu (Silk in Telugu), Uppada silk comes from Andhra Pradesh. Usually woven in cotton warp, this one is known majorly by the length and breadth count of threads.

It is known for its luxurious texture and vibrant appeal. With silk, you have a plethora of choices to pick from, be it ‘Kanjeevaram’ silk, ‘Sambalpuri’ silk, or ‘Assam’ silk. Moreover, silk sarees remain our savior for weddings and parties; we bet you agree!

1. Synthetic fabrics - Synthetic materials like nylon and polyester are most commonly used to make this fabric.

These materials can be easily dyed into different colors. The synthetic Chiffon is also economical and sturdier than its silk variant.

Chiffon is a lightweight plain-woven fabric with a mesh-like weave that gives it a transparent appearance. The word Chiffon has a French origin which means a cloth. It is primarily made from cotton, silk, or synthetic fibers like nylon, rayon, and polyester. Chiffon is most commonly used to weave Sarees.

The sarees were made exclusively with Silk until Nylon was invented in 1938.

After the introduction of Polyester fabric in 1958, the polyester chiffon blend became more popular because of its durability and economic viability.

It is a plain balanced weave where similar weighted weft and warp threads are used on the loom for manufacturing.

The criss-cross pattern weave which is generally used for Chiffon gives the saree a checkered, mesh-like effect.

The yarns used in weaving the saree are alternately twisted which results in

Georgette Satin -Georgette comes in a number of variants, one of which is the Georgette Satin, which gives a silky look and feel, and the flexibility of being designed with heavy work with sequins, chatons, rhinestones, and the works 4. Art Silk - Artificial silk or art silk is any synthetic fiber that resembles silk, but typically costs less to produce. Frequently, “artificial silk” is just a synonym for rayon or viscose. The material is commonly referred to in the industry as viscose rayon. In the present day, imitation silk may be made with rayon, mercerized cotton, polyester, a blend of these materials, or a blend of rayon and silk. Short form for artificial silk, art silk is manufactured by a synthetic fiber like Rayon that very much resembles the silk fiber; however, costs a lot less on the front of manufacture and production When made out of bamboo viscose it is also sometimes called bamboo silk. These sarees are popular for their unique blend of style and comfort. Designer party wears sarees crafted from this fabric feature unmatched fluidity without compromising on comfort. Besides, they are organic and lightweight, which makes them ideal for events like summer evening parties.

It is a fiber cellulose fabric that has a lightweight, fluid texture. From office wear to party wear sarees.

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5.Modal Silk: This one is a soft, silky, and highly lustrous fabric, developed by interlacing modal fibers, known for their strength and shrinkage resistance properties, and silk yarns, that append a refined delicacy to the fabric. This can again be worked on with different rich Indian Crafts like Ajrak, Tie & Dye, worked on with sequins, embroidery, or zari work, to suit the desired level of opulence.

6.Bamboo Fibre – Bamboos have always set themselves apart with their unusually slender, and beautiful appearance. We all have witnessed the use of Bamboo strips, or rather straws, in hats, and shoes. The bast fiber (the fibers extracted from the inside of bamboo plants) is spun using yarn to model the bamboo fabric. Bamboo does not just seem green but is green in terms of temperature. With commendable absorption capacity, bamboo fibers engulf the heat, making it breathable and cool to wear in summers. That, and its potency to fight bacteria has made it the new-age sustainable fiber.

The fleecy texture of bamboo fibers that matched the smoothness of silk led the weavers to create a perfect amalgamation of both fabrics to tailor Bam-

boo Silk sarees. Available in various designs, hand-block-printed bamboo sarees carry the authenticity of being all-natural. With traditional prints and fine embellishments making the weaved zari prominent, these sarees are a fine choice for any occasion. Add a unique grandiose to your femininity by draping a magnificently designed bamboo silk saree with patched heavy borders and elaborated “buttons”. This piece of Indian attire is bound to make you look well-heeled regardless.

Cloth made of bamboo yarn is stronger than denim weavers from Tamil Nadu

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has weaved sarees from natural banana fiber and bamboo yarn. The required yarn cannot be extracted directly from bamboo. First bamboo pulp has to be made with some natural process, then the needed yarn is obtained.

7.Banana Fibres – Also known as “Vazhai Naaru”, fibers created from the banana plant have proved that creativity knows no bounds. Banana cultivation is significantly high in the southern states of India, and that’s where banana fiber saree was born. A very few people would reminisce the existence of Pattu saris, and fewer would know that these now-bygone sarees were made from the same fibers. Banana fiber sarees have become a pioneering choice among working women for their sumptuous simplicity when adorned.

Seeing a saree crafted from 100% banana yarn will definitely make you long for one that very moment. With the finesse of manual craftsmanship, banana fiber sarees last long without losing their authenticity. Infused with bright colors and weaved using a highend zari with finer details in the pallu, a banana fiber saree must have a place in every woman’s wardrobe.

Yarn from banana fibers, extracted from banana stems are made In the South of India, this is available in plenty. While the banana stems are available in plenty, the manual extraction of fibers from the stems is labor-intensive and time-consuming. The process involves the stem of the raw material (banana or pineapple) is dried and scraped to remove dust. Then, each strand of the fiber is taken out manually to make yarn. The sarees are treated in various

sure those skin allergies of all kinds are at bay.

which makes it ideal for the hot temperatures in the Indian subcontinent.

8. Linen Fibres - Linen’s inception as a clothing accessory can be traced back to as further as 5000 BC. Coined from the Latin word “Linum” and a Greek word “Linon”, this beautiful fabric owns an equally beautiful history. The affluence of this fabric is not something that is recognized only by us, the millennials, but the Egyptians too considered it to be an exquisite piece of cloth. Linen is made from the inner section of the Flax plant which does not require water in ample quantities like cotton does making it the new age eco-friendly fabric.

9.Jute fibers - The dawn of Jute, “The Golden Fibre”, was upon Indians in 1856 when the very first jute mill initiated its production. Extracted from the most economic skin of the vegetable plants, jute fibers have always been important to India. All households in our country have seen jute sacks at some point in their lifetime. In fact, jute was synonymous with a grain sack for Indians. However, the weavers definitely changed things for us.

The ease and comfort that this princely fabric imparts have made it a great option to beat the Indian heat. The first Linen saree was built around a similar centric idea. Woven in pit looms, Linen sarees have restored the age-old richness in the most organic way possible.

The raw texture of linen is often highlighted with plain solid borders making it a perfect pick for formal attendance, and the art of weaving is constantly being explored which has introduced us to the finely crafted floral weaves making this Indian drape absolutely irresistible.

Linen Sarees

herbs, spices, and even cow-dung for their antibacterial properties which are good for the skin. Also, medicinal herbs like Tulsi and mint can be used to en-

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tend to have a fantastic fall and fit and are best suited to formal wear. As linen has a very rough, natural look to it, it is always more aesthetically pleasing to pair this saree with simple minimalistic accessories, such as wooden jewelry.

When wearing white linen or cream linen, colors work very well in accessories, in that this saree really helps them stand out. This saree is extremely popular because it is considered to be a cool and refreshing fabric to wear,

Being completely biodegradable and reprocessable, Jute is one of the organic fabrics used today to craft apparel including sarees that are bound to spread resplendence. Embroidered using even minimal threading gives a phenomenal aura to the jute saree. With an array of options for embellishments, sarees crafted from this fabric can be draped to enhance any formal, or family function. Floral or checkered prints on pure jute sarees make a definitive statement that no other material can beat.

10.Soyabean Fibres ; In 1931, soybean fibers were experimented with to produce artificial silk which was named Azlon.

These sarees are woven with silk in the warp and soy fiber in the weft.

An essential portion of the dialogue of sustainability is finding alternative, sustainable fabrics, and yarns. Soy fibers are a byproduct of soya bean processing and are sustainable and renewable.

Soy yarn is stronger than cotton and wool, wicks moisture, and breathes well. When combined with silk, the fabric has the majesty of silk and yet a special subtle allure.

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REVIEW ON FANCY AND NOVELTY YARNS IN DESIGNING SHIRTING FABRICS Mr. SADDAMHUSEN JAMADAR Executive-Design & Development (Export Division), Raymond Luxury Cottons Limited Abstract The fancy and novelty yarns are very decorative and special yarns which are used to ornament the fabrics like men’s shirting, jacketing, ladies wear to improve the aesthetic value fabric and get more attractiveness to product. This review article contains the introduction of fancy yarns which are used in shirting fabrics and their end use which are described with CAD images from time to time. The fancy yarns are intensively being used to decorate and to make fabric texture more creative than normal fabric. The end uses in term of CAD of fabrics are presented so as to understand how final fabric product will look like.

Introduction The fancy yarns are those in which some deliberate decorative discontinuity of interruption is introduced. Of either colour or form or else both colour and form this continuity is introduced with intension for producing aesthetic effect.1 The word deliberate is very important here because all yarns made from staple fibres are inherently variable due to the imperfection of the yarn spinning systems and the no uniformity of fibre material. These yarns provide the fabric designer greater scope in achieving a more attractive and exclusive product, but also pose greater challenges as they usually suffer from poorer performance and higher costs.

The fancy yarn gives a fancy touch to the fabrics to a broad range of end uses.

Significant demand for the fancy yams is the ladies and children outerwear.1 Classification of Fancy yarns

It would be a futile attempt to try to describe all the varieties of fancy yarns, as these are designed to differ by definition. From the point of how the variation is introduced in the yarn, fancy yarn effects may be broadly divided into two categories: 1. Fibre and

Whereas form of material refers forms of components used for the intended purpose.2

effect

2. Yarn effect.

Fibre effects are introduced prior to the formation of yarn; yarn effects are introduced by combining two or more yarns after the individual yarns have already been made. The two categories can obviously be combined to make more complex effects.1 1. Fibre effect Fibre effect fancy yarns are created during the spinning processes prior to the formation of the final yarn. These yarns are characterized by varying sizes of fibre lumps along the yarn length.

Depending on the size of these fibre lumps, these fibre effects are often further divided into three subcategories: nep, slub, and flake.1

Nep yarn Nep or nupp yarn, has a compact yarn structure with specks of fibre clusters distributed along the base yarn structure. Figure-1 shows an example. These yarns are most effective when the effect fibres have contrasting colours to the base yarn fibre, whereas more subtle effects can be created when the effect fibre and the base yarn have similar colours. The distribution of the effects should generally be random to avoid the moire effect as shown in Figure 2.

2. Yarn effect Classification of fancy yarns is done according to the type and form of material used for effect making. Type of material used for effect making refers basic material of the components, viz; cotton, wool, silk, polyester, nylon, blend etc.

Figure. 2. Nep yarns The production of nepp yarns are usually achieved during the preparation of fibers. The most widely used method is mixing prepared fiber balls such as

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wool nepps into the main fiber stock before carding. The fiber effect can be varied by the mixing ratio and the card setting, in addition to the usual yarn parameters of linear density and twist.3 Multi-coloured Nep Yarn In contest of Nep Yarns; the multi coloured nep yarns are produced with spinning multi-coloured fibres added into base yarns at specific interval of length. This will produce multi coloured effect on the yarn structure results into multi-coloured fabric structure on surface.1 Effect of nep yarn on fabric structure In shirting fabric manufacturing, these nep / multicolour yarns are used to weave the fabric and decorative/fancy effect observed on fabric surface with yarn structure. While using these yarn some special care needs to take while wet processing due to use of peroxide bleaching and caustic etc. These may bleed colour in process if weaker dye affinity of mixed coloured fibres in yarn.

Below in Figure 3. are some fabric surface structure effects with Nep yarns:

Marl Yarn/ Grindle Yarn:

Figure 4. Marl Yarn The simplest of the fancy effects, a marl yarn is one in which two yarns of the same count and twist, but of different colours, are folded together to form a balanced yarn as in Figure 4. They are, therefore, essentially plain folded yarns with the additional characteristic that the yarns folded together are of a different colour or texture. As such, they barely count as ‘fancy yarns’ at all, except in that they result in a subtle, but noticeable, modification to the appearance of the finished fabric. These yarns are used to good effect in discreet pinstripes for men’s suiting’s or to produce a subtly and irregularly patterned knitted fabric using a relatively simple fabric construction.1 Marl yarns are probably the simplest plied yarn structures. These are effectively straight folded yarns made by plying two, and sometimes more, yarns together. The individual component yarns are usually exactly the same in

linear density and twist but often differ in colour or texture or both. The folding of these yarns creates a final yarn with subtle colour or texture variation.

A typical use of marl yarns is men’s suiting fabric to create a pinstripe effect. Figure 5. shows an example of a marl yarn with three component yarns.

If any of the component yarns differ in linear density or twist, yarn structure variation will occur and the final yarn will be unbalanced, although it may be a designed outcome.

Figure 5. Grindle Yarn Effect of Marl Yarn on fabric Structure Below are the some of CAD which shows the fabric structure with use of Marl yarn in yarn dyed shirting. Generally, these types of fabric are mostly used on suiting, jacketing, trim fabric and sometimes backed fabrics in garment industries. Figure 6. shows some of the effects on fabric.

Figure 6. Effect of Marl yarn on fabric structure Space dyed yarns

Figure 3. Nep effect fabrics

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Nep effect on cross-dyed fabric surface

Space dyeing involves dyeing of yarn with multiple colours to create abstract colour patterns which may or may not repeat after fixed intervals. Such space

C O V E R ST O R Y dyed yarns produce beautiful effects after weaving and knitting. They are used to produce fancy design effect when incorporated into apparel wear in shirting fabrics. Also these can impart effect of random, unorganised designs.

Space dyed yarn can be dyed either coordinating or contrasting shades.

The coordinating colours are tones of neutral or assorted shades of hues like blue, green, red which provide subtle yet sophisticated look. While the effect of contrasting shades in space dyed yarn include mixing of purple, red, green and blue. Thus space dyeing is technique used to create lovely fabrics which shade from one colour to another.4 Effect of Space dyed yarn on fabric structure

Mélange yarn can be classified into two of its vary basic types:

some mélange effect on CAD.

i) Blended mélange yarn ii) Non-blended mélange yarn i) Blended Mélange yarn Such type of yarn in which different fibers are mixed/blended together in a certain fixed ratio for instance PC (Polyester:Cotton blend) 50:50, PV (Polyester:Viscose) 80:20, CV (Cotton:Viscose) 60:40 etc.5 ii). Non-blended Mélange yarn Yarn in which there are no different fibers blended together, but different colored fibers of same type are used to make the yarn e.g. 100% cotton dyed yarn, etc.5

Figure 9. Mélange effect on CAD Slub yarns A slub yarn is one in which slubs have been deliberately created to produce the desired discontinuity of effect. Slubs are thick places in the yarn. They can take the form of a very gradual change, with only a slight thickening of the yarn at its thickest point. Alternatively, the slub may be three or four times the thickness of the base yarn, and that thickness may be achieved within a very short length of yarn. Since the structure is simply one of a gradually thickening and then tapering cylinder, a diagram has not been produced.

The yarn pictures should give a clear enough impression of the structure of the yarn itself.1 Slub yarn refers to yarn that has been purposely spun with slubs (thicker sections along the yarn) while it was once seen only as a defect, slub yarn is now intentionally created to give fabric more effects.5

Figure.7. Effect of Space dyes yarn on fabric structure Melange Yarns Melange yarn is a blend of different coloured fibres to develop various shades in the yarn. Difference in the ratio of fibres in the blend alters the uniqueness of spun melange yarn. Mélange yarn may be defined as “the yarn produced by the combination of at least two or more than two fibers”.

Conventionally, the term mélange is used for such yarns which are produced by the combination of two fibers (whether of same type but different in color or type of fiber used is different). In case of cotton mélange yarn “a mélange yarn is the yarn which is produced with various combinations of raw white and dyed cottons or dyed fibers.”

For example, if we mix 99% raw white cotton and 1% dyed cotton (of any Colour), then it will have called Mélange yarn.5

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The visual effect of slub yarn There are four factors are affect the visual effect of slub yarn: 1. Number of slubs per kilometer (NSm) 2. Diameter (dia) of slub Figure 8. Mélange yarn packages

3. Length of slub

Effect of melange Yarn on fabric Structure

4. Distance between slub.

Mélange yarn can present multiple colors on one single yarn, which gives it rich colors, slenderness and tenderness.

Textiles made of mélange yarns have a certain ambiguous cyclical effect. Figure 9. below shows

The Figure 10. below shors the parameters of slub yarns

Figure 10. Parameters of slub yarn

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All these parameters are selected by computer. Slub vision software is used for this purpose. Figure 11. shows the effects with slub yarns.

Conclusion Now a days, Fancy yarn or novelty yarns are much more being used in apparel fabric to give them aesthetic

ric or overall the fabric as per requirements. Space dyed techniques are dyeing technique which dyes yarn surface with multi colored intervals and this yarns will improve performance of finished fabric.

Still some research and developments are going on to produce more fancy yarns inherent and with dyeing techniques to make fabric more superior and cost effective. There is lot of scope in designing fancy yarns for end uses.

References

Figure 11. Slub Yarns Effects and decorative structure Types of slub yarn on to finished fabric.

As per market trends the basis of visual effect: these fabrics are much more used in 1. Pattern/regular slub yarn shirting fabric to get attraction of customer and make the garments with 2. Non-pattern/irregular slub yarn creative and decorative effects.

3. Multicount slub yarn As seen, Nep yarns are used in fabric 4. Both are pattern and non-pattern to give nappy effect on solid base fabric slub yarn.1 structures, which enhance fabric apFigure 12 shows the effect of slub Yarn pearance by its own nappy structure and give fabric colored look on surface on fabric Structures. and multi-colored nep nep yarns are showing very excellent texture on fabric structure and easily catching eyes of buyers.

Apart from this Mélange yarns and Slub yarns are produced while special spinning technique with mixing and draft adjustments which give the inherent yarn fancy effects and will show excellent appearance on finished fabric.

Figure 12. Effects with Slub Yarns on fabrics

1. V.R.H Gong and R. M. Wright, (2002). Fancy yarn: Their Manufacturing & Application, The Textile Institute, Cambridge, England: Woodhead publishing Ltd. 2. Dr. Shaikh Tasnim Nisarahmed, Technology, Structure and Application of Fancy Yarns by International Journal of Engineering Research and Applications (IJERA) ISSN: 2248-9622, Vol. 2, Issue 3, May-Jun 2012, pp. 31093117.

3. Different Type of Fancy Yarns & their Usage in www.textilecoarse.blogspot.com 4. Ashok Athaly, (2014). Space dying available at www.fibre2fashion.com 5. Basic Information: What is Slub yarn available at www.textilelearner.blogspot.com

Marl yarns are twisted yarns, which used to decorate specific area in fab-

NEWS

NEW FABRIC PRODUCTION PLANT IN GUATEMALA: NEXTIL INVESTS EUR 40 MILLION

Nextil Group, one of the largest textile groups of Europe, is to open a fabric production plant in the country’s capital Guatemala City. With an area of 25,000 square meters, the new plant is expected to start its operations in the first quarter of 2023. The plant will be established in a location just 30 minutes away from the city of Guatemala, with quick access to the Atlantic and Pacific oceans and the Pan-American Road, which will connect it to all continents. The plant’s geographic location

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will provide the textile group an entry to the mass production market in competition with Asian suppliers, enabling it to get a return on items which are currently deficit, securing maximum efficiency in logistics and distribution.

According to its commitment of sustainability, Nextil will implement a plan to maintain a low carbon footprint and use cutting-edge machinery in the plant. The dyeing process of ‘Greendyes’ will be applied at the new production plant – the patented dyeing

method involves low water consumption, no toxic products and execution at ambient temperature, therefore reducing energy consumption.

With an investment of EUR 40 million, the new production plant will be having 350 local employees, which will increase as soon as the production steps up. The plant will also provide training to the students of Guatemala university who wish to go into the textile industry.

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A STUDY OF BLOCK PRINTING ON COTTON FABRIC WITH PIGMENT OF PARIJATAKA DR. IRFANA SIDDIQUI Assistant Professor

MD UZAM QUADRI Student (B.C.S)

Department of Textiles & Apparel Designing, College of Community Science VNMKV Abstract

Introduction

Block printing is a technique of decorating fabrics or textiles by using dye powder, thickener, and some auxiliary to make the dye fast, where all this process is done by hand. For this study, the cotton fabric of the plain weave was selected. The natural dye source was taken as an orange colour stalk of the parijataka flower, and its pigment was extracted in the aqueous medium. Guar gum thickener was selected for the preparation of printing paste. A wooden block of a square shape was selected.

The printed fabric was allowed to dry for different time scales. Dried samples were treated with a solution of metallic salts (mordants) such as FeSO4, Alum, AlSO4, CuSO4 for the fixation of pigment of parijataka flowers. Colour fastness properties of block printed fabric were tested. It was found that 6-8 hours of drying of block printed samples effectively transferred pigment from the layer of guar gum thickener and developed a bright orange color on the fabric.

Selected metallic salts were adequate for the dye fixation and development of various shades of dark orange, dry leaf brown, brown, and light peseta green.

Colour fastness properties were found to be very good to good.

Block printing is a hand skill, a lowcost fabric printing process of surface decoration, beautifying, and attracting consumers. It also increases the cost of fabric. Printing is applying the colour paste on the surface of the fabric in the selected area with machinery or by hand with any device. Wooden blocks of carved design of floral and geometrical of any size are now available in the market. It can also be prepared for the requirement of printing articles such as pillow covers, table cloth bed sheets, sari, and Punjabi dress material. Even after multiple uses of wooden blocks are not spoiled, the carved design remains the same, and care of the block is elementary, but each separate color block is required. Guar is a legume. It is also called a cluster bean with the botanical name Cyamopsis tetragonoloba.

It is used as a vegetable in daily food items in the form of curry. It has been reported that guar possesses properties useful in warp sizing and textile finishing operations. The prime function of the thickening agent in textile printing is to enable the dyestuff or pigment to be transferred to the fabric at the printing stage.

Keywords: block print, colour fastness, cotton, dye fixation, mordants, thickener.

Furthermore, the thickening agent must not break down during steaming or any other dye fixation process to such an extent that color’ bleeding’ occurs; the thickening agent must be removed entirely from the fabric dur-

ing the washing-off treatment given to the printed fabric with dye-stuffs. One more requirement is that the thickening agent must be suitable, compatible with all the other components in the printing paste, and it must not be too expensive (W.Clerk 2004). A handy feature of modern thickening agents is their ability to be dissolved in cold water with the aid of a high-speed stirrer.

In preparing thickening agents for use with a particular range of dyestuffs, it is often advantageous to incorporate assistants and other chemicals necessary to fix the dyestuff. An additional property of some thickenings is their ability to be coagulated by alkaline solutions, particularly where borax is present. Borax is used to aid dyestuff fixation in a two-stage process and prevent dyestuff bleeding or spreading after printing on fabric. Suitable dyes, pigment, and thickener selection are vital. Otherwise, an effort is taken for the printing that is spoiled.

For this natural study, source of dye, natural thickener, different metallic salts were used to increase the fastness of the dye. The experiment was carried out by considering objective extraction of pigment from the orange stalk of parijataka flowers, different optimization concentrations of guar gum, the time required for dye transference from gum phase to fabric phase, assessment of handle of printed fabric, the effect of mordants on dye fixation and evaluation of colorfastness properties of block

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printed fabric.

Advantage of this study Synthetic printing thickener is manufacture on a chemical base, and acrylic paints were used for printing to show the students in the laboratory, such as block printing, marble printing, and hand screen printing. The students should be to foot stand and start small scale businesses to prepare handkerchiefs, pillow covers, table mats using easy printing techniques, low cost, and more production to earned money.

However, it was observed that synthetic printing thickener and acrylic paint bottle after use, the remaining thickener become hard, cannot be dissolved in any solvent and unable to converts into a solution for reutilization for printing.

If thick acrylic paints were used for the printing, spoiled block and misprinting were noticed on the fabric. Hence a natural thicker “guar gum” was used for hand block printing. As it easily dissolves in water, no chemical is required for dissolving; if guar gum is dried, it is redissolved in the normal water for use and easily removed from the surface of the printed fabric by washing. It is advantageous compared to the chemical base printing thickener and is readily available in the market at a low cost Materials and methods Selection of thickener Natural thickening agent guar gum was selected because it easily dissolves in water and easily removed during washing, and it is nontoxic. It is used in food items in bakery products, and it was purchased at the rate of Rs 90/ kilogram.

Selection and preparation of fabric The cotton grey fabric of plain weave 2x1 weave was selected for hand block printing. The cotton grey fabric was prepared for printing by desizing, scouring, bleaching, and pressed with a hot iron to remove wrinkles to avoid the miss printing. Cut pieces of fabric 10 x10 inches in size for conducting block printing trials.

Dye source The orange colour stalk of parijataka flowers was selected because it contains

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orange colour pigment. The botanical name of parijataka is Nyctanthes arbora tristis belonging to the family oleacese parijataka, a fabulous plant with high medicinal value. It is commonly known as harsinghar, parijataka in Hindi, night jasmine in English, parijataka flowers are white in colour with small size like jasmine of a short stalk of orange colour.

Collection and preparation of dye source Flowers of parijataka opened in the early morning and dropped down.

Flowers collected in the morning, the orange color stalk was separated from the white petals, and the size of stalk size is 1 to 1.5 inches, and it is tube-like with diameter is about 0.15 inch and dried in the shade and stored in the plastic tins for further research work.

Extraction of pigment The dried orange colour stalk of parijataka flowers were crushed by hand and made into powder. 50 gm powder was added to the 500 ml of water and allowed to boil slowly for about 20 minutes as per the standardized time scale.

The extracted pigment was strained, and the volume of extract was reduced in the concentrated form of about 150 ml; the concentrated extract was allowed to cool at room temperature and used for the preparation of printing paste with guar gum.

Mordant Metallic salt was selected, such as alum, aluminum ferrous sulfate, copper sulphate, and ferrous sulfate. Post mordanting method was used for dye fixation and the development of different colour shades.

Printing table Printing bed was prepared, several layers of blankets were carefully laid on the table and covered with a sheet of waterproof fabric. The cloth ten x ten inches was spread out on the table and fixed tightly by head pinning. Care to be taken that no movement of the cloth occurs during the printing operation.

Selection of wooden block A flat, smooth surface square shape wooden block of size 3x3x3 inches and

also for uniform application of dye paste on fabric. . Preparation of printing paste pad The printing paste pad was prepared by using soft old cotton fabric was folded four times and placed in an open mouth bowl of plastic, and dye paste was poured on the fabric, and dye paste was allowed to be absorbed entirely by the fabric. The wooden block was pressed on the printing paste pad and paste was stamped on the surface of the fabric.

Standardization concentration guar gum for sharp printing

of

Selected thickening agent guar gum powder was taken in different concentrations as 4 gm, 6 gm, 8 gm, 10 gm, 12 gm, 14 gm in separate beakers. A constant amount of 20 ml concentrated extract of parijataka flower pigment was added in each beaker for preparation of printing paste and stirred carefully for avoiding lumps formation and kept for setting. Block printing carried with each concentration of guar gum printing paste and dried samples in place.

Evaluation of printed sample for sharp print outline and a suitable concentration of guar gum thickener that developed sharp outline after printing was noted.

Printing process and drying of samples With standardization concentration of guar gum of 8 gm and pigment extract of parijataka, 20 ml mixed and printing paste was made. Block printing was carried out on selected fabric and allowed to dry on printing table on selected time scale such as 30, 45, 60, 75, 90, and 105 minutes and samples washed to remove gum layer. The correct time scale for transfer of pigment from thickener phase to fabric phase was found out through measurement of color strength using Tinctometer color strength rating was noted.

Steaming of block printing samples The role of steam is to achieve higher color yield and a higher degree of colour fastness. Steaming ensures an adequate amount of penetration of pigment molecules in the fiber of the fabric. For increasing colour fastness of

PEE R R E V IE W PAPE R block printed samples was carried out by the normal steaming process. A metal strainer was placed over an aluminum vessel in which boiling water was boiling, and dried printed sample was placed on a strainer, and steam vapours passed through the printed sample. The steaming process was carried out in about 5 to 12 minutes, as per W. Clark (1987).

After steaming, the printed sample was washed to remove the printing paste layer and surplus unfixed dyestuff and dried in the shade.

Evaluation of steam sample Washed block printed samples were evaluated for colour strength, and the developed color on fabric was identified by matching the obtained shade with the shade card.

Dye fixation using mordants Steam-treated block printed samples were mordanted using the post-mordanting method. The standardized concentration of selected mordants were alum (6gm), AlFeSO4 (8gm), FeSO4 (8 gm), and CuSO4 (6 gm). Mordants were dissolved in the warm water, and printed samples were soaked in the acidic solution for the dye fixation by a standardized mordanting time scale of 20 minutes. Moreover, the change in colour shade due to metallic salt treatment was identified by a colour match with shade card, and colour strength was measured using colour measuring instrument Tinctometer, and the colour rating was noted.

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ed as 30Y10R. ‘Y’ is indicated as yellow colour & ‘R’ indicated red pigment present in the extract. Yellow pigment (30) was more as compared to red (10). Results revealed that 20 minutes was found to be sufficient for the extraction of pigment.

Table.1. Standardized conditions for block printing

No.

Standardized printing conditions

1

Time for extraction of pigment

20 minutes

2

Standardized quantity of guar gum

8 gm

S.

3

Standardized quantity of extracted pigment

Colour strength 30y10R

20 ml

4

Standardized time for mordanting

20 minutes

5

Standardized time for steaming

10 minutes

Table. 2. Optimization of different concentrations of guar gum for block printing S. No.

The concentration of guar gum /20ml of extract

An evaluation printed samples for sharp/spreading colour

Uniformity of colour

Handle ric

fab-

Soft /stiff

1

4 gm

Colour spreading

Not uniform

Soft handle

Mordanted and without mordanted samples were evaluated visually for uniformity of colour, sharpness of outlines & overall appearance. Assessment of handle was carried out by sensory evaluation by touch and crumpled sample in hand for the feel. Furthermore, an assessment scoring was given as per the grading and rating such as excellent (5), very good (4), good (3), fair (2), and poor (1) with the panel of 30 judges comprised of textile experts and research scholars.

2

6 gm

Colour spreading

Not uniform

Soft handle

3

8 gm

Sharp printing

Uniform

Soft handle

4

10 gm

Sharp printing

Uniform

Stiff handle

5

12 gm

Colour paste not transferred from block

Not uniform

Stiff and harsh

Testing of colour fastness properties of block printed samples

6

14 gm

Colour paste not transferred from block

Not uniform

Stiff and harsh

Evaluation of sample for handle and sharp print

Mordanted and without mordanted samples were tested for colour fastness properties such as washing, rubbing and friction using Crokometer, hot pressing (hot iron), sunlight fastness and perspiration. Fastness rating was measured as per AATCC (American Association of Textile Chemist and Colourists). Colour fastness rating was express by numerical number as 5 to 1 and grading as excellent to poor, respectively.

Results and Discussion Extraction of pigment from the orange stalk of parijataka flowers The orange stalk of parijataka flowers contains orange pigment. It was found that pigment is easily dissolved in water; the colour of the extract is visible dark orange and in the combination of yellow and red pigment. Colour yield showed by colour strength rating as per the Tinctometer was record-

Table. 2. illustrates the utilization of different concentrations of guar gum with the pigment of parijataka and block printing carried out on the cotton fabric. It was observed that 8 gm concentration and consistency of guar gum printing paste produced very softly smoothly stamped and transferred of printing paste on the surface of the fabric. The result showed that the printing paste was uniformly spread and sharp outlines of a block were visible, overall appearance was good, and no spreading of printing paste was noted before drying samples. As the concentration of guar gum increases from 10 gm to 14 gms, it was found that colour paste was not appropriately transferred from block to fabric and miss printing was observed because of thick printing paste. At the lower concentration of guar gum, 4gm and 6gm printing paste used for printing, spreading of colour from the block margin was noticed because the consistency of printing paste was thin and liquid. Hence, the Table showed that an 8 gm concentra-

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tion of guar gum was suitable for block printing on cotton fabric.

Table 3. Time required for the absorption of pigment in the fiber of the fabric S. No.

Concentration of 8 gm guar gum/20ml of extract

The time needed for drying the printed sample

Tinctometrically colour strength rating

Colour shade obtained & identify matching with the shade card

1

8 gm

30

10Y5R

light yellow

2

8 gm

45

12Y5R

light yellow

3

8 gm

60

13Y5R

dark yellow

4

8 gm

90

15Y8R

orange

5

8 gm

105

15Y8R

6

8 gm

120

15Y8R

(10gm)

1

Without mordanted

2

2

2

2

2

orange

2

Alum

4

4

4

4

4

orange

3

AlFeSO4

5

5

5

5

5

4

FeSO4

5

5

5

5

5

5

CuSO4

1

1

1

1

1

Colour shade identify matching with the shade card

Colour shade obtained & identify matching with the shade card

15Y5R

Orange

light yellow

Alum

20Y8R

Dark orange

light yellow

3

AlFeSO4

15Y8R2B

Dry leaf brown

dark yellow

4

FeSO4

25Y15R5B

Brown

orange

CuSO4

10Y8B

green

orange

Y- yellow, R-red, and B- blue It was observed from Table .4 that the colour strength rating was increased from 15Y5R to 20Y8R when alum used for dye fixation colour shade was also noticed as dark orange.

AlFeSO4 mordant was found to be effective and changed the dark orange colour into dry leaf brown colour with colour strength rating 15Y8R2B and FeSO4 mordant used fixation of pigment parijataka flowers record higher colour strength rating as 25Y15R5B and obtained brown colour. When cop-

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Perspira-

Without mordanted

2

5

Hot pressing

1

Tinctometrically colour strength rating

Light peseta-

Colour fastness rating

No.

Sunlight

Table 4. Dye fixation using of parijataka pigment using selected mordants

No.

S.

Washing

Table.3. showed that time is required for the absorption of pigment in the fiber of the fabric. Block printing was done on six samples with an optimized guar gum 8 gm and parijataka pigment 20ml. The samples get washed after 30, 45 and 60 minutes, and colour of the samples is evaluated visually.

Changes were noticed in the colour shade from light yellow to dark yellow with colour strength ratings as 10Y5R, 12Y5R, and 13Y5Rrespectively. As the drying time was increased up to 90 minutes, a higher colour strength rating 15Y8R was recorded, and orange colour was observed. Further, it was observed that the colour strength rating was constant when drying at 105 to 120 minutes.

Mordants

Table. 5 Testing of colour fastness properties of cotton fabric block printed with parijataka pigment

Mordants/

Y- yellow, R-red

S.

per sulphate used for mordanting (dye fixation) developed light peseta green colour with colour strength rating was noticed as 10Y8B. It can be concluded that all the selected mordants were suitable for the development of various color shades.

tion

Rubbing

Excellent-5, Very good-4, Good-3, Fair-2, Poor-1 It was observed from Table. 5. that colour fastness properties of parijataka pigment block printed sample of without mordanted samples exhibited fair colour fastness with fastness rating 2. It was observed that alum, aluminum ferrous sulphate, and FeSO4 mordanted sample colour fastness properties were found to be excellent to good with colour fastness ratings as 5 to 4, respectively. Copper sulphate mordant used for dye fixation developed light peseta green colour, and fastness properties were poor with colour fastness rating 1.

It was clear from the result that alum, AlFeSO4, and FeSO4 mordants (metallic salts) were effective in making the color permanent of parijataka pigment and for the development of different colour shades.

Conclusion It can be concluded from the study that guar gum is the cheapest thickener and has high viscosity. A lower concentration of guar gum thickener was good for transferring dye particles from gum phase to fabric phase and on a higher concentration of guar gum showed miss printing. It is suitable for block printing because it does not react with natural pigment nor with cotton fabric. The pigment of parijataka is easily dissolved in water, non-toxic, has medicinal value, and pigment quickly penetrates the fabric’s fiber and develops an attractive orange color shade. All selected mordants alum, AlFSO4, and FeSO4 were effective for dye fixation and developed attractive color shades as dark orange, dry leaf brown, and brown. Parijataka flowers are the west material available free of cost and suitable for block printing on cotton with natural thickening agent guar gum.

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Legumes of guar

Guar gum

Seeds of guar

Mordants used

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Colour shade developed

Alum orange AlFeso4

Dry and fresh orange stalk of parijataka

dry leaf brown

Feso4 brown Cuso4 light peseta green Flowers of Parijataka References: •

•

•

•

Irfana Siddiqui et al. (2002) Standardization of Mordants Concentration on Cotton and Silk Fabrics Dyed with Selected Flower Pigments, Journal Dairying Food &Home Science Sadar Karnal Haryana 21(1) 1:7.

Irfana Siddiqui et al. (2003) Extraction of Pigments from Parijataka Palas & Cosmos Flowers And Its Utilization In Dyeing Silk & Cotton Fabrics. Journal Dairying Food & Home Science Sadar Karnal Haryana 52:58.

Irfana Siddiqui (2006) Dyeing of silk fabric with cotton flowers (Gossypium Hirsutum), Indian silk, 45(4): 17-18 Banglore.

Irfana Siddiqui (2007) Physical properties of cotton & silk fabric dyed with the pigment of flowers

of parijataka (Nyctanthes arbora), Man-Made Textiles in India, Mumbai, XIIX (7), 45(4): 274 -278.

•

Irfana Siddiqui (2007) Cosmos -Natural Dyes for silk fabric, Indian silk, Mumbai,45(12): 20-23 Pant (1999) Natural Dyeing of wool, Indian Textile Journal 109(7), 50-53

•

Desai (1992) Ecological and Toxical properties of dyestuffs, Colourage 39,12: 51-54 Susan Paul, Ms. Ekta Grover & Ms. Anshu Sharma (2003), Application of natural dye Berberis Vulgaris on wool and its colour fastness, Man-Made Textile of India Vol. XLVI No.8, 311-316.

•

W. Clark (2004) An Introduction to Textile Printing, A practical manual for use in Laboratories College & School of Art, Wood Head Publishing Limited, Cambridge England.

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Kale, D. G. (1976): Principles of Cotton Printing, 2nd Ed, Mahajan Brother Publication. Ahmadabad.

128-139.

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Narkar R K (1991): Perspective in Printing with Reactive Dyes, Colourage, Supplement of September Issue. 38, 2: 39-42.

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Shenai V A (1999): Technology of Printing, 4th Ed, Mumbai Sevek Publication, 64-75

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Sonja S I, Ostar T and Schneider R (2000): Printing Properties of a High Substituted Guar Gum and its Mixture with Alginate Ecology and Colour Science,5. Indian Journal of Fiber and Textile Research, Vol. 36(2): 132–146.

•

ISI Hand Book of Textile Testing, (1982) Indian Standards Institution, New Delhi, 538- 539, 571- 572.

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importance of textile and

apparel design in value chain

Mr. Amrish Shahi Chief of Styling & Design YellowBacks.com Value chain in the Textile and Apparel Industry is typically defined as a series of functions like - Design, product development, production, marketing, and Sales. At every stage, some value is added to the product and hence the name Value chain. Design is the most important function of the value chain as here it all starts. Final products will have an edge over the competition if the products are designed uniquely.

The Textile and Apparel Industry value chain is quite different from all other industries as it involves not only process but also human emotions. It’s a beautiful combination of both art and science. Here the buyers drive the value chain by their choices.

Liva Courtesy Liva deeDesign sign studio ,Studio, courtesy Birla Cellulose Birla Cellulose

the target market, consumer pro-file, and cost targets. Industry’s first step to creating a valuable product lies in how you de-sign it on the drawing board. We can see the whole design process is working very well at Birla Cellulose Liva design studio.

PROCESS OF ADDING VALUE The textile and Apparel Industry caters to enhance the lifestyle of consumers and the process of value addition began at the Design stage itself. The creative process remains similar to both Textiles and apparel and they work in tandem to create a product or collection.

Textile designers work with fibres, yarns, prints, and patterns to create textiles. While Apparel designers work with looks, fits, and silhouettes.

There are many ways textile designers can add value to the product like blending different fibres to make yarns unique, Melange, Space-Dyed, Injected Slub, etc all of these are

good examples of value addition that makes the end product unique.

Mood d board AW21 COLLECTION N , Courtesy Mudsketch Conccepts Studio

Mood board AW21 COLLECTION, Courtesy Mudsketch Concepts Studio

Design process consists of 5 major steps -

Apparel designers take these value-added designs forward and use them to create apparel.

There is some common process like Mood and Colour board as shown below, Apparel de-signers add value with the help of details, trims, fits and looks.

For effective value addition, designers need to be aware of

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Methodology designers follows is starts with -

C O V E R ST O R Y Re-skill designers and stimulate circular design innovation; last decade cannot be the pace that we have in the coming dec-ade. We have to speed up changing the system [in terms of sustainability]so that people can continue-to express themselves through fashion and design

Helena Helmersson Chief Executive, H&M Group Trend forecast - Trend and material forecast is needed as the timeline from start to the end is sometimes 2 years. With the help of Trend Forecasting, we can predict the future and take a calculated risk Material boards - Selection of the right materials for designing a product is crucial to get the impact in the value chain. Selection of material and value add is done keeping in mind the end consumer needs. These value additions can give an aesthetic, tactile or functional benefit, contributing to the value chain.

Mood and Colour Board - It is a designer’s tool to get inspiration and helps to tell a story. Colours are the most important value addition which gets extracted from the mood board. It’s also crucial that designers are aware of the kind of colours they are using, colouring materials can be very harmful to the environment if not controlled properly.

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whole value chain, design also had to evolve to keep up the “NEW NORM”. Textiles and Apparel value chains are one of the most affected by the shocks and the current events created some major challenges which are shaping the future for the industry.

Travel restrictions and market closure accelerated the shift to digital solutions like digital swatches startup Indikon is helping the industry to make swatches more realistic online, KG Fabrics has provided all of the fabrics as the digital showroom and 3D design software startup like 3D CLO, Brozwear and Optitex are helping design and the whole value chain to go online. Other start-ups like virtual fitting 3D look and texel are helping to reduce processes where physical presence is needed.

These design innovations are not only disrupting the design process in the value chain but also redefining the sustainable aspect.

In the current situation, consumers are looking for value for the money. As the new way of working is consolidating, we need a different kind of design and functionality. A hybrid

Mood board also provides the initial concept for the communication design helping the sales component of the value chain.

Fabric board - Patterns and prints add a lot of seasonal trends to the collection and add value to the product.

Sampling - Designers normally work on making a sample to see how the final product going to look. It also needed to take feedback and do a user trial before the bulk.

Quality and design are the two parameters that define the value of the products at the end of the value chain.

CONCERNS IN VALUE CHAIN Designers need to deal with the concerns of value addition, especially around ethical issues in the design and development of a product.

The textile and Apparel industry is infamous for many unethical practices, unfair wages, ine-quality, waste management, child labour, etc. But each step of designvalue addition there is an effect on the environment which designers need to deal with, especially the use of materi-als, the chemical used in dyes, and processes.

Consumers are not only demanding good looking products and functionality, but also need sustainable materials.

Designers can drive sustainable design practices by selecting the appropriate materials, dyes, and chemicals for their value addition.

There is another concern which designers also need to address from the beginning of the de-sign process is, how to build circularity in the product.

Initiatives like Jeans redesign and even mass fashion retailers like H&M are making sure the whole value chain is sustainable.

FUTURE OF DESIGN IN VALUE CHAIN New challenges we faced during the pandemic have disrupted the

life-style needs a different types of features and hence the whole value chain is being redefined. Trends like 2-mile wear and athleisure are redefining the design process and whole value chain.

Designers are keeping in mind the online future of shopping, and making adjustments in value addition for screens of mobile and laptops. Technology is helping to bring innovative solu-tions into the value chain, like on-demand supply and co-creation with consumers. Organisa-tions like US retailer Target’s Design For All is adding design co-creation in the value chain to make sure that the products are designed keeping the end-user in mind. This way they are not only making their consumer base broader but also are mitigating the risk.

Apparel styling Startups like YellowBacks are using Artificial Intelligence and Machine Learning to create a design modal in which fashion influencers are working with designers to create a more accurate trend forecast. This when used effectively can pinpoint trends and re-duce wastage.

Design as function is known for its adaptability in the whole value chain. With the new tools of technology designers are ready to provide the solutions which were not possible earlier. We can be confident that the Industry is going towards much greener and well planned future.

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WEAVING TOGETHER DECADES OF EXPERTISE Dr. kavita patil Head Of The Department, Textile Science And Apparel Design And Vice Principal , SMRK.BK.AK Mahila Mahavidyalay, Nashik The teaching profession is one of the most noble professions. Teaching is a method of facilitating learning. It is the specialized application of information, abilities, and characteristics aimed to deliver one-of-a-kind service to fulfil the educational needs of the person and society.

Dr. Kavita Patil is one such dynamic personality who is not only a published author and textile specialist but has also been educating many lives with her knowledge for decades. She is endowed with a wealth of knowledge and skill in the field of textiles.

Share your journey of Educational and Professional life. What difference do you see in the Textile Industry then and now?

I began with a scientific background, unsure of what my future held for me.

I eventually ended up in the field of Home Science, with a specialization on Textiles and Clothing. Despite my interest in computer science, I moved to Mumbai and opted to pursue my M.Phil in Home Science at the SVT College of Home Science, which is affiliated to SNDT Women’s University and is directed by Dr. Padhye. Dr. Padhye later encouraged me to continue my textile study and get a Ph.D. in the field.

When I was initially exposed to Home Science, I knew I wanted to work in the textile business and eventually pursue a career in fashion design, but fate had different ideas for me. I was subsequently contacted by the Gokhale Education Society, who asked me to join their team as a Lecturer in their Textiles & Clothing Department at SMRKBK-AK Mahila Mahavidyalaya in Na

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shik. Somehow, I found my passion in teaching and shaping the careers of the thousands of students I have had the absolute pleasure of guiding. While my journey as a teacher continued, I was introduced to the Paithani Sari on Educational visits with my students.

Paithani Sari is a traditional Maharashtrian attire and is found in the heart of Yeola, a small town in Maharashtra. They say that a Woman’s first love must be 6 yards of Elegance which is also known as a Sari. And there it was, I fell in love with the Paithani Sari immediately and started having interactions with the weavers in Yeola, understanding the process and methods of creating this beautiful piece of cloth.

Eventually, this paved my way to conducting research work on the Paithani Sari in Yeola and I finally received my Doctorate Degree in 2006.

Up to 1990, the consumers were more likely to wear clothes that are manufactured from comfortable as well as affordable textiles. But today the scenario has changed completely, the technology is advancing at astonishing speed changing the face of textile and fashion in the 21st century. Advancements in

communication technology and internet facilities have revolutionized the industry, allowing customers to buy the clothing of their choice from around the world with a click of a mouse sitting comfortably at home. It has promoted a rapid response cycle from textile and fashion designers, who can design and produce in a short span of time. Textiles and Fashion are increasingly becoming influenced by digital technologies, which have increased efficiency of production compared to traditional techniques.

Being a designer, you have an immense number of career opportunities to explore, why did you choose teaching as your profession?

Though I always wanted to make it big in the Textile Industry and eventually get into Fashion Designing, I was at the same time ready to grab any opportunity that knocked my way. Back in the day, I was the youngest daughter of the family, so far away from home in Mumbai and when I received an offer from the Gokhale Education Society as a Lecturer, my family wanted me to go for it. In those times being a teacher was considered as a White Collar job, not that any other job isn’t but it’s just how our thought processes are shaped.

With a minimal experience of what life had in store for me, I went ahead and grabbed that opportunity. Today if you ask me, I think I wouldn’t have wanted it any other way. Teaching is now my passion, and I am grateful that I got this opportunity back when I graduated from college.

Was it tough for you to choose this less explored career path in the time

C O V E R ST O R Y when Indian women were expected to peruse up to mark education and take care of a family? Who was your biggest support system?

I think back when I started fresh almost every career path was less explored for Indian Women. We belong to a society where women are by default expected to pursue only up to mark education and then take care of the family. But 1 amongst every 10 mothers of India does not feel that way. And fortunately, my mother has been my strongest pillar in pursuing my dreams. And though I have spent most of my life teaching, I believe I have a long way ahead of me and I would want to get into the Textile industry and Fashion Designing. It’s never too late!

People learn a lot of things from their teachers, but as a teacher, what things have you learned throughout your career?

As you must have heard, “A Teacher is always a student”. Being a teacher, you must keep yourself updated with every little change that is happening in the world every day. It’s a learning process for a teacher too. My career in teaching not only gave me the satisfaction of shaping my student’s lives but also gave me immense knowledge of the field, confidence, positivity, sincerity and so much more. It encouraged me to do my research work, learn about new methods and technologies, explore different ideas, and creatively implement them in my teaching. One of the best feelings in the world is giving and I have had a first-hand experience in that through teaching. I will always be grateful to the almighty for giving me this career opportunity, it has not only given me immense satisfaction but has also kept me young at heart and enthusiastic like all my students.

Your work in Paithani is not only inspiring but also making the Paithani sector proud for such big acknowledgments. Share your journey about getting your work published, what inspired you and what difficulties did

you face?

I started my research work at Yeola (Paithani Manufacturing Center) Dist: Nashik, which was an epic journey for about six years. Initially, I had to work very hard for overcoming difficulties in dyeing, designing, and weaving, faced by the Paithani weavers and dyers at Yeola. Though Paithani weaving is their ancestorial business, they were not capable of making any small change in Paithani design or structure.

Monotony was a serious drawback at that time. I realized this during a survey of the weavers that I conducted at and around Yeola. Picking this thread, I decided to direct my work with an aim to weave a Paithani with innovative designs and modifications.

In the beginning phase of my work in Yeola, I would be teary-eyed, working with artisans, who had faith in their monotony, and they showed no faith in me and the work that I was hoping to carry out. I did not stop here and continued working hard, with courage in my heart I was determined to win the trust of all the weavers. I kept observing their work and conducting workshops making the weavers understand my motive. Slowly but steadily, I managed to win their trust in my work and then there was no looking back. As a team, we worked hard to make their lives better and to give the recognition that Paithani sari always deserved. I was successful in completing my Ph.D. after 6 years of immense hard work and dedication.

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Getting acquainted with Jacquard and Dobby designing in Paithani set up, was a big challenge for me. With a lot of hustles, I acquired training in silk designing and dyeing at a weaver’s service center and continued my journey confidently. My entire work is dedicated to all the weavers and dyers of Yeola.

I am ecstatic that my research work is percolated in the community of artisans and not stalked only in the racks of the library.

What future do you think Paithani has? Do you foresee prosperity and preservance, or do you think it will diminish with time? What steps should the industry take to preserve its traditional heritage?

Paithani, a gold embroidered gorgeous fabric, is a treasure & rich heritage of traditional textiles of India. The Peshawa had a special love for Paithani textiles. No Maharashtrian wedding trousseau was complete with the Paithani Sari & Shela or Stole, the best, the family could afford. These saris became treasured heirlooms that could be preserved & worn by three generations of women. This tradition is continued to date so no question of diminishing the textile.

In the past, a design on saris used to run in the market for more than 5 years, but nowadays a customer’s demand for a variety of designs, make it mandatory to produce new designs. In designing, day-to-day competition is

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on increase & the weaver’s will have to struggle every time to create a new variety of saris with heart-touching designs to withstand in the market. I have done the work to some extent.

The fear is, at the stage of contemporizing, diversification of these traditional textiles, where the originality of traditional textiles is vanishing. Handloom Industry should focus on the revival of traditional weaving techniques & traditional designs which will help in preserving indigenous traditional heritage.

Do you think Western Clothing is harming traditional Indian Textile heritage?

What is your opinion about the major shift of textile & Fashion designers towards western clothing & styling?

I think traditional Indian Textile heritage is a valuable addition to western clothing. Upcycling of these traditional textiles is a new boom in this fashion era. Not only are western clothing styles extremely romantic, but they are also a staple in today’s fashion world. From the time of cowboy, western clothing has made an impression on the fashion industry, both for Men & Women. Western Clothing is in such high demand that they have Western stores dedicated to making this style

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available to everyone.

Youngsters today argue that we must learn to go with the flow & therefore taking up new trends is a better option.

A handful of people still believe that our traditional clothes represent our culture & identity & to let go of them will be like discarding our own culture.

However, I feel Western trends offer freedom of expression. One can add his or her own tastes & ideas to them & they are quite classy, stylish & attractive. I personally believe that designers should keep a balance in all things & hence, it is inappropriate for one to completely set aside their traditional clothes & become a follower of Western trend, or vice versa.

What advice do you have for budding textile designers?

Textile designing is not everybody’s cup of tea, it’s meant for a creative streak in themselves. A textile designer must have a lot of patience & should be punctual. A designer should be cautious about the needs of his prospective clients. A successful designer needs to know all the techniques related to textile designing as well as he or she needs to be updated with the current trends.

The designer should be able to think out of the box but at the same time, his/

her designs should have a practical element. It is a need of an hour to revive traditional indigenous fabrics of India & Contemporizing of any traditional textile should be maintaining the essence of the original one.

What is your international footprint?

The journey of Paithani from India to various countries like Switzerland, Australia, and Dubai was splendid!

Paithani innovative motifs developed during my research work were selected for display in “Textile Exhibit” of “World Congress” is a precious footprint for me.

Giving an identity to our traditional treasure worldwide has given me more satisfaction than receiving a patent for my work.

Lastly, I would like to say it has been commonly observed that traditional silk saris & garments find a superior place in an Indian Women’s wardrobe, because of its dignity, glamour & splendor so treasure this rich heritage of India.

Thank your editorial board for giving me an opportunity to share my views on Designing which is the heart of textiles.

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CREATING INNOVATIVE PRODUCTS FROM TRADITIONAL BAGRU TO ENCOURAGE ITS USE IN MODERN ERA MS. KSHIPRA GADEY

Guide: Dr. Anshu Sharma

MS. Sayali Gaikwad

PG Department of Textile Science and Apparel Design SNDT Women’s University, Juhu, Mumbai Abstract The reduction in demand for these textiles has also resulted in a decrease in jobs, earnings, and prospects for these artisans. As global fashion impacts Indian clothing culture, we may now use traditional fabrics to create trendy outfits and accessories.

This study investigates numerous fashion accessories made of traditional Bagru that may be styled with western clothes.

Even though Bagru technique faces challenges due to the threat of globalization, this unusual art of creation must be supported in the current context of fast fashion. Bagru printing is one of the ancient natural color printing methods practiced by the chippas of a distant region of Rajasthan. The procedure begins with the preparation of the material and ends with completed printed fabrics using indigenous methods. Motifs with a specialty are transferred onto a light-colored background using wooden blocks in two styles – direct and resist.

Keywords: Chippa

Bagru

printing,

Dabu,

Introduction India has always been a forerunner in terms of ancient traditions and crafts. We still have some of our cherished possessions thanks to the efforts of various groups and areas in India. One of them is Bagru prints, a hand block printing method that uses traditional vegetable dyes to print and color clothing. Blue, for example, is created from indigo, whereas greens are made from indigo mixed with pomegranate, red from madder root and yellow from turmeric.

What is Bagru

Bagru, a beautiful kind of block printing that originated in Rajasthan, reflects the beauty of handcrafted Indian textiles combined with modern design.

Bagru, one of India’s oldest block printing methods, originated in a small town near Jaipur called Bagru, a centuriesold hub for hand block printed textiles.

Bagru block printing is a traditional Rajasthani craft that has been done for centuries. The technique is over a

century old, and it was developed by families and passed down through generations. The craft boasts master craftsmen who have been dedicated to it for a long time, and it is a tediously long process that involves creating wash-resistant prints.

There is no written history of this printing method, although it is believed that it began approximately 450 years ago in Bagru, a tiny town near Jaipur, Rajasthan, which is famed for its exquisite workmanship. This town is home to the CHHIPAS community, a group of traditional craftspeople who print and create textiles by hand. They are wellknown for their one-of-a-kind designs of lush trellis in sophisticated colours.

Bagru printing is a handcrafted method that produces some of the most exquisite bed coverings, kurtis, ghagras, and other fabrics. They continuously block impression prints. The major beauty of this work is the slightly varied positioning of the same block.

History of Bagru The Sanganeri printing art form was brought to Bagru by a group of Chhipas 450 years ago. Even now, their community works together in Chhippa, a town along the Sanjaria River. The quantity of water in the overflowing ‘Sanja’ riv-

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er and its clean, sunlit riverbed aided their settlement. Even though the river has dried up, these artisans continue to thrive in Bagru, employing the same techniques as before.

This is due to the loyal patronage of the locals. The name ‘Bagru’ refers to a group of craftsmen who deal with clay from the banks of the Tungurah River. The clay is used to generate the foundation color of the well-known baguette patterns. They then stamp beautiful designs on the fabric using natural dyes in earthy colours.

The name ‘Bagru’ refers to a group of craftsmen who deal with clay from the banks of the Tungurah River. The clay is used to generate the foundation color of the well-known baguette patterns.

They then stamp beautiful designs on the fabric using natural dyes in earthy colours.

How is Bagru Made?

The procedure of making Bagru print is simple, and it appears to be like the practice and technique of printing with natural dyes or components, which includes the following steps: Preparation of unprocessed cloth, making dyes and natural colours, as well as developing

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complex dyeing processes for resist printing. The Chippa community in South Africa has launched a new effort to recycle or charge wasted water inside the earth. The “Harda” is a method of removing pollutants like as oil and dust from textiles by washing, drying, then drying them again. It takes two days to make a paste out of soda ash, sesame oil, and cow manure, and then wash the fabric with it.

Direct dye printing and resist printing are the two major forms of printing employed in Bagru. The blocks are soaked in refined oil or mustard oil overnight and then cleaned in both methods. For this printing, wooden tables are commonly utilized, with the size of the cloth varying depending on the length of the to be printed.

• Direct dye printing The dye solutions are put into the tray in the first phase, and the printer pushes the block into the dye tray. For the backdrop, the outline pattern is done in blocks, with accents in various hues.

The cloth is ready for the dye vat once each of the designs has been completed.

Male printers are mostly responsible for this type of printing.

• Resist printing The “DABU” printing process is a sort of resist style that is most recognized for its intricate pattern. They start with a specially made “Dabu” paste, then add a thick black mud paste to the cloth before dying it. To make a unique Dabu paste, each family has its own method.

Dabu preparation Dabu is produced from a mixture of lime mixed in water, natural gum ‘Bedhan’ or worm-infested wheat flour, and black clay. All of this is mixed into a thick paste and set aside overnight.

After that, it’s squeezed into a liquid paste for printing. The tablecloth is spread out and blocks are chosen to print patterns on it.

Depending on the sort of dye required, there are three varieties of Dabu: kaligar, gawar, and dolidar. Kaligars contain a bit more gum, which gives them superior adhesive strength and allows them to make two journeys to the dye vats. Oil and gawar seed powder are added to the paste in Gawarbali Dabs, giving it the power to withstand repeated dyeing. Dolidar Dabs are oil-free and gawar-free, allowing them to be used for extended periods of time.

Vegetable colours used in Bagru printing Red, black, yellow, and blue are the colours used in Bagru printing. Dried pomegranate rinds, turmeric, and dried flowers from Dhabaria plants are used to make yellow. The color black comes

from fermented Harda seeds, blue comes from the indigo plant, and the color red comes from the Aahl tree’s Madder.

Indigo is a difficult dye to work with since it is water insoluble. Natural indigo is cooked in Pawar seeds and left overnight to make it soluble. The next day, this solution, together with lime, is dissolved in 15-foot-deep vats and left undisturbed for a day. After then, the dyeing process begins. More dipping in the water results in a darker blue color, and a cloth may be dipped a maximum of six times.

Creating Fashion Accessories from Bagru Bagru is traditionally used for making kurtis. Sarees, dupattas, dress materials, bed covers, and pillow covers. Due to the influence of western culture and fast fashion people are slowly moving towards the synthetics and digital prints. This current trend in the textile industry not only affects the demand and supply of natural materials, but it also has a negative impact on the traditional craftsmen of India, who not only follow this job as a profession, but also pass it down through generations.

Western influence has posed a danger not just to traditional textiles and crafts, but also to the ecology since we are increasing the synthetic textile and chemical waste.

Bagru was used to make fashion accessories that may be worn with Indian or Indo-Western clothing to complete the look. These products were created with the intention of encouraging the usage of such textiles in fashion, if not as an entire outfit, then as a fashion accessory.

were aware if these products could be made from such Indian fabrics.

Women surveyed were between 20 to 50 years of age, majority of them were between 21-25 years. They were from various professional backgrounds. Only 71.2% people knew what Bagru is. A whooping number of 76.9% women said that they would prefer using accessories made from fabric instead of the metal or plastic accessories. 15.4% women were unsure if they would prefer these accessories or not and 7.7% said that they would not prefer fabric accessories over metal or plastic accessories. 59.6% women were unsure if synthetic textiles negatively impacted the environment and 23.1% agreed that synthetic textiles negatively impacted the environment. 76.9% agreed that increasing trend of synthetic textiles is affecting the traditional Indian artisans.

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design and earthen colors.

2. Earrings: Fabric earrings are a good alternative to metal earrings. Bagru earrings can be easily paired with India, western and indo-western attires.

3. Hairbands: Hairbands generate a lot of plastic and metal waste. Fabric hairbands, especially knotted ones are gaining a lot of popularity since last couple of years. Bagru hairbands were made to suit all kinds of outfits.

Following products were developed with Bagru: 1. Neckpieces: Neckpieces are an important accessory for an Indian woman.

These are manufactured in tons with a lot of mental and plastic that not only harm the environment but also cause skin issues. Fabric neckpieces are a very good option as an accessory that

If these products are commercialized, they will not only encourage sustainable, natural and eco-friendly fashion, but would also provide and employment to our artisans.

A study was conducted to understand what women of various fields thought about using such products and how many of them

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can be easily paired with all kinds of fabrics and look trendy too. Bagru fabric enhances this look with its intricate

4. Sling Bags: Bag industry utilizes a lot of leather, synthetic textile materials, metals and rexin every year. This not only affects the environment but is also a major reason for animal slaughtering on large scale. Fabric bags are an eco-friendly option that can be made in classy varieties.

5. Waistbelts: Waistbelts are often made with metal and leather to enhance the look of a dress or wearer’s figure. Bagru prints and earthen colors not only enhance the look of a plain

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dress but also are a great option for all kinds of outfits.

6. Pad Holders: Carrying a sanitary napkin is always an embarrassing task for women, this is the reason why most of them prefer to hide it in a plastic bag or a news paper or any other covering.

Pad holders serve this purpose in a very innovative way. They can be used regularly and they serve the purpose in a very sophisticated manner.

7. Ready to use Patches: Patches for denim jackets and pants have gained a huge popularity among youngsters.

The ready to wear patches made can be used easily by just ironing them over a garment or a bag that need an embellishment or a patch to hide any sort of damage. These patches are made in various shapes and sizes and can be used for any kind of clothing.

tional hair bands, hair scrunchies don’t detangle your hair while taking them out from your hairs.

Conclusion Craftsmen from all around the world are now embracing modern technologies to advance their profession. While modern equipment, methods, and synthetic dyes have supplanted ancient art forms, many Chippas have abandoned the craft of hand block printing. However, there are a few artists who devote their lives to the ancient and distinct skill of dyeing and printing. We must embrace and value this textile to save it from dwindling due to the influence of fast fashion and western clothing on Indian clothing culture.

Reference

8. Scrunchies: Hair scrunchies are the modern name for a hair tie. This accessory gathers all your hair strands and wraps them up and you look the most stylish diva of all times. Unlike tradi-

1. Raj S & Choudhuri P K, National Workshop and Seminar on “Vegetable dye and its application on textiles”, Silpa¬Sadana, Visva¬Bharati, December 2011, March 2007, pp 24-28.

2. Bora K, Are you an Indian traditional block prints lover? Here’s all you need to know, 2020. yehaindia.com

Innovative Design and Print Services is a platform to buy and sell Textile Designs – Prints, Weaves, Surface Pattern, Innovation & Customised Design, Graphic Designs. www.innovativedesigns.in

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innovative.designs.prints@gmail.com

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Designs brings Sales in our Business…

Mr. Shamik Valia Director of KISM TEXTILE PVT. LTD. with contemporary fabrics find their way to malls and other retail chains.

KISM has over 100 years of experience in the textile business, including fields such as yarn manufacture, weaving, embroidery, and processing. The promoters of KISM are textile engineers with MBAs. Weaving, Embroidery, Dyeing, and Printing are all done inhouse at KISM. Knowledge of Fiber to Garment goes a long way toward satisfying the clients.

Company journey Founded in 2010. KISM started its embroidery manufacturing operations in Bhiwandi. Starting as a job working unit, the KISM team transformed its business to finished fabrics sales under its KHYATI banner and with clients across India and exports to few Asian and African nations. KISM now has the capacity of 15L meters annually Importance of Design Important parameters for sales, it’s the perceived value and desire for the fabrics. Embroidery design and base fabrics play a very imp role in the sales of the fabrics. Embellishments either are of current trends running in the market or classics which tell stories and are relatable across all generations. Certain designs with timeless fabrics like silk and chandeliers have a customer base. Trendy N Chic designs

KISM works with garments teams right from its concept stage and assists for development till its garment form.

With our knowledge of yarn to garments, we are an indispensable part of our clients’ design team.

Embroider Fabrics market size in India and Global market.

The embroidery market in India is large with its usage across all categories of men, ladies, and kids. There is a place for embroidery in cultures across the world and there is festivity recall in all markets across the world.

At KISM we cater to ladies’ ethnic and men’s ethnic segments. For exports mostly its ladies’ items with embellishments on it.

Innovation Approach Embroidery is a segment in the fashion market and requires daily developments and investments into concepts and designs and fabric development.

Based on your positioning in the market, there is merit in investing in the design team. At KISM we have an independent design department, and we flow through the entire design cycle from its concept stage to sketching, color matching, fabric matching, and final product introduction Anti-Viral finishes importance At KISM we have developed Anti-Viral fabrics ourselves and are excited to use

them for our medical textiles segment.

However, its acceptance in normal fabrics is still a wait and watch.

Supply Chain understanding for buyers There is a push towards sustainable fabrics and acknowledging its supply chain. Whenever there is such a requirement, established supply partners are used to meet buyer requirements.

Our sales in developing markets still have to show requirements for the same.

Raw Material availability and Price Covid has broken down both the supply side and procurement side. So, there are availability and pricing issues currently which we all will need to resolve in the near time.

Technology upgradation plan The use of technology for improved efficiency and quality is the need of the hour. As and when we come across such products or technologies, we are open to embracing them.

Criteria for selection of Textile designer.

Ideating for fresh concepts and designs keeping in mind the customer segment we serve are the main attributes for a textile designer. Textile background and relevant experience are a bonus.

Kindly share your future expansion plan.

We wish to wait for the covid impact before we plan for fresh expansion.

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Vegan and Sustainable fabric is the way forward…

Mr. Shripat Jagirdar Founder of Weaving Vibes State Research and innovation approach in fabric design

Share company journey With the increasing Global warming and pollution caused each year by fabrics/apparels alone made us look into eco friendly alternatives. In early 2019 we started our journey with research on Sustainable fabrics. It took us time and efforts to understand the raw material supply chain, production and other aspects of sustainable fabric development.It took us a year, to November 2020 when we launched Weaving Vibes with a range of Sustainable fabrics for Apparels, Upholstery and Luggage industries. It was difficult as the pandemic affected our operations, but we managed to find ways out. We are currently exporting globally. Most of the international buyers require Certified GOTS hemp fabric, wherein the entire supply chain from fibre to garment is mentioned, there is complete transparency and traceability.

The main Focus at Weaving vibes is Innovation and development of creative plant based fabrics and other natural fabrics. We are innovating and experimenting with new fibres/yarns as well as intricate weaves and designs, clubbed with AZO free dyes and processes.

Vegan printing and Dyeing techniques usage

to growing more of Hemp crops which use only 1/3rd the amount of water than regular cotton crop, then we can make a difference. Like the way we are seeing an increase in Electric Vehicles, there is a demand and need for eco friendly fabrics/apparel as well. This ecofriendly wave is going to spread through every industry. The market size is huge, as big as the market for Non organic fabrics.

We have recently manufactured premium hemp fabric and done Flower and leaves Eco-dyeing and printing on the fabrics. We also offer natural dyeing facility and other printing options as well.We also offer Anti-Viral Finishes and Anti-Bacterial Finishes , Water Resistant finishes as well.

Raw Material Challenge The raw material prices are high and the reason for this is that the farming of the crop is not as much as a regular cotton crop. Acceptance has just started in India with regards to growing the Hemp Crop. The prices will only reduce when hemp production increases, currently the raw materials are not easily available to the grade we require at times.

Technology Upgradation Plan Sustainable Fabrics Market Size in entire fabric industry and Future of this segment The future of this segment according to me is Bright. Looking at the Global warming rate and the depletion of natural resources like Water , which is the main component in agriculture, I fell if we can make a conscious shift adapting

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We have currently updated our entire Management and B2C processes with the help of softwares. We are also taking orders through our website and social media pages. Other then that we are installing a printing setup for digital and eco prints.

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SUSTAINABLE FABRIC’S MARKET IS ON A GROWTH STAGE Mr. NITIN SHAH MD. Jakharia Fabric

Views of Mr. Nitin Shah, MD of Jakharia fabric.

We started our journey in processing industry in year 2005 with a small processing unit in Bhiwandi and since then we have started 4 units in fabric processing. Currently we are at 80 lakh meters per month and planning to expand to reach at 1 crore meters of fabric processing per month. We are a small player in Indian fabric industry . We have been more focused in Linen and printed fabrics .

Design and Printing importance Design is very important in every product . In fabric it is all the more important as its colour , texture and finally design that gives a wide scope of variation in fashion industry.

As of now we are in rotary printing which is the most preferred and versatile . We will be adding Digital printing very soon as it is the solution to fast

fashion and small quantities. Design is more about creativity than research in fabric design.

We are using HEIQ, Viroblock for all types of antiviral finishes as it is one of the best technologies.

Embroider Fabrics / Surface pattern Fabrics / Woven Fabrics / Printed Fabrics are evolved and almost all type of fabrics are in trend now, its how you play with designs that sets the trends and as market is growing there is space for all types of fabrics At Jakharia, we believe in circular fashion for a better world. We surpass all requirements for GOTS and OekoTex and are in the process of getting these certifications. We are a zero liquid discharge company. All waste water is recycled and reused. As of now we have not planned to use these as they are still at very initial stages of development.

get to be 100 % sustainable. In next 5 to10 years . This is the only way forward. Almost all major buyers are moving towards Sustainable fabrics and we are working towards it as well .We are a zero liquid discharge unit and are in the process of getting organic certification.

There has been complete disruption in the supply chain since the pandemic resulting in mismatch of demand and supply which has led to huge spike in all commodities price and availability but as things open up slowly the demand supply gap will be bridged resulting in correction and finally they will be available at the right prices .

We have been upgrading ourselves and we will have to keep doing it to sustain in the fast changing World . We are investing in software , technology and systems to cater to the need of our buyers.

We have a dedicated Team of designers, there is no standard formula for selection of designer, It depends on understanding And output that a designer can deliver Sustainable Fabrics Market Sustainable fabrics market is growing by the day as all brands have set a tar-

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REDOING MYSELF: REME We become accustomed to make things more pleasant for ourselves. Unfortunately, we don’t really care how this comfort is obtained. Purchasing clothing for a single season is convenient.

They claim that fashion is changing at a breakneck pace.

Eco-friendly fashion is not only good for the environment, but it is also good for the individuals who use it. Organic clothing is beneficial to both the environment and human health. “We are what we wear, eat, and surround ourselves with!” says Raghushree Poddar, founder of Reme, a chemical-free, sustainable, and vegan clothing brand. “It absolutely improves our body and mind if we eat pure, breathe pure, wear pure, and surround ourselves with positivity.,” she continued.

Reme was inspired by a creative impulse. Reme’s products have a modern, ethnic, bohemian, and oxidised appearance. Colors and vibrations are added to the traditional recipe by their craftsmen. “Indian women’s clothing has developed throughout the previous few decades. Women are increasingly wearing kaftans, dresses, kurtis, jumpsuits, and other items rather of traditional ghagras, sarees, churidars, and salwar kameez. We design clothes for women who work, party, and take care of their

we not thinking about environment.” she said.

She did a lot of research and development before coming up with Reme. Today, her label boasts sustainability and eco-friendliness along with its benefits to the health of the wearer. “We are a chemical free sustainable and vegan brand.” you will often hear her say this every time she introduces her brand.

They are making garments from organic handloom fabrics only especially linen. “Wearing organic clothes is always beneficial for our body. We are surrounded by a lot of toxicity of dyes, chemicals, and other effluents that are used in making a garment.” she said.

Reme is not only making clothing, but it also offers a range of exclusive home textiles and home furnishing that are made in eco-friendly and sustainable way. There are traditional khaats made with organic cotton and through the traditional method.

homes.” Ms. Raghushree explained.

Ms. Raghushree Poddar is a Jaipurbased designer, has developed a sustainable and eco-friendly quality that would make people desire those garments in quantity in our fast-paced world where people are continuously looking for quantity clothing over quality. She is the heart and soul of Reme.

REME LIFESTYLE is a youthful and dynamic company that strives to deliver high-quality goods. REME LIFESTYLE specializes in men’s, women’s, and children’s home goods and apparel.

REME LIFESTYLE strives for the best degree of “Customer Satisfaction” possible.

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This decade old label has already glorified ramp for FICCI flo Fashion Show showcasing handloom in 2019 and is also available on online shopping platforms like Myntra. The journey of accomplishing this milestone was not easy for Raghushree. “I had visited an esteemed store called ‘Mango’ during my visit to Spain. One thing that could prominently be noticed was inclination of western people towards sustainable and eco-friendly clothing and Indian textiles. I wondered, why are we not preserving what we have and why are

All the range of clothing and home textile are embellished with combination of hand embroidery, printing using natural dyes and pigments and dyeing in natural dye.

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legacy of natural dyeing and printing: Pracheen Millions of individuals in Mumbai’s hustling metropolis are attempting to realize their ambitions and achieve something exceptional only for the sake of gaining recognition from the rest of the world. Among those millions of people, today we will present that one in a million who is working for a cause rather than for mere applause.

It was just another day in Damar Galli on Mohammad Ali Road, one of Mumbai’s busiest roads. We made our way through the crowds and chaos to the city’s crown jewel. Nobody believes that these busy lanes are home to India’s textile legacy.

Mr. Sarfraz greeted us with a bright grin and directed us to the treasure that awaited us. There were massive tables with cloth draped over them, as well as the countless blocks stacked against the walls. His workshop is rarely this quiet. “We are unable to function as we used to because to the pandemic,” he explained.

On typical days, his artisans, who have been working with him for decades, would be occupying all of those large tables, producing the rhythmic sound of intricately carved wooden blocks making contact with the fabric stretched over the tables. They produce a flawless replication of the design on the cloth, which makes people question whether such textiles are truly handcrafted.

Pracheen is nothing new to those who treasure handcrafted textiles dyed with natural dyes. Pracheen is all about the original and ancient skill of hand

block printing, as the name indicates.

Sarfraz Khatri and his father Ahmed Khatri own and operate this hand block printing studio. For almost a century, they have been hand block printing using natural colours. They are one of the few remaining block printing families in Mumbai since most have relocated to the suburbs or rural regions where there is a greater supply. Mr. Sarfraz Khatri proudly informed us that he is the fifth generation of his family to work in this business.

We had several questions for Mr. Sarfraz, the most important of which was why he was working with natural dyes and fabrics while the world is exploring synthetic textiles and a range of synthetic colours that are simple to extract and need less time and money.

Pracheen’s tale dates to more than a century. “We are members of the Khatri community. Block printing has traditionally been done by Khatris. My forefathers used to undertake manual work. They used to acquire cloth and conduct block printing and acid dyeing for merchants based on their needs.” said Mr. Sarfraz. He also informed us that his family has been in the industry for generations.

Vegetable printing and dyeing have been practiced since the Indus Valley Civilization. When Indian craftsmen produced color perfect printed fabrics without the complexity of modern dye technologies. The basic ingredients for these colours were not chemicals, but rather plant and vegetable roots and blossoms. The colours derived from these natural resources were then fixed to natural fibres as cotton, silk, wool etc. Despite being time consuming and difficult, this technique yielded the greatest results. Since the last 4-5 centuries, India has been known for its printed textiles. This art and craft of

vegetable dyeing and printing has been carried on by many craftsmen over the centuries and is still practiced now.

These natural colours have managed to hold their own and survive in the face of today’s cheaper artificial dyes. Even though this ancient skill has suffered as a due to low-cost, modern-day synthetic printing methods on diverse textiles, it has managed to persist in India in a variety of locations. Much effort has been expended to ensure the survival of this craft and to commercialize it by emphasizing its eco-friendliness.

Initially, vegetable dyeing was only employed on cotton materials. Until recently, vegetable printing on silk was almost unheard of. Pracheen has successfully created a technique of printing on silk fabrics with natural vegetable dyes in a variety of appealing colours following years of study and experimenting and felt the need for something fresh.

They have established themselves and are attempting to raise awareness for this environmentally friendly technique to increase public knowledge and support for vegetable dyes and printing with natural materials. Despite the lengthy and arduous procedure, the fabric damage during the dyeing and printing process is minor when compared to chemical dyes.

Pracheen’s owners hail from a family of traditional dyers from the region of Kutch in Gujarat State, INDIA. For centuries, their family has been involved in textile dyeing and printing.

For printing on cotton textiles and other natural materials, they have always utilized natural vegetable-based dyes that are environmentally benign. Because the technique was so expensive, delicate fabrics such as silk could not be printed in the same way. Seeing this need, they created a technique for dying and printing silk fabrics with natural, eco-friendly vegetable dyes through in-house research and invention. The method is proprietary, and not everyone will be able to reproduce it. The results

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of this printing on expensive textiles such as silk have been enthusiastically received by individuals in India as well as its international purchasers from Europe, Japan, and other places. They have its own workshop in the heart of Mumbai (Bombay), India, which is equipped with the necessary block printing equipment and experienced labor to meet the demands of their customers. They can print patterns of your choice, on fabrics of your preference, and in colours of your choice.

“My father spent hours experimenting with these natural dyes to create a variety of designs. He had sown this seed of Pracheen that is bearing sweet fruits today! When I was young, he allowed me to play with these dyes and explore designs.”

Nature is the source of all riches on Earth. Natural colours are mostly derived from plants. They are biodegradable and environmentally beneficial, contributing to the preservation of ecological equilibrium. Furthermore, they are non-toxic and non-allergic. It may also be of interest to you that the utilization of natural dyes is a labor-intensive activity that provides several job possibilities for tribals, traditional artisans, and rural women. Natural dyes have long been a part of India’s culture.

And we at Pracheen feel that natural dyes represent a rebirth of a rich and wise heritage rather than an invention.

Procedure of Handcrafting fabrics with Natural Dye and Block Print

It takes a long time to make these gorgeous materials. However, the product is well worth the effort. The cloth is treated with harda (marabollum) and then stored at room temperature for 3 to 4 days. It is pinned to the table once it is ready for printing. The border outline is printed first in lime (resist with

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chuna), the GUD, backdrop of the body design is printed first in kasmi (scrap iron water), then the outline in lime (resist with chuna), and the interior fillers are printed in alum paste and mud.

After printing, it is exposed to sunlight for a minimum of 8 to 10 days. It is dipped in indigo (natural indigo vat).

The next day, it is carefully cleaned in water and stored for another 3 to 4 days. It is developed (dyed) in madder on the sixth day (manjishtha). It is then carefully cleaned in water until the pattern is clearly visible. It is then stored for a day before being treated with aaritha water and sun-dried. The aaritha works as a natural softener in this process, softening the silk. The final process is the kundi, the old traditional way of ironing.

Who are they catering to?

Pracheen is a typical block printing workshop that has more space for creation! You will not find these beauties being sold along with the regular machine-made pieces. Surprisingly, they do not have any sales and marketing department and they are more focused on catering the best products and services. That makes me wonder how they sell these beauties across the globe?

Surprisingly, as Mr. Sarfraz says “We do not preach our products, our products spread our word” is a very true statement. They have been actively participating in Paramparik Karigars Exhibition, Crafts Council Exhibitions in Cities Like Chennai, Hyderabad, Bangalore, Delhi. They are also presenting their work at Kalaghoda art festival every year where people from across the globe visit and purchase these handcrafted products. They are also selling their products internationally through special exhibitions of this kind.

So, it makes us wonder if exhibitions do the justice to such an exemplary craft?

Well, Pracheen has also participated in Lakme Fashion Week-2013. They have also sourced fabrics for a sustainable wear collection in Lakme Fashion Week 2017. Their photo album boasts the appreciation from all the top rated Indian and Bollywood Designers who source block prints from Pracheen. Name a celebrity designer and Pracheen has

obviously catered to them. And this is not where their peak is! There are Hollywood designers and international designers who all the fly down to Mumbai only for purchasing handcrafted fabrics from Pracheen!

Pracheen’s clientele is full of celebrity designers, costume designers, and esteemed people. “We feel happy when people appreciate and value our products.” Mr. Sarfraz says this firmly. He would say that what they are making is not something that is largely created or available next door. What they are creating is valuable and should be treasured by the person possessing it.

Pracheen is not only selling its products but is also involved in educating the upcoming generation about natural dyeing and block printing. It is working towards creating a demand for sustainable textiles and handcrafted textiles.

They are working towards the brighter sunshine not only for their artisans but also all the other artisans of India.

They are working towards creating an employment for them and to provide them with value and respect for their skill.

India needs more people like Sarfraz and more organizations like Pracheen that treasure the traditions being passed on since generations. And Pracheen needs more people like us who not only value their skill financially but morally as well!

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RESPONSIBLY REDESIGNING Dr. A. J. SHUKLA Head: Department of Textile and Apparel Designing S.V.T. College of Home Science (Autonomous)

Abstract With the advent of fast fashion in the Indian apparel industry, the need to actively pursue end product recycling is gaining importance. The concept of closed-loop manufacturing or circularity is important for efficient use of raw material and minimum damage to the environment. It is important for designers to introduce style elements keeping Mono-Material design policy in mind, followed by efficient global take-back systems, quick and smooth segregation, and disassembling of the fashion product by both fibre and fabric manufactures. To achieve true circularity, a sustained value chain dialogue between consumers, designers, and manufactures will create transparency and confidence among all stakeholders to take the movement of responsible redesigning ahead.

Keywords: Fast fashion, Mono-Material, designers, recycling, redesigning.

Designing is an essential component of our daily lives. We use design to silently communicate to the world around us.

Our choice of clothes is one such design element that is used consistently by us daily. The need for this active conversation with our surroundings requires a change of garments. The colour or pattern effectively puts forth the role or mood we wish to portray. A change in season, occasion, career choices, and personal goals sometimes reflect a complete wardrobe change. Therefore, this conversation with our environment is fast becoming an expensive and often ecologically damaging proposition. The apparel industry has to cater to the social-media savvy, actively communicating, ever-demanding Indian consumer.

The Indian textile and apparel indus-

try has anticipated an annual GDP of 11.5%, and the domestic market is estimated at US$ 75 billion in 2020-21.

In this pie, apparel constitutes a 73% share of India’s total textile and apparel market [1].

The average Indian is well on the way towards being a fast fashion consumer.

Who will buy, use and simultaneously discard garments at an even faster rate than traditionally done in the country?

Therefore, the large amounts of fashion waste generated may, unfortunately, end in landfills and sometimes in incinerators. The textile waste generated can be reduced only by increasing the active lifespan of the product or by recycling it or designing the product. The ‘Action Plan for Sustainable Fashion and Textiles; Well Dressed in a Clean Environment. An initiative by the Nordic Council of Ministers launched in 2015 can be adopted [2].

Products with recycled content can be just as stylish and pleasing to look at as products made out of virgin material.

Designing old garments and recycling them individually to make other products is a useful but time-consuming and slow option. The process will also not cover all the garments consumed in fast fashion. Urgent attention needs to be focused on shifting the onus of using recycled fibres or fabrics from the niche market of discerning clientele to mainstream retail outlets and designers. Many large fashion brands do not pursue this option further as they feel it leads to ineffective and wasteful logistics [2]. Therefore, what is required is to integrate elements of recyclability within the design of the product. So that retrieving the used material for quick integration into the next production cycle can be done. Houdini’s Mono

Air Houdi is an example of designing an infinitely recyclable fleece jacket that actively “fights plastic waste.”

Some key elements to keeping mind while designing such products are: 1. Fashioning a product with easy-tosegregate design/ style elements: Fashion designers should actively pursue the Mono-material policy for designing a garment. The Mono-Material policy requires designing a single type of raw material or a garment whose components are made from a single type of raw materials [3]. The policy also extends to fasteners and other apparel accessories. Example Adidas has unveiled recyclable mono-material trainers, launched in 2021, under the tagline, ‘Made to be remade’[4]. The use of single material for manufacturing sneakers is anticipated to ease and even reduce the economic cost of recycling the product. Mono-Material designing sometimes comes with constraints on creativity and functionality. But strong commitment from the designer or brand encourages the integration of the process right at creating a mood board or fashion line, thus making the process effortless. Similarly, knowledge of printing and finishing processes and the wide assortment of chemicals used in textile manufacturing also need to be kept in mind to help facilitate recycling later.

2. Winning consumer confidence with the use of strong communication of transparent, eco-friendly, and fashionable recycling options: Transparency about the source and method of obtaining the recycled raw material can win the consumers’ con-

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fidence. Companies’ commitment to produce stylish garment designs from Mono-Materials to facilitate future recycling is achievable. Traceability standards such as The Recycled Claim Standard (RCS)9 and Global Recycled Standard (GRS)10 are certification systems that ensure the recycled material’s genuineness [5].

For example, the sustained campaign of MUD Jeans in communicating its raw material source, detailed production process, types of dyes used, to amount of water consumed provided a never before achieved transparency in their client’s mind. Thus, encouraging the customers to consciously buy and use a product that is genuinely committed to recycling.

3. Smoother collection of post-consumer waste: Closed-loop systems of manufacturing also require established systems of getting a product back to a central recycling system or, ideally, straight to the product’s manufacturer. The ‘Unlimited’ campaign by Arvind mills was initiated in India to collect post-consumer waste weighing 1.3 tonnes or roughly 5700 garments [6]. Campaigns for global take-back systems such as these can be further facilitated when the products are mono-material-based, thereby becoming easier to segregate and reuse.

4. Quick segregation and disassembling of the product: Sometimes, using a single raw material may not be feasible or practical due to the specific functional end uses of the garment. Here design elements that cater to easy disassembling or segregation of raw materials can be undertaken. In India, another challenge is that fashion products also include additional surface ornamentation elements such as multiple embroidery features (sequences, bugle beads, metallic and silk threads, etc.) that may become difficult to remove from the finished fashion product.

In the ready-to-wear sector of denim

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production, the splitting of fasteners and other accessories from a set of jeans can help recycle the cotton-rich resource of denim, a staple in the wardrobe of most work-at-home customers of today’s garment industry. The biggest challenge to smooth disassembling of a garment lies in fiber blends to give increased strength or more significant stretch to a style as current recycling technologies focus on retrieving pure fibers for recycling. Some exceptions exist, such as Renewcell, which actively works in dissolving used cotton and other cellulose-rich garments to produce Circulose® pulp (viscose) as a final step in closing the recycling loop [7]. Fashion designers can facilitate such a process by using similar natured fibers to make them either recycling or segregation friendly.

5. Designing reintegration of the recycled element into the manufacturing cycle: There will be an initial skepticism towards the use of recycled raw materials in the designed fashion garment.

However, a brand’s strong message towards responsible fashion would eventually coerce the Indian consumer towards sustainable design choices.

Simultaneously the challenge of maintaining economic competitiveness and quality of the recycled product vis a vis virgin material made product is essential. A shorter integration cycle can be achieved only when key design elements encouraging recycling at the end of the product life span are a part of the initial drawing board and designing process.

Redesigning the way ahead for the Fashion Industry: If the challenge of being sustainable and green is to be truly accepted by the textile and apparel industry, both sectors’ responsibilities need to be shared. An important value chain dialogue needs to be initiated between the fashion and fabric industries.

Fashion, home furnishing, and accessory designers can make conscious efforts to design garments keeping the key

Mono-Material policy in mind. Limitations due to using similar fabrics for a garment and the difficulties of suiting the products’ multiple requirements by single materials are real but not insurmountable. Recycling post-consumer waste may be difficult and pose several logistical as well as financial challenges. Still, active interaction between the textile and fashion industry would help create sustainable closed-loop recycling solutions.

References: 1. Annual report: Indian Textile and Apparel Industry 2021 (Rep.). (2021).

Retrieved July 26, 2021, from Wazir Advisors website: https://aepcindia. com/system/files/Annual T and A Industry Report-2021.pdf 2. Watson, D., Elander, M., Gylling, A., Andersson, T., & Heikkila, P. (n.d.).

Stimulating Textile-to-Textile Recycling (Rep.). Denmark: Rosendahls. doi: https://norden.diva-portal.org/smash/ get/diva2:1161916/FULLTEXT01.pdf 3. Andersson, E. (2018). Approaches to Sustainable Design. Retrieved July 26, 2021, from https://sustainabledesigncards.dk/ 4. It’s a shoe-in: Adidas unveils recyclable trainers as UGG reveals new climate and materials commitments. (2020, October 15). Retrieved July 26, 2021, from https://www.edie.net/news/5/It-sa-shoe-in--Adidas-unveils-recyclabletrainers-as-UGG-reveals-new-climateand-materials-commitments/.

5. Cloudadmin. (2020). Recycled Claim Standard (RCS) Global Recycled Standard (GRS). Retrieved July 26, 2021, from https://textileexchange.org/standards/recycled-claim-standard-globalrecycled-standard/ 6. Arvind Fashions. (n.d.). Retrieved from https://www.arvindfashions.com/ sustainable-fashion/ 7. Recycling clothes finally works. (n.d.). Retrieved July 26, 2021, from https://www.renewcell.com/en/

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The scopes of the Textile designers Dr. B. BASU Textile Industry Consultant [1] Introduction: A textile designer can be employed in the garment, fashion, home furnishing, and the interiors segment among other industries. A textile designer must know about yarn making, weaving, knitting, dyeing, finishing processes, and also knowledge about different types of looms, knitting machines, and printing processes.

This refers to the creation of patterns and structures for woven, knitted, or non-woven fabrics. It involves the process of producing designs for clothes, which are used in household textiles, clothing, and decorative textiles like carpets. Starting from the actual design making to the different other processes, which are related to this kind of production are included in this field of study. To be precise, it is a process that starts with raw materials and ends in the finished product.

The main elements of this process are yarn, fiber, and many more. Being a creative arena, it associates itself with making contemporary, creative, and stylish designs. This even bridges carpet manufacturing, fashion designing, and different fields, which are related to clothes. The usage of printing or dyeing is one of the major parts of textile design. This, as an academic course, is quite popular in different parts of the world.

Since Fashion is always a growing topic the companies demand new & new design every day. So, the Scope of any study (designing, knitwear, textile, etc…) in the Fashion Industry will always be upstream. With keen interest, hard and smart works with passion, the level of the growths are in the hands of the Designers. So, studying textile designing, it’s a good choice if they(the

students) are determined for it because it needs a lot of practical flaws to overcome.

And job prospectus will fall in the textile industry which includes home furnishings, textile mills, Merchandisers, Fabric Coordinators, Managers in several fashion segments. At a certain point (preferably after few years of experience), you can even have your own textile business. It’s a versatile business as its success level depends upon the creativity and knowledge of the designers more than anything.

The market is always available for new and newer trends.

In Paris, there are 3 Fashion Shows daily which shows the best in the world.

The people from India learn from them and implement them in India. In some cases, they are successful, in some cases, they are a flop.

ful in developing some of the famous institutions that offer various courses in this field. Apart from offering degree courses, numerous Indian institutions and colleges offer diploma courses on the same.

[3] Job Profile: Textile designers are trained in fabric printing, dyeing, embroidery, and design development. They work as design developers, color specialists, hand painters, and printing supervisors.

With the knowledge of the history of textile fibers, and expertise in various methods of how textile looms operate they know how yarns of different types can be blended.

[3.1]Textile designers • Carry out design research • Keep abreast with current fashion trends

[2] Current Scenario of Textile Design Course in India

• Study fabric durability, weight, texture, etc.

With the fast-growing potential for the market of textile products in India, many new avenues have opened up regarding the career option in textile design. This necessitates a proper educational qualification in textile design though since they need to have a sound knowledge about the different methods of designing textiles and textile fibers.

The designing of textiles, as a specialized subject, can be studied both at graduation and post-graduation levels.

• Designs are created to suit the market

However, the degrees related to this field can be either in the discipline of arts or science as nowadays, several professionals use computer-based designing software for the creation of a varied textile design. Over the past few years, the country has been success-

• Prepare rough sketches to outline basic ideas • Transfer sketches to detailed technical specifications. The construction of designs is presented on graph paper or through CAD (computer-aided design) systems to the production team • Samples are made • Work in liaison with technicians and technologists for making necessary adjustments to the designs • The design manager and sales and marketing staff select samples from the range for the market

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[3.2] Skills required

1. What is a textile designer?

• Creativity

• Good communication

Textile design, or surface design, is a niche within the vast field of graphic design and covers all aspects of print and pattern from fabric for garments to home decor and more. A textile designer is essentially an artist that creates artwork to be sold or used on a variety of surfaces. Prints are often an important part of a fashion collection and many times can define a brand or collection, potentially making it a very important layer in the manufacturing process. In addition to artwork creation, textile designers are usually trained with a specific skill set of technical skills, to prepare files for reproduction onto fabric or other surfaces.

[3.3] Employment Opportunities

2. How to find a textile designer

• Design studios

There’s no shortage of talent out there today for textile & surface design. Textile designers work solo and in groups represented by studios. There are several major trades shows each year that is open to the fashion and home industries where artist represent themselves or large studio will have many artists & styles represented. Some of the most popular shows are Indigo Premiere Vision, Print Source, textile, and Surtex. Further, most major studios have an online library that can be accessed year-round with credentials. Many individual textile artists can be found via portfolio/ freelance sites such as Behance, Art thread, and LocalSolo, etc., and through web and social media searches. The individual artist is often known for specific types or styles, techniques, or genres of design (i.e children’s, swim, juniors). Many textiles designs also offer technical skills to place an existing artwork into a correct technical file for printing.

• Interest and skill in drawing and illustration • Patience for long hours of work • Fashion consciousness • Technical knowledge • Persuasive ability • Interest in color concepts/ preferences • Visual imagination • Resilience (elasticity) • Business acumen (perception)

• Textile mills • Export houses • Textile dyeing and printing units • Textile Finishing • Fashion garment houses • Export units • Freelancing for government and private firms • Cottage industries, small scale industries • Entrepreneurship Earnings 1.53 Lakh to 5.91 Lakhs per annum (Salary data sourced from PayScale. com) Point paper for Dove and Rose woven double cloth by William Morris, 1879.

3. Costs of working with a designer

[4] 5 Things to Know Before Working with A Textile Designer

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If you’re interested in incorporating prints or artwork into your line, it’s important to create a budget for this. In general, the textile industry works in two ways: Artwork purchased ‘outright’ for ‘exclusive’ use, copyright ownership, OR licensing a design. When a client is seeking to buy artwork for exclusive use and copyright ownership it usually means that the artwork has not been shown publicly (only to prospective clients), it is original, and once bought

the ownership of that artwork fully transfers to a client and can be used in any manner by the client. This artwork comes at a higher price because the copyright and exclusivity are being sold with it. The pricing for the artwork only includes the artwork, usually digital files and/or fabric samples if bought at a trade show. The price does not include any printing or fabrication itself. Once sold, the printing and fabrication are the responsibility of the client/brand. Pricing for one design can start at around $350 and go upwards to $800 depending on complexity, number of colors, scale, and other factors that contribute to the artwork.

Another way clients or brands work with textiles designs is to license a design. When a design is licensed from an artist is being ‘rented’ for a specific period, project, or product. When a design is licensed, the copyright of that artwork remains with the artist, and permission is granted to use the pattern for a fee or royalty (usually based on a percentage of product retail price) with specific agreed-upon guidelines and a contract between both parties.

Royalties or fees will depend on the popularity of the designer and the use of design. For some small companies without a large budget for custom designs, licensing can potentially be an economical way of starting to introduce artwork into the brand. Most times when licensing artwork the designer’s name goes with the project, therefore bringing their audience to your brand and making it a true collaboration and mutually beneficial.

4. Preparing for a project It can be helpful to have some technical knowledge of what and how you intend to use your artwork. If the artwork is to be printed onto to fabric it might be best to contact your printer first to find out what type of printing they can do, what types of fabric they can print on, what file format is best to send, and any other technical info they have about color so that you can relay this to the artist you’re working with.

Some printers only print using screens, which involves a setup fee, limitations on colors, and artwork to be prepped and color separated. Other printers use

C O V E R ST O R Y digital methods which can give significantly more freedom for color, scale, but may have limitations for types of fabric, etc. It can save time and makes a huge difference if an artist knows they can only use four colors verse hundreds of colors, variation, and texture.

Creating a mood board with inspiration, other prints, and colors can be very helpful to an artist so they can create what you are looking for specifically. Many of my clients will send a link to a Pinterest board so I can view what they are trying to covey and I keep many genres specify boards, so a client can scroll through for their inspiration.

5 Additional textile and surface design terms: Technical or Seamless Repeat: When a design has a seamless repeat, it can be printed on endless yards of fabric without lines or interruptions in the flow of the design. Repeat size can vary and sometimes have restrictions depending on the type of printing or the width of the fabric.

Placement/Engineered Design: A design created for a surface that does not repeat. The design is usually strategically placed on a garment and requires special printing as it’s not usually done on seamless yardage. T-shirt graphics are placement graphics.

Colorway: A design can be created and then come in several different color versions. Most of the time if a design is sold you are purchasing one main colorway.

Additional colorways can usually be purchased for a smaller fee. For a new brand, a budget can potently stretched

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by buying one-two artwork and colorways as opposed to several different artworks.

• working out design formulae for a

Colour Separation: When artwork is being printed via screens it needs to be separated digitally into each color that will be a screen. The more colors, the more screens, the costlier the printing and artwork.

• assessing and approving completed items and production standards

Strike Off: A small sample of the artwork printed on the intended fabric to check the colors, scale, repeat, etc.

This is an important step before having many yards of fabric created. If there is an error, it can be very costly to have to re-print. If adjustments are needed, your textile designer can fix the artwork.

group of samples

• working independently, if self-employed, or liaising closely with colleagues as part of a small team • using specialist software and computer-aided design (CAD) programs to develop a range of designs • experimenting with color, fabric, and texture • maintaining up-to-date knowledge of new design and production techniques and textile technology • developing new design concepts

You’ll need plenty of initiative and perseverance as well as talent to work in textile design. Spending time, making industry contacts can be as valuable as completing courses

• ensuring that projects are completed on time

Textile designers create two-dimensional designs that can be used, often as a repeat design, in the production of knit, weave, and printed fabrics or textile products.

• sourcing fabrics and other materials at trade fairs, markets, and antique shops

Working in both industrial and non-industrial locations, they often specialize or work in a specialist context within the textile industry. The two major areas of textiles are: • interiors (upholstery, soft furnishings, and carpets) • fabrics for clothing (fashion or specialist, e.g. fire-proof).

• visiting sites and other sources of ideas for designs

• attending trade shows, as a delegate or as an exhibitor - this may involve representing the company with a display or stand, or appraising the work of competitors • keeping up to date and spotting fashion trends in fabric design by reading forecasts in trade magazines and using internet resources • developing a network of business contacts

Many textile designers are self-employed, while others work as part of a design team.

• if self-employed, managing marketing and public relations, finances and business administration, and maintaining websites.

[5.1] Responsibilities

[5.2] what to expect

The day-to-day responsibilities of a textile designer include: • producing sketches, designs, and samples for presentation to customers • making up sets of sample designs • liaising with clients and technical, marketing and buying staff to plan and develop designs • accurately interpreting and representing clients’ ideas

• Work settings differ and may include factories, backrooms, or smart design studios. Freelance artists, craftspeople, and designers may work from home or in workshops.

• Long-term, self-employment is an option, although setting up your own business in addition to maintaining design work is demanding and can take time. A good resource for young designers wanting to set up their own business is The Design Trust.

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• Jobs are available throughout the world. There is a concentration of design studios in London and job availability is greater in the traditional centers of the textile industry, such as Scotland, the North West, and the Midlands.

• It is possible for new graduates to obtain their first jobs, particularly in fashion design, in Italy, France or America, where valuable experience can be gained working with well-known designers before starting work in the UK. Organizations such as Global Experiences offer fashion design internships abroad.

• Working alone and to short deadlines can be stressful and there is constant pressure to produce new ideas and make new contacts by visiting trade fairs and other events. Using your creative abilities within a commercial environment requires the ability to cope with criticism if a particular piece of work is not well received by a client.

• Occasional travel within a working day and overnight absence from home may be required and overseas work or travel is possible.

[6.1] Nift Future It is a Proudest feeling to Design the Clothes and study with the fashion technology.

NIFT’s prime objective has been to spawn a critical mass of highly competent technical professionals in the area of Fashion Design, Technology, and Management capable of providing leadership to the Indian Fashion Industry, to enable it to compete better in the global economy.

NIFT Professionals are some of the most creative minds a country can offer with a burning desire to excel, who go through a very stimulating and challenging academic schedule that prepares them to face any challenge in the ever-changing world of Fashion.

NIFT Industry Linkage unit facilitates on-campus placements for graduating students of NIFT to enable them to start their careers in challenging positions. Leading National and International companies participate in placements to recruit NIFT professionals.

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The profile of companies attending Placements has expanded substantially with diverse segments of Industry like large retailers, Brand marketers, manufacturers, consultancy organizations, e-retailers, textile mills, home furnishing companies, design BPO’s, technology solution providers, International Brands, and Start-up firms.

For the Placements 2016, the major recruitment was done by Retail companies followed by Brands. A total of 39% of the total graduates recruited were placed in Retail companies. This was followed by Fashion Brands (20%), Designers / Design houses (19%), export houses / buying houses, and agencies (16%).

The Average annual salary during campus placements 2016 for the students from the Master’s program was Rs. 5.70 lakhs per annum and for the Bachelor’s Programme, the average annual salary was Rs. 4.30 lakhs per annum.

Designer placement is completely dependent on the portfolio than the academic performance during the 4-year time in NIFT. Every year 50 - 80 companies visit for recruitment. On average they offer the package in between 3 - 4.5 lakh which means you will get 20k-30k in hand.

Also, every year some 4-5 big players visit with the vacancy of 1 or 2 and the package of 8-12 lakh as well. At the same time, some companies offer the package of 2 - 2.25 lakh per annum as well and the management of NIFT does allow them to enter campus which is humiliating.

Total seats in India is 2980 in the year 2017 and for the year 2018, it is 3010 in UG and PG. Besides campus placement rounds designer’s future is bright if you are good at your work.

ings, and other textiles-based products -several large fashion and clothing retailers -design studios and consultancies -handloom cooperatives and buying agencies You may even work as a freelancer. And with good experience and contacts, you can eventually open your own business. ** Salary: Salary depends on various parameters such as the size of the organization, profile, qualification, experience, etc. It has been described before.

[6.2] NIFD OR INIFD Today, after NIFT, INIFD is regarded as the most reliable institute to impart education in fashion technology and designing. INIFD or International Institute of Fashion Designing was initially named as NIFD or National Institute of Fashion Designing. At that time, the scope of the course was only limited to dress designing. However, today the institute offers undergraduate courses in textile designing and interior designing too. INIFD has its branches in the main cities of India, and its two branches in Delhi are as good as the rest of its counterparts. Its Delhi branch is affiliated with the Delhi University, but the curriculum of the institute is decided by the governing body of INIFD centrally. The institute has international collaboration with one of the leading international fashion houses, named Istituto Di Moda Burgo (Milan, Italy).

This fashion house is the leader in the world market and most of the fashion companies all over the globe follow in its footsteps.

Life @ INIFD

-textile mill

The students of this college take active participation in fashion shows. The best of the lot is also invited to display their creativity in Lakme India Fashion Week. Fashion show competitions also take place at the inter-college level, where INIFD students from all over the country participate in fashion designing competitions.

-manufacturing and processing company that produces clothing, soft furnish-

Apart from Lakme Fashion week, these creative students also indulge in fre-

As a fashion designer, there are many avenues and opportunities. You can opt for a career in: -export house

C O V E R ST O R Y quent theme parties, where they can showcase their creativity and fashion ideas, the clothes and the props used in these parties are designed or arranged by the students.

all top stars including the Set Designs for Bollywood super hits ‘Vivah’ & ‘Apne’. INIFD has a Placement Tie-up with Arvind Murjani Tommy Hilfiger, a leading International Brand.

Fresher parties and farewell parties are also conducted with fun and pomp.

Even these parties are quite elaborate and creative, with proper themes and dress codes.

Top Designers like Manish Malhotra, Neeta Lulla, Ashley Rebello, Aki Narula, Raghvinder Rathore & stars like Lara Dutta, Katrina Kaif, Priyanka Chopra, Bipasha Basu, Malaika Arora & many more have been associated with INIFD student activities. This international standard institute has 180 centers in India, Nepal, Bangladesh, Dubai & many more countries.

[6.3] Placement and Future Prospects The students of this college are recruited by some of the best fashion houses in India. Some of the students are also absorbed by the leading fashion designers in the country. Every year, the fashion designing students of this institute witness more than 65% recruitment. (Now it is almost 100%) However, campus recruitment is not that common. These students are encouraged to build contacts and connections with the leading fashion houses and ace designers through the Lakme India Fashion Week or other fashion shows. The best of the students is recommended by the institute authorities, to the fashion houses, and in most cases, they are absorbed and more preferred than students of other designing institutes (except NIFT).

Some of the recruiters of this institute are FabIndia, Ritu Kumar, Ritu Beri, Neeta Lulla, Weddel Rodericks, Seasons, Glamorous India, Elie Saab, etc.

International Institute of Fashion Design (INIFD), the world’s largest Design Institute was launched by famous designer ‘Ritu Beri’ in 1995 which is now backed by the world’s top design institute, IMB, Milan (Italy).

INIFD is proud to have produced over one lac student Designers and more than five thousand students have been recently recruited by top international brands like Tommy Hilfiger, United Colors of Benetton, Wills Lifestyle, Esprit, Pantaloons, Louis Philippe, Van Heusen, J.J. Valaya House, Raymonds, Godrej, Durian to name a few.

In 21 years, INIFD has also produced star designers who have designed for movies Jodha Akbar, Balaji Telefilms, Prince Charles, Amitabh Bachhan, Shahrukh Khan, Angelina Jolie, and

Today after twenty-one years of journey, INIFD has successfully established itself as one of the best fashion designing schools in Pune with an open collaborative approach sending its alumni to the various domain of fashion.

International Institute of Fashion Design (INIFD) – Kothrud was started in 2005. It is one of the most pioneering centers of INIFD. Since its inception, INIFD Kothrud has become one of the best fashion designing institutes in Pune. Inifd kothrud has created milestones in terms of providing skilled professionals to various fashion industries and interior designers.

With its commitments and quality education, INIFD Kothrud has become extremely popular and well known in Pune and around as it is committed to providing only the best for its students.

Due to the location and being in Kothrud the student hub of Pune, INIFD Pune is being able to provide hostel accommodations to the emerging designers at an affordable rate. INIFD Pune, kothrud started with a strength of just 15 students & grown to more than 500 students.

We at INIFD Kothrud, Pune India can proudly boast of the best faculty and infrastructure and offer courses that are at par with well-known colleges in India. Our experienced teaching staff focuses on building a strong foundation and the necessary skills required in the industry. And is providing a platform to it to get a chance for travelling to Italy and upgrade them by studying directly at IMB MILAN ITALY.

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In the Master`s degree course, the NIFD is given the Project of 6 months by the big organization that how one Design failed, the relationship between suppliers and buyers, how to overcome and finds the solution. They are absorbed by the multinationals and the future becomes bright.

It is also to be studied the local market theme, understand the cost and choice, and then proceed. Just try to avoid the design which is too costly or may not be accepted by a buyer.

The Bharat Vijay Mills, Kalol has installed 10lakh spindles to produce value-added fabrics and selling at grey or finished stage. They have 36000 fabric designs in their Library with 24 looms.

They produce fabrics with a brush, stone wash, and value-added fabrics which are in demand. They take students from NIFT and NIFD and pays well.

The free-lancing designers in most cases fail because of poor knowledge of the market and its demand although most of them are talented. Innovative ideas, interaction with the Alumni and the dealers should be maintained to become successful.

Conclusion: 1. The Designing and Technology is not a new thing in the world. Only the fashion trend is changing but some are repeating. The dress worn by the queens of the Mughals started repeating.

2. The Designers must have a good knowledge of raw material to finishing so that they should understand the Technology in detail and perfection.

3. It is a fabric design with a mix-up of raw material to a style of knitting and weaving, Textile Finishing, and Garment design. Wherever the designers join, the Management expects new and newer technology. Hence the designers must have the innovations and hard work.

4. For freelancers, a market study is a must.

Both NIFT and NIFD are at the top in the placement especially NIFD because of the more creative.

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Personalisation, On demand Fashion leading to growth of web-to-print business Ms. Adele Genoni EFI Reggiani Sr. Vice President and General Manager

EFI is laser-focused on one goal: the development and profitability of your print business. That is why tens of millions of print professionals across the world rely on EFI to help them succeed.

Every day, their 3,000+ global team members demonstrate their commitment to clients by developing gamechanging technologies for the production of signage, packaging, textiles, ceramic tiles, and personalised documents, with a diverse range of printers, inks, digital front ends, and a comprehensive business and production workflow suite that transforms and streamlines the entire production process.

EFI products account for more than one-third of the world’s high-end wide format printers in production today.

They have 50 offices throughout the world and have been in business for more than 20 years.

Fiery servers and controllers are used

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by over 20 million people globally. Their inkjet printers produce output and signs for some of the world’s most important events.

What are the new updates and innovations in printing technologies. Adding to this, what is your vision for the future of this industry?

Consumer behavior trends are moving in the digital direction: design to shelf speed has reduced due to multi-season trends and shorter collections. That being said, the fast turnaround time of digital compared to analog is undisputable.

Thanks to digital, manufacturers are better able to quickly react to fashion trends and minimize losses from fashion remaining stock. They can lower their costs with reduced setup time and leaner inventory management thanks to the possibility of efficient print-ondemand capabilities - all while deliver-

ing products with richer color palettes and more detailed designs.

The digital possibilities are further enhanced in terms of time to market and, above all, in terms of sustainability, a crucial ask from consumers for manufacturers to offer short green processes that reduce water, energy, and chemicals consumption.

It is, for this reason, we developed the EFI™ Reggiani TERRA Pigment Solution for a greener, faster, and more competitive textile process that eliminates the need for washing, steaming, and post-treatment.

The uniqueness of this solution resides in our ink binder technology. It enables the ink to fix to the fabric only through a polymerization process that happens in the printer’s onboard dryer, guaranteeing superior dry and wet fastness results without using additional chemicals or fixation processes.

C O V E R ST O R Y EFI has also released an enhanced version of the EFI Reggiani TERRA Silver printer, a 180-cm wide printer operating with EFI Reggiani’s unique pigment ink with a binder for high-quality, highly sustainable, direct-to-textile printing without steaming or washing.

The new TERRA Silver printer features: •A more efficient polymerization process that takes place as printed textile goes through the printer’s on-board dryer

rise of athleisure lifestyle as well as accelerated by COVID, is more conscious focused on health and wellbeing. We are keeping an eye on other trends, such as the technical textiles sector, where the demand for advanced materials, for instance with antibacterial properties, is the next frontier.

What versatility can be observed in NEXT Printing machine technology in terms of color, design, and print output?

•A new recirculating ink system for superior reliability and minimum maintenance at start-up and during production •A high-efficiency dryer specially designed for inline polymerization •A user-friendly, intuitive interface •New, real-time image processing that eliminates time spent in image pre-calculations Consumers are paying more and more attention to the type of lifestyle they want to live from fashion to home decoration. This triggers the demand for more personalized and customized solutions, such as fabrics with a specific pattern. In fact, we are already experiencing this phenomenon, and this is spreading to a wider portion of consumers, shaping the future of this industry.

In this context, digital printing and short processes like dye-sub and pigment are the ideal answers to this trend and in particular dye-sub thanks to its fast turnaround time, shorter time to market, and cost-effectiveness also for short job lots.

We are highly engaged in sustainability matters, and all our technological developments are fully focused in this direction, contributing to a more sustainable textile world.

The on-demand web-to-print business model reached new heights during the pandemic and is forecasted to become even more prominent this year and thereafter.

Moreover, the growth in sportswear, which was previously driven by a global

EFI Reggiani NEXT The EFI Reggiani NEXT printer is an industrial beltless digital solution, allowing for versatility in the substrates it can print: in fact, this printer is perfect to print with sublimation inks both on paper and non-elastic fabrics, reaching speed up to 230 linear meters per hour. It is designed to revolutionize fashion, sportswear, and home decor markets with its incredible combination of cost-effectiveness, speed, and quality.

Thanks to EFI Reggiani printers’ quality and reliability as well as low maintenance costs, EFI Reggiani NEXT ensures the lowest cost per meter in its category: an ever-running printer, able to print unattended and managing 3,000 linear meter paper rolls. Thanks to the enhanced ink recovery system, ink loss is minimized, while delivering brilliant printouts.

Ideal to print high-quality with deep blacks, vivid colors, and extreme image sharpness with printing resolution ranging from 300 up to 2400 dpi, the NEXT printer is suitable for a wide range of applications and is available in both 180 and 340 printing widths. It satisfies the needs of small businesses as well as complex industrial plants

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alike: a smart investment to get printing quality and industrial productivity in a small footprint.

As we know, Printing Technology is used in different areas of application like on coolers, refrigerators, and other unconventional textile items, so my question here is how the same textile printing machine can be used in other materials, is it customized or is it versatile for any material use?

There’s a growing market in industrial decoration that is really in line with the personalization trend that we discussed earlier. This is leading to the growth of digital printing applications that can be UV-or water-based.

Leveraging printers originally designed for textile applications to customize unconventional items, like shower trays or shower boxes, for instance, is what EFI Reggiani NEXT is about. In fact, transfer paper printed on NEXT can be ideal to personalize on different substrates covered with polyester film.

Digital Textile Printing is all about vibrant design, color, sharpness in textiles and other materials. As a Textile Designer or Graphic Designer, what should we take care of while designing for textile or any other material?

Textile and graphic designers should explore new fibers and materials while keeping sustainability in mind as this is currently one of the key trends in the textile but also across several industries.

They should pay more attention to smart manufacturing solutions that can enable quality but also the possibility to produce near end consumers through solutions like short processes and sustainable solutions that can be cost-effective on short runs as well. The EFI Reggiani digital green solutions, TERRA pigment, for example, eliminates the need for steaming or washing on direct-to-textile applications and offers a high-quality direct-to-fabric sublimation process that ensures superior color brightness and penetration.

Currently, digital textile print is more used in Woven material. How is this comfortable on Knits? Is Technology

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C O V E R ST O R Y

savvy for both woven and knitted?

Handling knitted fabrics without the proper care is a true risk for these fabrics, especially as far as shrinking is concerned.

EFI Reggiani’s 75 years of experience in textile printing enabled us to design digital textile printers that are perfect to print both woven and knitted fabrics. Customers can choose the printer configuration, looking at the fabric feed and dryer option – in order to get the smoothest handling of knitted fabrics, maintaining their properties and aesthetics intact.

What is the current Market Share of Digital Printing in the Entire Printing Industry in Textile and other segments?

The COVID-19 crisis has had a significant impact on the textile industry. According to WTiN Intelligence: Digital textiles in 2020 for the first-time output of digitally printed textiles dropped over a 12-month period. Digitally printed textile production has not been this low since 2018. This contrasts with 2019 when data confirmed that output had doubled in the last three years to over 3.1 billion

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square meters. Today, we can consider that in textile printing, the penetration of digital is in the ballpark of 7 to 8%, but rising trends like e-commerce growth and a rising interest in personalized, on-demand fashion and apparel lead to the growth of web-to-print business models. There is also a strong ask for sustainability by key stakeholders like brands and consumers, especially Millennials and Generation Z. What is the Current Market Share of your company in the Indian Digital Printing Industry Technology and Global Market?

EFI Reggiani is an established leader in the textile printing industry with 75 years of heritage and technology expertise. EFI Reggiani is also considered to be one of the top leaders in digital textile printing. In the last few years, we have seen a growth in the number of players in the industry, but thanks

to our passion for innovation, EFI Reggiani maintains a strong market share worldwide.

Our continued focus on innovation in fact is confirmed in 2021 when EFI Reggiani celebrated 75 years of heritage and innovation in the textile world with the launch of four new, state-ofthe-art digital textile printers.

The new EFI Reggiani BLAZE is the ideal solution for companies entering the industrial textile digital printing space, particularly those looking to take advantage of re-shoring and ecommerce opportunities. The new EFI Reggiani TERRA Silver is a 1.8m wide printer that runs EFI Reggiani’s TERRA pigment ink for high-quality, highly sustainable direct-to-textile printing without steaming or washing.

We have one more printer to launch this year that is going to target the industrial high-speed segment of the multi-pass textile printing sector.

The new printer will not only be the fastest multi-pass printer that EFI Reggiani has ever developed, but we are also expecting it to be the fastest of its kind in the market. Stay tuned!

TECHNICAL TE X TILE

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Application of Micro-ElectroMechanical Systems(MEMS) in textile industry MS. Sakshi Taori

Introduction: In today’s world, micro-scale and nanoscale devices are extensively used in various optic, electric, semiconductors, mechanical, chemical, pharmaceutical applications. At the heart of this technology are the Micro-electric and mechanical (MEMS) sensors. MEMS can be defined as a miniaturized system with characteristic sizes ranging from 100nm to 1mm containing a combination of electric and mechanical components. The MEMS fabrication technology involves a micro-machining process that selectively etches away parts present in the silicon wafer and adds new layers of electrical and mechanical components. That creates a major difference between the traditional IC manufacturing that only fabricates electric components like conductors and insulators versus MEMS which provide a combination of electric and other mechanical elements such as Gears, Cantilever, beams, diaphragms, etc.

These micromachines can be used as both sensors and actuators along with a combined application as transducers depending on the specific requirements. Nowadays, advanced research is happening in the field of smart sensors that are systems reacting passively or actively to a given stimulus.

Coming to the working principle of a MEMS sensor, it is based on the change in physical energy of any movable structure like a cantilever, gear, or membrane due to the application of an external force. This deflection in energy is measured using an optimal electric or optical technique and is finally used to back-calculate the applied external force. The different domains of physical energy can be categorized as Mechanical (Length, area, volume, torque, pressure), Chemical (Concentration,

MR. Yash Trivedi

enzyme selectivity, spectroscopy, composition), Thermal (Temperature, entropy, heat flow), Electric (Voltage, resistance, inductance, capacitance, polarization, piezoresistive effect, dipole moment, etc.), Magnetic (permeability, flux density, field intensity,magnetic moment,) and Radiant (Intensity, Wavelength, Refractive index, transmittance).

Types and Application of MEMS: Due to their high sensitivity, accuracy, reproducibility (manufacturing at scale), reliability, and reduction in costs, MEMS are used in various applications.

1) MEMS Accelerometers – These are micro-devices used to measure force and acceleration. Two broad categories are piezoresistive and capacitive. Variable Capacitive (VC) sensors are low range, highly sensitive devices whereas piezoresistive (PR) sensors are higher range, low sensitivity devices.

They are widely used in smartphones to switch tabs or pocket-mode operations, gravity sensors, digital compass, GPS Tracking.

2) MEMS Gyroscopes – These are micro-devices that measure angular/ rotational motion (Revolution per second RPS) or displacement of an object.

Physically they can be assumed as spinning wheel/disc/beam mounted on an axle that is free for rotation and contains an oscillating component to detect acceleration.

They are widely used to ensure safety in vehicle stability, image stabilization, airbag systems, automatic roll-over prevention, car navigation, and also photography and industrial robotics.

3) MEMS Pressure Sensors – Based on the type of measurements and pressure

requirements, these micro-devices are further classified into Absolute pressure sensor, Vacuum pressure sensor, Sealed pressure sensor, Gauge pressure sensor, Differential pressure sensor. These sensors are used to calculate the external pressure and have a huge demand in defense, medical, aerospace, industrial, automotive, beverage applications. For e.g. The MEMS pressure sensor can be used to measure the fluid pressure in humans in case of a brain hemorrhage. Due to their small size, they easily get inserted into the human body compared to macro-devices.

4) MEMS Magnetic field sensors – Magnetic MEMS are used to detect and measure the electromagnetic interactions between magnetic materials and active or passive sources of the magnetic field. The change in magnetic force causes a change in voltage frequency.

These sensors are extensively used in linear angle, linear speed, and position measurements in the industrial, consumer, and automotive industries.

Some other types include: 5) MEMS gas sensors – Micro-devices used to detect different types of gases and their concentration.

6) Bio MEMS- Micro-scale sensors used for biological and biomedical applications that may or may not have direct electric or mechanical functions. Examples include implantable microelectrodes used to send and detect nervous signals for enhanced disease identification and monitoring clinical parameters, microtools like microneedles, tiny forceps that are used for surgeries, drug delivery, vaccination, etc.

Need for sensors in the Textile Industry: The field of textile is not just limited

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to manufacturing apparel. Textile is a machine and research-oriented field which always has the need for technological development towards improving accuracy, low cost, less space, eliminating complications. MEMS can have applications in the following sectors of textile: Ginning, spinning, weaving, wet processing, knitting, apparel manufacturing, technical textiles,Polymer matrix composites, textile testing, fiber formation etc.

Application of MEMS in Textile : Specific Applications 1. Warp break detection in Weaving: Drop wire pins are used on weaving loom in order to stop the machine during end break. Whenever the yarn breaks, the drop pin falls on the serrated portion and stops the machine.

The yarns in the warp sheet remains in continuous contact with the metallic drop wires, and thus it results into hairiness and deterioation in the qualityof the warp yarns. Therefore, in order to improve productivity and achieve lesser yarn defects, MEMS can be used for sensing the warp-end break without having any contact with the warp yarn.

Source: com/

https://www.batesmillstore.

2. Relative Humidity in Spinning: It is crucial to maintain proper humidity in the spinning section. If the humidity is higher it may result in drafting roller slippage and lower humidity results in fiber breakage. Hence MEMS sensors, requiring lesser space and higher productivity can be used for measuring humidity to get accurate results in order to maintain proper machine settings and conditions.

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Fig- Humidification system in Industry

recent research study has proposed a solution of using Silver nanoparticles (AgNPs) as the transducer material to induce piezoresistive effect when stress is applied to the textile. Textile materials are advantageous as low-cost, easily available, lightweight, flexible, and environment-friendly resources for developing sensors that efficiently conform with body contour. [3]

3. Smoke Detectors (Ginning, Spinning, Weaving, Wet Processing)

Application of MEMS in Textile : Intelligent Textiles:

There is continuous friction in textile machineries and materials used in manufacturing are prone to catch fire easily. Having an efficient smoke detector system that detects fire conditions can be achieved with the help of MEMS. These sensors being robust, consuming less power and providing stable electric properties are ideal for applications as miniaturized gas sensors. There are many MEMS-based gas sensors being developed for detecting specific concentration of gases in controlled chambers. They primarily consist of a micro-heater, interdigitated electrodes and a sensing film.

Imagine a layer of smart textile material like our skin that can detect change in physical quantities like pressure, temperature and intelligently react towards the environmental stimuli just like our brain. The three main components required for developing such intelligent materials are sensors, actuators, and the controlling units. MEMS sensors play an important role in the research and development of smart textile technology as they sense, control, and can activate mechanical processes on the micro-scale while performing complicated tasks at the macro-scale when integrated as large arrays.

Fig-Smoke Detector system 4. Pelvic tilt angle - Medical Textile Pelvic tilt is considered to be a significant tool to measure pelvic asymmetry which is a distorted alignment of the pelvic bone in the lateral, axial, or anterior/posterior rotational plane. This disorientation is supposed to cause significant complications such as Lower Back Pain (LBP). Conventional siliconbased MEMS accelerometer is considered to be an expensive alternative as a solution to the hazardous radiographic measurement of pelvic tilt angle. A

To integrate the MEMS on textile, developing silicon-based flexible skin is a desirable approach. MEMS devices are rigid in general and cannot be bent. But when they are integrated on a flexible silicon wafer consisting of host silicon islands (metals, actuators, sensors), interconnected metal wires to connect processing circuits and polymer layers (sandwiched between silicon islands and metal wires), a flexible silicon sensor skin is developed. These sensors can then be stitched on any textile material and used for developing intelligent textiles.

Some of the interesting possible applications of these intelligent textiles include: 1) Thermally sensitive material: that adapts to the change in temperature.

This can be achieved by deriving a textile fibrous material containing bound or cross-linked polymers using different formulations of molecular weight, acid catalysts, and cross-linking rai-

TECHNICAL TE X TILE sins. The cross-linked polymer is a phase change material (PCM) that releases or absorbs a significant amount of heat during phase transition and thus helps in temperature adaptability and reversibility. The intelligent thermal memory of these materials can be effectively used to : a) Increase the wear life of automotive and aerospace components, b) Healthcare applications like burn therapy and improving skin temperature and circulation in patients. c) Fabricate remote sensing devices in industrial, agricultural, and horticultural use where detecting this temperature would be useful.

2) Shape-memory polymers: (SMP) are intelligent materials with shape-changing properties that can temporarily fix

49

into a deformed shape and then return back to their original shape on the application of external stimuli. They can sense the change in temperature, pressure, PH, moisture, etc. These polymers find applications in:

These are some applications of integration of MEMS technology in textile. With increasing demand for lesser space, low cost and better efficiency, this continues to have a phenomenal scope for research.

a) Developing smart garments that can regulate heat and moisture

References:

b) Wrinkle-free and crease retention fabrics c) Non-invasive surgeries and technical devices d) Automotive seat belts that absorb kinetic energy and react with a change in shape.

3) MEMS can also be used to develop intelligent textile material for Chemical/drug-releasing, Photo-sensitive materials, Intelligent coatings.

Fig- Agriculture

Fig-Burn therapy treatment

1.https://www.slideshare.net/Ashishkapoor614Kapoo/mems-sensing-i-textiles 2.https://indiantextilejournal.com/articles/FAdetails.asp?id=1742 3.https://www.sciencedirect.com/science/article/pii/S1877705812026082 4.https://link.springer.com/chap ter/10.1007/978-3-642-18293-8_6 5.https://www.electronicshub.org/ mems-sensors/ 6.https://www.hitechnectar.com/blogs/ different-types-mems/

Fig- Military Uniforms

Fig- Seat Belt

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50

N O N - W O V ENS

NON-WOVENS: THE UPSURGING DEMAND DURING COVID-19 DR. POOJA SINGH Assistant Professor Faculty of Fashion & Design, SGT University, Gurugram, Haryana Previously it was scarce to see a person wearing a mask other than medical staff. During this pandemic, the mask, which is made up of nonwoven material, has penetrated the general public just because it acts as a barrier against foreign substances.

According to WHO guidelines, the preventive measures for the COVID-19 pandemic are washing hands frequently, practicing respiratory hygiene by wearing a mask, maintaining social distancing. Other measures include avoiding touching eyes, nose, and mouth and avoiding raw or undercooked animal products.

By wearing only, the facemask, individuals cannot be able to arrest the attack of virus. But this is one of the preventive measures to protect the individual from the attack of germs. Therefore, the demand for masks has achieved its peak nowadays. The unescapable spread of the deadly virus COVID-19 has sent the public scrambling for face masks to the extent that there is a severe scarcity of items. Thus, companies are working tirelessly to meet rising demand.

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A brief introduction to nonwoven fabric

So, coming back to the demand for nonwoven nowadays, it is increasing day by day. It is not the fact that the demand for nonwoven is increasing in only this scenario. Non-woven are getting popularity previously also. But COVID-19 acts as a stimulus for nonwoven. So, the government must meet the demand for a facemask to fight against the deadly virus we encountered uninvitedly.

Nonwoven fabrics are defined as “sheet or web structures bonded together by entangling fiber or filaments mechani

India’s young population must learn something from the aging Japanese population regarding mask culture.

cally, thermally or chemically. These are flat sheets made directly from separate fibers/from molten plastic/plastic film”. When the textiles serve any specific function, then they are termed functional textiles. Thus they must have some advantages over the others to serve the specific purpose.

Therefore, nonwoven has various advantages to serve in this fragile sector of medical textiles. It is lightweight with a fluffy and good feel, soft and comfortable. It is also water repellant, air permeable, non-toxic, non-irritant with excellent and non-directional strength, made up of antibacterial agents, and antibacterial itself.

Japanese had adapted the mask culture after the outbreak of the Spanish flu pandemic in 1918. They usually wear it throughout the year. In winter, to prevent the spread of colds and flu, and in spring and allergy season, to protect against pollen.

So, it is evident that if this kind of culture is prevalent among the population, the demand will increase so will the production. Thus, creating more employment, and this, to some extent, we could protect ourselves from various germs and other unwanted foreign particles. This is a continuous process, not of days or months, or years. Therefore, we need to work continuously to overcome this shortfall.

H R U PDATE

51

The Last Dance… Learnings for a Professional MR. RAJIV MISRA R Square Consultancy Yesterday, I binge watched “The Last Dance” on Netflix I am normally very disciplined in terms of screen time and on a normal day the time spent by me on watching a show or movie does not exceed 90 mins. There are so many things to do in a day that it becomes impossible to spend more than this on entertainment.

But yesterday was a like a perfect storm, break day so no run, only one call of 90 mins and no pressure from wife to clean up the house.

So, I ended up watching 10 episodes of 50 minutes each over the course of the day. For those who don’t know about it, “The Last Dance” is the story of the Chicago bulls and their complete dominance of the NBA from 1991 to 1998. Actually, it is the story of Michael Jordon and how he built himself to be arguably the best basketball player of all times.

For an entrepreneur or a leader in a company, these 10 episodes are a treasure house of leadership moments and how to motivate one’s self to perform under any conditions.

It is tough to pick the best lessons, however, what kept me hooked was the single minded devotion of Michael Jordon to become the best and push his team mates so that the Chicago Bulls became the best team in the NBA winning 6 championships in 8 years.

Michael Jordon comes across as a very competitive individual who wants to win at any cost. In addition to every-

thing else, he would motivate himself to go beyond himself to perform at almost super human standard. And there is a very interesting method that he uses to do so. He constantly looks for situations where he makes it personal with any of the opponents and then uses this ‘perceived slight’ to motivate himself to

excel. There are multiple instances of his doing it through the 10 episodes.

However, a few stand out. The first one is about another player getting the Most Valuable player (MVP) award before a game and Jordon tells himself that the other player is not as good as him and uses the game to prove in front of 20,000 spectators that Jordon is better, by outplaying the MVP, and in the bargain winning the match for his team.

In another instance, Jordon is having a bad day at office and has missed a number of baskets, the Chicago Bulls lose the first match of a 7 match series and the opposing team’s highest scorer tells him “good game Mike”. He takes that as a personal affront and in the next few games he ensures that the highest

scorer of opposing team does not score much while Jordon becomes the highest scorer, and the Bulls win the series 4-1 Another instance which I found very interesting was when in one of the finals, the Chicago Bulls lose the first games of the 7 game series and Jordon is eating dinner in a restaurant, the opposing teams coach is there and he ignores Jordon and walks by. Jordon tells himself “so this is how it is going to be?” takes it as a personal affront and goes on play out of his skin to the ensure that his team wins the title.

I found these instances to be a great example of setting up a process to ensure that one is able to reach peak performance day in and day out. As a leader, it is imperative to set up such systems and processes which enable you to perform at the highest level day in and day out so that you and your team is able to stay focused on the task even when things are not going well. These process and support system can help you and your team get through difficult situations.

Taking the same analogy to anyone who wants to be at peak performance day in and day out, all of us need some trigger or process which motivates us to bring in our best game. As a business owner, founder or a professional, what process or trigger are you using?

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52

C O TT O N U PDATE

SIGNIFICANT GROWTH IN COTTON EXPORTS TEXTILE VALUE CHAIN

India’s textile exports increased significantly between JanuUnit: US$ Million ary and May 21 as compared to January and May 20. Exports India's Exports of Textile Products (USD Million) of manmade staple fiber were worth 222.95 million USD in Product Name Jan ‐ May 20 Jan ‐ May 21 Jan-May 21 which had increased from 148.84 million USD in Jan-May 20. Export of raw cotton including waste more Fiber than doubled in 2021 during the same period. These exports 148.84 222.95 Manmade Staple Fiber swelled up from 0.58 billion USD between Jan-May 20 to 1.38 billion USD in Jan-May 21.

Cotton raw incl. waste

Cotton yarn, fabric and made-up exports were worth 2.47 Sub Total billion USD that climbed up to 4.16 billion USD. Exports of readymade cotton garments was worth 2.59 billion USD be- Cotton Textiles tween Jan-May 20 rising to 3.51 billion USD in 2021 during Yarn/Fabric/Made‐up the same period.

Export of wool swelled up from 41.85 million USD between Jan-May 20 to 45 million USD in 2021 during the same period. Silk yarns, fabric and made-up, RMG and Carpet export was higher between Jan-May 21 than in 2020 during the same period. RMG silk export was worth 63.91 million USD which was highest export in silk category during the mentioned period. Carpet exports were 3.97 million USD between Jan-May 21. Silk Yarn, Fabric and made-up export was 16.75 million USD between Jan-May 20 that hiked by 3.16 million USD in 2021 during the same period. Handloom products and handmade carpet exports were 112 million USD and 524 million USD respectively.

Cotton Yarn exports were worth 3.89 billion USD which was higher than the respective exports of next two fiscal years.

These exports dwindled in FY 20 with a little hike in FY 21 when they were worth 2.79 billion USD. Cotton yarn exports were worth 0.335 billion in April 2021, furthering swelling up to 0.396 billion USD in May 2021.

Readymade Garments

Sub Total

589.34

1,382.04

738.18 1,604.99

2,477.87

4,162.20

2,596.36

3,511.07

5,074.23 7,673.27

Man‐made Textiles Yarn/Fabric/Made‐up

1,455.95

2,110.21

Readymade garments

1,058.42

1,404.77

Sub Total

2,514.37 3,514.98

Wool Textiles (Yarn/Fabric/Made‐up/RMG)

41.85

45.12

Silk Textiles (Yarn/Fabric/Madeup)

16.75

19.91

Silk Textiles (RMG)

35.01 63.91

Silk Textiles (Carpet)

3.95

3.97

Handloom Products

75.97

112.23

Jute (Yarn/Hessian/Floor Covering/Others)

106.36 224.35

Carpets (excluding Silk) Handmade

333.16

524.06

Other Textiles Material ‐ Readymade garments

951.40

1,410.41

Cotton yarn exports between Jan-May 2020 were 0.97 bil 9,891.23 15,197.20 lion USD climbing up to 1.604 billion USD in 2021 during Total Exports the same duration. Bangladesh was the highest importer of Source: Ministry of Commerce and Industry these yarns in both the years between Jan-May. During JanUSD. Exports of these fabrics in April 2021 and May 2021 May 2021, Bangladesh imported cotton yarns worth 0.48 bilsummed up to 278 million USD. These exports were lowest lion USD. There was a drastic change in Colombia’s imports in April 2020 when they were valued at 11.37 million USD. from 19 million USD in Jan-May 2020 to 44 million USD in During the Jan-May, Bangladesh was the highest importer Jan-May 2021. of cotton fabrics in 2020 as well as 2021, during the menExports of cotton fabrics from India were highest in FY 19. tioned period valued 91.90 million USD and 117.50 million There was a decline in these exports in the next fiscal years USD in both the years. There was a significant growth in due to the covid 19 pandemic. Exports of cotton fabrics in these exports to all the countries.

April were highest in 2021 that was worth 148.73 million

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C O TT O N U PDATE

Unit: US$Million

Unit: US$Million

India ‐ Cotton Yarn Exports India ‐ Cotton Yarn Exports S.No.

Country

Jan ‐ May 2020

53

India ‐ Cotton Fabrics Exports India ‐ Cotton Fabrics Exports Jan ‐ May 2021

S.No.

Country

Jan ‐ May 2020

Jan ‐ May 2021

1

Bangladesh

249.83 488.70

1

Bangladesh

2

China

193.57 359.04

2

Sri Lanka

3

Vietnam

58.09 93.84

3

Nigeria

20.59 41.22

4

Portugal

46.02 73.31

4

Korea

32.30 38.50

5

Egypt

63.60 67.78

5

Senegal

6

Korea

33.38 56.38

6

UAE

7

Peru

33.17 50.63

7

Sudan

8

Colombia

19.10 44.09

8

USA

9

Sri Lanka

24.59 43.37

9

Nepal

10.56 24.91

10

Others

249.46 249.46 327.58 327.58

10

Others

172.87 172.87 285.15 285.15

Total

439.92 688.44

Total

970.84 1,604.75

HS code: 5205, 5206, 5207 Source: Ministry of Commerce and Industry

91.90 117.50 41.22 53.62

20.63 36.64 14.67 33.66 16.71 30.07 18.30 27.06

HS code: 5208, 5209 Source: Ministry of Commerce and Industry

Unit: US$Million

Unit: US$Million

India’ss Cotton Fabrics Exports India Cotton Fabrics Exports

India’ss Cotton Yarn Exports India Cotton Yarn Exports Month

Apr ‐ Mar 19

Apr ‐ Mar 20

Apr ‐ Mar 21

Apr ‐ Mar 22

Month

Apr ‐ Mar 19

Apr ‐ Mar 20

Apr ‐ Mar 21

Apr ‐ Mar 22

April

336.78 266.05 52.60 335.37

April

130.65 126.03 11.37 148.73

May

348.52 241.16 153.83 396.24

May

126.31 131.41 47.59 129.60

June

377.64 188.30 244.02

June

127.87 124.57 105.01

July

332.27 185.69 255.08

July

120.83 131.44 124.60

August

367.48 200.10 234.49

August

149.21 133.10 116.87

September 323.25 194.93 239.48 October

308.13 221.15 227.59

September 125.03 132.17 132.34 October

139.20 138.44 139.19

November 298.04 245.69 239.33

November 118.13 115.79 122.40

December 285.79 252.96 271.04

December

128.73 136.41 139.54

J January

277.90 277 90 284 284.19 19 260 260.08 08

J January

135 135.71 71 131.37 131 37 134.10 134 10

February

292.89 266.47 275.47

February

128.28 139.49 129.41

March

346.76 213.74 337.83

March

158.78 110.10 145.88

Total

3,895.45 2,760.43 2,790.84 731.61

Total

1,588.73 1,550.32 1,348.30 278.33

HS code: 5205, 5206, 5207 Source: Ministry of Commerce and Industry

HS code: 5208, 5209 Source: Ministry of Commerce and Industry

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YA R N U PDATE

CURRENCY EXCHANGE

OUR OPINION

INR 54200

0.37%

63.22%

-

63.31%

-

42.04%

-

INR 293.32

0.14%

45.14%

-

INR 402.88

0.03%

48.00%

-

INR 256.78

0.23%

40.03%

-

INR 50.63

0.25%

-

-

INR 67.38

0.31%

-

-

INR 87⬌ 0%

National News (4 Aug 2021)

www.theyarnbazaar.com

J U LY 2 0 2 1

International News( 4 Aug 2021)

partner@theyarnbazaar.com

+91 7208968393

YA R N U PDATE

55

Cotton yarn exports jump 58% in June TEXTILE BEACON Spun yarns volume shipment totaled 199 million kg worth

PC yarn from India followed by Egypt while Turkey was the

US$694 million or INR5,030 crore. The unit value reali-

single largest importer of PV yarns from India followed by

zation of all types of spun yarn averaged US$3.49 per kg,

Brazil.

about one US$ up year on year. Bangladesh was the largest imported of spun yarns during the month, followed by China and Vietnam.

Cotton yarn export was at 162 million kg worth US$588 million (INR4,260 crore), up 58% year on year. These were shipped to 76 countries at an average price of US$3.64 a kg, down US cents 9 from previous month and up US$1.15 from June 2020. Bangladesh was the top importer of cotton yarn,

All kinds of filament yarns shipment totaled 77 million kg, valued at US$138 million or INR1,000 crore.

Cotton shipment in June was 9.10 lakh bales worth INR2,259 crore or US$312 million. This takes the total export to 95.9 lakh bales worth US$21,250 crore or US$2,925 million in the first nine months of 2020-21 marketing season. Bangladesh was the largest market for Indian cotton during the month, followed by Chi-na, Vietnam, and Indonesia.

Export price realisation for cotton averaged INR146 a kg or US cents 91.42 per pound during June. This was below Cotlook A index, the global spot price benchmark and much higher than domestic spot price for benchmark Gujarat Shankar-6. During the month, Cotlook averaged US$94.60 per pound while Shankar-6 was at US cents 87.61 per pound, implying that Indian cotton was still competitive in global market.

In June 2021, basic textiles comprising fibres, spun and filament yarns shipment were worth US$1,224 mil-lion or INR8,876 crore, accounting for about 3.7% of total merchandise exported from India during the month.

followed by China, Vietnam, Portugal and Egypt.

100% man-made fibre yarns exports were at 12.2 million kg, comprising 7 million kg of polyester yarn, 3.5 million kg of viscose yarn and 1.5 million kg of acrylic yarn. Viscose yarn was worth US$12 million or INR88 crore, exported at an average price of US$3.44 per kg in June. The major market was Belgium, followed by Turkey, Brazil and Bangladesh.

Polyester spun yarns export was worth US$16 million exported at average unit price of US$2.27 a kg. Brazil was the largest importer of polyester yarn, followed by USA and Turkey.

Blended spun yarns worth US$74 million were exported in June, including 17 million kg of PC yarns and 5.6 million

Courtesy: Fibre to Yarn Export Statistics: India

kg of PV yarns. Bangladesh was the largest importers of

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M AN - M ADE FIBE R S U PDATE

Fibre prices continue to track raw material in July TEXTILE BEACON

Polyester Polyester staple fibre prices were raised in China, Pakistan and India over strong demand and rising cost during July.

In China, bolstered by rising costs of raw materials, polyester fibre market saw a rise in most offers from last month.

Trading prices also trended up in line with offers in firm deals under negotiation. In Shandong and Hebei, prices firmed up amid modest sales. Offers for 1.4D direct-melt polyester staple were raised to 7.15 Yuan a kg (US$1.11 a kg, up US cents 5) in Jiangsu and Zhejiang while the same in Fujian and Shandong were also up US cents 4-5 a kg.

In Taiwan, offer for 1.4D were raised US cents 5 to US$1.11 a kg FOB. In Pakistan, producers raised offers on rising cost and seeing margins squeezed by firmer cost. 1.4D PSF offers were up PakRs8 or US cents 3 to PakRs.213-216 a kg (US$1.331.35 a kg).

In India, producers offer for July were hiked given rising cost of raw materials. However, firm deals were under negotiation this month. Producers offers averaged INR98.25 a kg (US$1.35 a kg) for 1.2D and at INR99.50 a kg (US$1.34 a kg) for 1.4D, both up US cents 3.

gust given lack of fresh orders and sliding feedstock cost.

Offers for July at INR228-230 a kg (US$3.06-3.09 a kg, up US cents 5).

In Pakistan, overseas suppliers’ offers were steady at PakRs.450-455 a kg (US$2.80-2.83 a kg) in Karachi market.

Overall, acrylic fibre prices will probably go up under cost pressure while demand will rise gradually, together with export orders.

Viscose Viscose staple fibre prices rose slightly in China during July, amid low inventory levels ahead of entering the peak season in August. Some producers reported tight supplies, and trading atmosphere was passable. Industrial run rate increased, following the unit restart and completion of maintenance. Inventory pressure was moderate, but due to high concentration, pricing between producers diverged. Also given rising cotton prices and expectation of downstream procurement in August, players were generally optimistic. In spot, average prices inched up to 12.83 Yuan a kg (US$1.98 a kg, up US cents 6) for 1.5D and 1.2D to 13.23 Yuan a kg (US$2.04 a kg, up US cents 9).

Overall, with more planned shutdowns in China in August, offers from producers may remain stable to firm.

Nylon Nylon-6 staple fiber offers were raised in July as upstream cost was up while polyamide or nylon chip cost was down.

However, demand remained almost lukewarm. Fibre producers reported breakeven business, amid slightly improvement in demand. 1.5D offers averaged 16.20-17.00 Yuan a kg (US$2.55-2.63 a kg, up US cents 6 on the month at the lower end).

Acrylic Acrylic staple fibre prices were lifted in July in China and India on range bound cost support while they were rolled over in Taiwan and Pakistan this July.

In China, reference prices of cotton-type staple fiber, tow and top were up on pressure from continuously rising costs in the month. The industrial run rate stayed at 67% as Jilin Chemical raised run rates, while Hebei Airuike shut down its unit. Other units were running at reduced rates. Demand was healthy as downstream yarn mills saw more export orders, so their run rates picked up. Prices for medium-length and cotton-type acrylic fibre 1.5D and 3D tow were steady at 18.45-18.65 Yuan a kg (US$2.85-2.88 a kg, up US cents 4).

Offers for Taiwan origin 1.5D acrylic fibre were rolled over on the week at US$2.85-2.90 a kg FOB. In India, prices were raised for July but may retreat in Au-

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In Taiwan, offers for 1.5D were lifted US cents 5 to US$2.16 a kg FOB. In Pakistan, overseas suppliers rolled over their offers. Offers stable in Karachi were at PakRs360-365 a kg (US$2.242.27 a kg).

In India, producers kept their offers steady as demand was still weak. 1.2-1.5D were at INR200-202 a kg (US$2.69-2.71 a kg).

Overall, prices are expected to trend up but inventory may continue to decline. Besides, cotton prices may play a role in directing viscose prices in coming weeks, coupled with downstream and terminal demand.

M AN - M ADE FIBE R S U PDATE

MMF- Trade statistics

57

Unit: USD Millions

India ‐ Man Made Fiber EXPORTS Product

May 2020

May 2021

Jan- May 2020

Jan - May 2021

% Change

POLYESTER Staple Fibre

11.26

38.32

93.32

155.3

66.42

Filament Yarn

22.33

81.59

248

377.01

52.02

1.48

0.26

15.3

3.34

-78.17

1.09

2.01

8.09

9.01

11.37

Staple Fibre

9.33

18.38

39.61

61.27

54.68

Filament Yarn

0.57

2.83

9.64

14.99

55.50

ACRYLIC Staple Fibre

NYLON Filament Yarn

VISCOSE

IMPORTS Commodity

May 2020

May 2021

Jan- May 2020

Jan - May 2021

% Change

POLYESTER Staple Fibre

6.64

6.73

41.03

46.68

13.77

Filament Yarn

6.27

12.4

31.88

56.05

75.82

4.97

7.99

30.44

36.88

21.16

0.91

1.73

5.81

10.09

73.67

3.57

10.41

60.04

90.02

49.93

9.8

15.78

53.61

72.86

35.91

ACRYLIC Staple Fibre

NYLON Filament Yarn

VISCOSE Staple Fibre Filament Yarn

Source: Ministry of Commerce and Industry J U LY 2 0 2 1

58

H O M E TE X TILE U PDATE

india- home textiles exports TEXTILE VALUE CHAIN

Unit: USD Million

Unit: USD Million

Bed linen, Table linen, Toilet linen and Kitchen linen HSCode

Furnishing articles nes, except mattresses, etc

Jan - May 2020

Commodity

Toilet And Kitchen Linen Of Cotton Terry Toweling Or Similar Cotton 630260 Terry Fabrics

339.07

630231 Bed Linen (Other Than Printed) Of Cotton, Not Knitted Or Crocheted

57.17

630221 Bed Linen, Printed, Of Cotton, Not Knitted Or Crocheted

Jan - May 2021

444.42 275.81

% Change

31.07 382.44

8.61

37.48

335.31

14.15

19.75

39.58

630210 Bed Linen, Knitted Or Crocheted

9.72

18.76

93.00

Bed Linen (Other Than Printed) Of Textile Materials , Not Knitted Or 630239 Crocheted

4.47

13.45

200.89

630240 Table Linen, Knitted Or Crocheted

630291 Toilet And Kitchen Linen Of Cotton, Other Than Of Terry Fabrics

7.64

12.95

69.50

630251 Table Linen Of Cotton, Not Knitted Or Crocheted

2.27

7.12

213.66

630222 Bed Linen, Printed, Of Manmade Fibers, Not Knitted Or Crocheted

2.94

5.41

84.01

3.26

4.08

25.15

630259 Table Linen Of Textile Materials , Not Knitted Or Crocheted

3.19

3.98

24.76

630299 Toilet And Kitchen Linen Of Textile Materials

2.18

3.57

63.76

630293 Toilet And Kitchen Linen Of Manmade Fibers

0.1

0.61

510.00

630229 Bed Linen, Printed, Of Textile Materials , Not Knitted Or Crocheted

0.41

0.47

14.63

630253 Table Linen Of Manmade Fibers, Not Knitted Or Crocheted

0.51

0.25

‐50.98

455.69

848.11

86.12

630232

Bed Linen (Other Than Printed) Of Manmade Fibers, Not Knitted Or Crocheted

Total Source: Ministry of Commerce and Industry

HSCode

Jan - May 2020

Commodity

Jan - May 2021

630492 Furnishing Articles , Of Cotton, Not Knitted Or Crocheted

193.78

459.48

630419 Bedspreads Of Textile Materials, Not Knitted Or Crocheted

258.95

363.27

40.29

630499 Furnishing Articles , Of Textile Materials , Not Knitted Or Crocheted

11.92

34.14

186.41

Furnishing articles; excluding those of heading no. 9404, bed nets, specified in Subheading Note 1 to this Chapter

630420

19.41

21.98

13.24

6.34

10.81

70.50

630493 Furnishing Articles , Of Synthetic Fibers, Not Knitted Or Crocheted

4.03

10.34

156.58

0.1

0.79

690.00

494.53

900.81

82.15

630411 Bedspreads Of Textile Materials, Knitted Or Crocheted Total Source: Ministry of Commerce and Industry

Unit: USD Million

Blankets and Travelling Rugs HSCode 630130 630190 630140 630120

Jan - May 2020

Commodity Name Blankets (Other Than Electric Blankets) And Traveling Rugs, Of Cotton Blankets (Other Than Electric Blankets) And Traveling Rugs, Of Textile Materials Blankets (Other Than Electric Blankets) And Traveling Rugs, Of Synthetic Fibers Blankets (Other Than Electric Blankets) And Traveling Rugs, Of Wool Or Fine Animal Hair

630110 Blankets, Electric Total

Jan - May 2021

33.89

83.59

20.9

29.48

41.05

9.75

10.36

6.26

0.84

2.23

165.48

0.04

0.02

‐50.00

49.99

75.98

51.99

Source: Ministry of Commerce and Industry

Commodity

Curtains (Including Drapes), Interior Blinds And Curtain Or Bed Valances Of Cotton, Not Knitted Or Crocheted Curtains (Including Drapes), Interior Blinds And Curtain Or Bed 630399 Valances Of Textile Materials , Not Knitted Or Crocheted Curtains (Including Drapes), Interior Blinds And Curtain Or Bed 630392 Valances Of Synthetic Fibers, Not Knitted Or Crocheted 630391

Curtains (Including Drapes), Interior Blinds And Curtain Or Bed Valances Of Synthetic Fibers, Knitted Or Crocheted Curtains (Including Drapes), Interior Blinds And Curtain Or Bed 630319 Valances Of Textile Materials , Knitted Or Crocheted Total Source: Ministry of Commerce and Industry

J U LY 2 0 2 1

Jan - May 2020

Jan - May 2021

% Change

18.46

Curtains, drapes, interior blinds, valances

630312

137.11

630491 Furnishing Articles , Of Textile Materials, Knitted Or Crocheted

Unit: USD Million

HSCode

% Change

% Change

17.7

35.35

99.72

29.6

23.79

‐19.63

2.59

4.34

67.57

0.49

1.47

200.00

0.19

0.45

136.84

50.57

65.4

29.33

H O M E TE X TILE U PDATE Unit: USD Million

Unit: USD Million

Bed linen, Table linen, Toilet linen and Kitchen linen Jan - May 2020

Country USA

Jan - May 2021

% Change

59

Curtains, Drapes, Interior blinds, Valances

% Share in Total Exports

Country

Jan - May 2020

Jan - May 2021

% Change

% Share in Total Exports

291.74

582.84

99.78

68.72

USA

16.08

33.37

107.52

51.02

15.38

27.45

78.48

3.24

UAE

22.45

4.89

-78.22

7.48

Germany

15.7

27.38

74.39

3.23

France

2.2

4.53

105.91

6.93

Australia

11.88

25.14

111.62

2.96

Germany

1.77

4.09

131.07

6.25

UK

20.44

24.86

21.62

2.93

Sweden

0.89

2.08

133.71

3.18

Netherland

12.94

17.07

31.92

2.01

Japan

1.09

2

83.49

3.06

France

5.34

13.25

148.13

1.56

UK

0.63

1.59

152.38

2.43

UAE

7.34

12.11

64.99

1.43

Canada

0.61

1.36

122.95

2.08

Israel

5.85

11.95

104.27

1.41

China

0.62

1.19

91.94

1.82

Japan

5.19

8.54

64.55

1.01

Saudi Arabia

0.31

1.01

225.81

1.54

Others

63.81

97.44

52.70

11.49

Others

3.86

9.27

140.16

14.17

455.69

848.1

86.11

100.00

50.56

65.4

29.35

100.00

Canada

Total HS Code: 6302

Total HS Code: 6303

Source: Ministry of Commerce and Industry

Source: Ministry of Commerce and Industry

Unit: USD Million

Unit: USD Million

Furnishing articles nes, Except mattresses, etc Country USA

Jan - May 2020

Jan - May 2021

% Change

Blankets and Travelling Rugs

% Share in Total Exports

268.93

534.01

98.57

59.28

UK

22.86

43.81

91.64

4.86

Germany

20.97

31.77

51.50

Australia

10.98

27.3

Canada

13.51

France

Country USA

Jan - May 2020

Jan - May 2021

% Change

% Share in Total Exports

31.71

49.94

57.49

65.75

Germany

1.79

2.88

60.89

3.79

3.53

UK

1.24

2.12

70.97

2.79

148.63

3.03

China

0.56

1.49

166.07

1.96

26.71

97.71

2.97

Sweden

0.4

1.36

240.00

1.79

12.05

20.23

67.88

2.25

Australia

1.21

1.27

4.96

1.67

UAE

10.14

14.64

44.38

1.63

Canada

0.81

1.15

41.98

1.51

Spain

12.47

14.26

14.35

1.58

UAE

0.91

1.05

15.38

1.38

Italy

9.79

13.61

39.02

1.51

Japan

0.51

0.99

94.12

1.30

Netherland

5.95

11.05

85.71

1.23

Poland

0.24

0.98

308.33

1.29

Others

106.78

163.35

52.98

18.13

Others

10.59

12.66

19.55

16.67

Total

494.53

900.81

82.15

100.00

Total

49.99

75.96

51.97

100.00

HS Code: 6304

HS Code: 6301

Source: Ministry of Commerce and Industry

Source: Ministry of Commerce and Industry

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60

M ACHINE R Y U PDATE

TEXTILE MACHINERY EXPORTS BOOST IN THE FIRST FIVE MONTHS OF 2021 KSHIPRA GADEY Textile Value Chain Unit: US $ Million

India ‐ Textile Machinery Exports Jan - May 2020

HS Code Commodity 8445

Machines for processing textile fibres

8448

Auxiliary machinery and parts for textile machinery

8446

Weaving machines (looms)

45.22

Jan - May 2021 79.26

% Change 75.28

40.3

66.8

65.76

11.37

15.72

38.26

8447

Machines for knitting, lace, embroidery, tufting, etc

2.53

3.37

33.20

8449

Machinery for making felt, nonwovens, including hats

0.33

0.3

-9.09

99.75

165.45

65.86

Source: Ministry of Commerce and Industry

There was a 75.28% increase in the exports as the machines for processing textile fibers exports climbed up from 45 million USD during Jan-May 2020 to 79.26 million USD in 2021 during the same period. Malaysia’s import of these machinery increased from 1.7 lakh USD in 2020 to 11.18 million USD in 2021. Though Malaysia was the highest importer of these machines from India in Jan-May 2021, Egypt depicted the highest growth in the import of these machinery from India as its import hiked from 1 lakh USD in Jan-May 2020 to 9.61 million USD in 2021 during the same period. Benin was the 2nd largest importer of machines for processing textile fibres from India in Jan - May 2021 with the imports worth 9.71 million USD. Turkey’s import of the same was 9.56 million USD in 2021 during the given period. There was a huge drop in Bangladesh’s import of this machinery as the import dwindled from 11.32 million USD in Jan-May 2020 to 8.35 million USD in 2021 during the same period. India’s export of these machines to China hiked from 8.9 lakh USD in 2020 to 3.68 million USD in 2021 during Jan-May. Auxiliary machinery and parts for textile machinery exports were worth 40.3 million USD in Jan-May 2020 with a noticeable boost in 2021 during the same period when these exports were worth 66.8 million USD claiming 65.76% growth. India exported the highest number of this machinery to China in both the years during Jan-May. Export of these machines to China was worth 4.32 million USD in 2020 climbing up to 9.2 million USD in 2021 during the given months. Japan’s import of these machines grew as its import increased from 0.14 million USD to 8.04 million USD in 2021. India exported these machineries to Germany worth 5.66 million USD in 2021 during the mentioned months. Italy’s import of these machines from India was 2.09 million USD in 2020 which more than doubled to 4.32 million USD in 2021 during the mentioned months. Bangladesh showed 56.98% growth in the imports of these machineries. It imported machinery worth 4.05 million USD during Jan-May 2021 which was 1.47 million USD more than the previous year’s import during the same duration. Turkey’s import of these machines increased from 2.08 million USD in Jan-May 2020 to 3.01 million USD in 2021 during the same duration.

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Exports of weaving machines (looms) was worth 15.72 million dollars in Jan-May 2021 which was 4.35 million USD more than the exports in 2020 during the same period. Bangladesh was the highest importer of these machines in JanMay 2021. UAE’s import of these machines from India hiked from 4.9 lakh USD in 2020 to 1.77 million USD in 2021 during the given period. Brazil’s import of these machines doubled from 6 lakh USD in Jan-May 2020 to 1.07 million USD in 2021. Vietnam’s imports of these machines dropped from 1.35 million USD in 2020 to 0.91 thousand USD in 2021 during Jan-May. Turkmenistan displayed a whooping growth as its import of these weaving machines was 96 lakh USD more than Jan-May 2020’s import, when the imports were worth 7 lakh USD only.

From 2.53 million USD during Jan-May 2020, exports of machines for knitting, lace, embroidery, tufting, etc. climbed up to 3.37 million USD in 2021 during the same period. There was huge growth in Germany’s import of these machineries from India as its import hiked from 6 lakh USD during JanMay 2020 to 2.37 million USD in 2021 during the same period. Nepal’s import of the same increased from 8 lakh USD in 2020 to 37 lakh USD in 2021 during the mentioned months.

Unit: US $ Million

Auxiliary Machinery And Parts For Textile Machinery S.No.

Country

Jan - May 2020

Jan - May 2021

% Change

1

China

4.32

9.2

112.96

2

Japan

0.14

8.04

5642.86

3

Germany

3.89

5.66

45.50

4

Italy

2.09

4.32

106.70

5

Bangladesh

2.58

4.05

56.98

6

Turkey

2.08

3.01

44.71

7

Indonesia

2.38

2.94

23.53

8

Singapore

2.02

2.65

31.19

9

UAE

1.07

2.18

103.74

10

Malaysia

0.14

2.05

1364.29

11

Nepal

0.63

2.05

225.40

12

Vietnam

1.16

2.05

76.72

13

Others

17.76

18.57

4.56

40.3

66.8

65.76

Total Source: Ministry of Commerce and Industry

M ACHINE R Y U PDATE Japan, Indonesia, and Djibouti imported these machines worth 15 lakh USD, 12 lakh USD and 8 lakh USD respectively during Jan-May 2021.

Machinery for making felt, nonwovens, including hats witnessed a decrease from 0.33 million USD in 2020 to 0.3 million USD in 2021 between Jan-May. Nepal was the highest importer of these machines in both the years during Jan-May, its imports dwindling to 0.09 million USD from 0.21 million USD. Fiji, France, UAE, and USA imported these machineries worth 0.01 million USD each during Jan-May 2021. Bhutan’s import of these machines was worth 0.08 million USD. Unit: US $ Million

Weaving Machines (Looms) S.No.

Country

Jan - May 2020

Jan - May 2021

% Change

1

Bangladesh

1.21

2.47

104.13

2

UAE

0.49

1.77

261.22

3

Brazil

0.06

1.07

1683.33

4

Turkmenistan

0.07

1.03

1371.43

5

Vietnam

1.35

0.91

-32.59

6

Mexico

0.54

0.79

46.30

7

Indonesia

1.25

0.63

-49.60

8

Angola Turkey

1.04

0.59

-43.27

10

Egypt

0.56

0.49

-12.50

11

Sudan

0.37

0.47

27.03

12

Algeria

0.15

0.46

206.67

13

Others

4.23

4.43

4.73

11.37

15.72

38.26

Total Source: Ministry of Commerce and Industry

Unit: US $ Million

Machines For Knitting, Lace, Embroidery, Tufting, Etc S.No.

Country

Unit: US $ Million

Machines for processing textile fibres S.No.

Country

1

Malaysia

2

Benin

3

Egypt

4

Turkey

5

Bangladesh

6

Jan - May 2020

Jan - May 2021

% Change

1

Germany

0.06

2.37

3850.00

2

Nepal

0.08

0.37

362.50

3

Japan

0.15

4

Indonesia

0.12

5

Djibouti

0.08

6

Others

2.39

0.26

-89.12

Total

2.53

3.37

33.20

Source: Ministry of Commerce and Industry

Jan - May 2020

Jan - May 2021

0.17

% Change

11.18

6476.47

9.71 0.1

9.61

9510.00

4.93

9.56

93.91

11.32

8.35

-26.24

China

0.89

3.68

313.48

7

Germany

1.32

3.55

168.94

8

Netherland

3.55

3.43

-3.38

9

Uzbekistan

2.94

3

2.04

10

Oman

1.46

2.98

104.11

11

Brazil

3.05

2

-34.43

12

Indonesia

1.92

1.69

-11.98

13

Vietnam

1.62

1.34

-17.28

14

UAE

0.28

1.21

332.14

15

Others

45.22

11.69

-74.15

Total

45.22

79.26

75.28

0.61

9

61

Source: Ministry of Commerce and Industry

Unit: US $ Million

Auxiliary Machinery And Parts For Textile Machinery S.No.

Country

Jan - May 2020

Jan - May 2021

% Change

1

China

4.32

9.2

112.96

2

Japan

0.14

8.04

5642.86

3

Germany

3.89

5.66

45.50

4

Italy

2.09

4.32

106.70

5

Bangladesh

2.58

4.05

56.98

6

Turkey

2.08

3.01

44.71

7

Indonesia

2.38

2.94

23.53

8

Singapore

2.02

2.65

31.19

9

UAE

1.07

2.18

103.74

10

Malaysia

0.14

2.05

1364.29

11

Nepal

0.63

2.05

225.40

12

Vietnam

1.16

2.05

76.72

13

Others

17.76

18.57

4.56

40.3

66.8

65.76

Total Source: Ministry of Commerce and Industry

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62

E V ENT U PDATE

Wool Research Association’s (WRA) Webinar on “Sportwear & Knitting Technology” Wool Research Association (WRA) in a Joint Venture with Maharashtra Centre for Entrepreneurship Development (MCED), Government of Maharashtra organized An Eight (08) Days Webinar (Online Training) on “Sportwear & Knitting Technology” from 21st to 28th June, 2021 from Time : 2.00 p.m. to 4.00 p.m.

Twenty Five (25) participants were benefited from these interactive training sessions. The profiles of attendees were Start-up Entrepreneurs, Academicians, Researchers and students from Technical Institutions.

The training was broadly divided into five days technical presentations

by Wool Research Association (WRA) team and last 3 days Commercial aspects by Maharashtra Centre for Entrepreneurship Development (MCED) team.

Day 1: Inaugural session: In this session Opening Speech was delivered by Shri K. K. Misra, Director (Officiating) & C.O.O., WRA. Dr Mrinal Choudhari, Joint Director, WRA welcomed all the participants of training programme followed by their introduction. Shri. S. B Umap, Regional Officer, Maharashtra Centre for Entrepreneurship Development (MCED) briefed all participants J U LY 2 0 2 1

about activities of MCED. In first Technical session Dr. Mrinal Choudhari delivered lecture on “Introduction to Technical Textile”. She gave detailed information about what

is Technical Textile, different categories of technical textile, Applications and Market sizes of each segments of Technical Textile. Dr Choudhari also covered Opportunities in Technical Textile in detailed.

On first Day Mrs. Smita Bait Honade, Deputy Director, WRA discussed briefly on “Sportech- Product, Technology & Evaluation of Performance” She gave details about Sports Textiles and its categories, such as sportswear, sports goods and sports accessories. Technical interventions in sports textiles are focused on friction, moisture management, comfort, compression, thermoregulation and lightweight characteristics. Sportswear are designed based on type of sports, level of activity, climatic condition and duration of engagement.

She also covered in detailed various

modified synthetic fibres such as Hygra, dacron, lycra , triactor and fabric composite materials such as coated fabric used for development of sportswear.

Day 2: Technical session began with eminent speaker Mr. Ravi Arora, CEO and Founder of Unified Knowledge Services Pvt Ltd New Delhi. He delivered a lecture on “Sport Market, Demand and supply”. He covered in details about

current status of Sportech segment from commercial point of view and explained the forecast of exports of sports items from India.

On second Day Mr Devvert Ruhela, Scientist-B, WRA delivered lecture on “Introduction to weft Knitting, Types of Knitting technologies and their machine styles”. He discussed briefly the Knitting Process along with the understanding of basic terminologies such as course, wales, stitch density, loop length, etc. He explained the difference between a knit and woven structure. He also explained around 19 types of different knitting structure from which the fabric can be developed. A detailed discussion was done on types of needles like breaded, compound, latch needle and their uses in knitting technology along with their working system. Lastly few related videos were shown for a

E V ENT U PDATE better understanding of the topics.

Day 3: Technical session began by Mr. Shishir Tyagi, Deputy Director, WRA; he gave presentation on “Evaluation on Performance Characteristics of Sport textiles”. He stated that Sportswear is one of the category of Sports Technical Textiles and being a part of SPORTECH, it should consists of functional aspects such as; thermo-physiological comfort properties, moisture management properties, breathability etc. He briefed about methods & Instruments used for evaluation of such properties of sportswear which can directly affect the performance of sportsperson/ wearer. He also briefed the audience about Research & development work carried out by WRA’s COE SPORTECH in the area of Smart Electronic wearable T-shirt for measuring heart rate, sweat and skin temperature of the wearer in real time, Active Heating system Based Sleeping Bag and Cooling Jackets based on Evaporative Cooling mechanism etc.

On third day Mr. Devvert Ruhela, Scientist B, WRA delivered lecture on “Weft Knitting Structures and fabric designs.” He discussed in detail about weft knitting along with its prominent knitting structures, their properties, and end-uses. A detailed discussion along with the pictures and videos on the type of knit stitch was done (Plain Stitch, Purl Knit, Rib Knit, Interlock Knit). After that, a brief discussion was done on the types of weft knitting machines such as Single Jersey Circular Knitting Machine, 2 Track, 4 Track Single Jersey Circular Knitting Machine, Terry and Fleece Single Jersey Circular Knitting Machine, Jacquard Single Jersey Circular Knitting Machine, Double Jersey Circular Knitting Machine, and flat needle bed weft knit-

ting machine. Basic Calculations were shown in weft knitting.

Day 4: Technical session began by Mr. Mayur Basuk, Deputy Director, WRA; he delivered lecture on “Introduction to Warp Knitting”. During his presentation he covered preparation of Warp knitting which along with direct warping machine, raw material, parts & functions of direct warping machine, importance of warping. He also explained the objective of warping, type of warping, the component of warping machine, warp beams, warping elements & motion, the requirement of warping, the function of components of creel, brake & stop motions, beam cycles, warper beam defects, production calculations.

On the 4th Day second lecture was delivered by eminent speaker from Knitting Industry, Mr. Shrilesh Trilokekar, Certified Trainer - Warp Knitting in the Karl Mayer Academy, Surat & Ahmedabad. He explained in detailed about the introduction to Warp Knitting machine also covered Types of Warp Knitting Machines – Tricot and Raschel, the difference between the two machines, Knitting elements and their function (Sinker & guide bar, needle bed, needle). He further briefed about Warp Knitting Technology- Loop Formation, Tricot Knitting, Knitting Element Displacements: Swinging and Shogging Motions (Overlap and Under lap) Guide bar shog. He also explained the graphical Representation of Warp Knitting Structures, Lapping Diagrams, Looping Diagrams, and Numerical Notation Related to Chain Link Height & Chain Link Arrangement.

Day 5 Technical session began by Mr. Devvert Ruhela, Scientist-B, WRA; he gave presentation on “Knitted Fabric Defects and Remedies”. He covered in detail knitting defects on

63

the fabric such as raw material-related defects, knitting elements-related defects, Machine setting-related defects. Also detailed discussion was done on types of stitches and thereafter their representation on computer designing software. Around 4-5 types of fabric designs were discussed on the computer-aided software.

On the 5th day Mr. Mayur Basuk, Deputy Director, WRA give presentation on “Recent Trends in Sportwear”, he covered various latest trends in the segment of sportswear.

On the 5th day Mr. Shishir Tyagi, Deputy Director, WRA given presentation on “Business Model for setting up Warp Knitting & Circular Knitting Unit”. He explained in details financial aspects involved in setting up a Warp Knitting & Circular Knitting Unit. He explained that business model was formulated based on certain predefined assumptions such as pre-defined end product, Annual production capacity requirement, no. of shift of production etc. The financial aspects covered about requirement of fixed cost, operational cost, working capital requirement, net profit ratio and rate of return etc. to make a self sustainable business model.

6th, 7th and 8th days training was given by MCED team where lectures on “Digital Transformation” was delivered by Mrs. Deepa Raut , IT Technology Expert, Thane, another lecture on “Communication Skill and Business plan” was delivered by Mrs. Ruchira Das, Professor, MIT, Pune.

The last Lecture of training session was taken by Shri S. B Umap, Regional Officer, MCED on “Role of MCED- Government schemes”. Eight days training concluded by feedback of participants and vote of thanks by organizing team.

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64

E V ENT U PDATE

NATIONAL HANDLOOM DAY 2021 Webinar

by TEXTILE VALUE CHAIN

TEXTILE VALUE CHAIN Media Celebrated National Handloom Day on 7th August, 2021 Online through google meet platform, where more than 100 people have participated in the event.

Celebrating culture and appreciating the artisan is the main objective of event. Since 2015 Prime Minister of India announced Handloom day considering With the partition of Bengal, the Swadeshi Movement gained strength.

It was on August 7, 1905 that a formal proclamation was made at the Calcutta Town Hall to boycott foreign goods and rely on Indian-made products.

The prime objective of holding the National Handloom Day is to highlight the contribution of handloom to the socioeconomic development of the country and increase income of the weav-ers.As per the 4th All India Handloom Census (2019-20), there are 26, 73,891 handloom weavers and 8,48,621 allied workers in the country.

Handloom day is observed to raise awareness about the economic importance of the textile sec-tor, especially, traditional textile and handloom sector. This day is also meant for cherishing the rich textile heritage and skilled craftsmanship of India.

We have invited 4 speakers from Industry for Handloom day Webinar Speaker : 1 : Mr. Sundar Murugesan An alumnus of prestigious Anna University & doctorate in Textiles technology with Triple post graduations in Technology (M.Tech), Management (MBA) and public administration (M.A) with over 35 years of rich experience in entire Textile value chains. Prior to joining Handloom Export Promotion Council- HEPC, Mr. Sundar Murug-

J U LY 2 0 2 1

esan was Chief Executive Officer at Voltec Group. The highlight of his career has been his contribution in the nurturing of Indian Textile exports esp.

Handloom segments to major international markets. He has a rich experience of working in export trade in both his cadre and with the various corporate entities spanning across his vast industrial exposure. This includes his longest stint with the Japanese MNC Sumitomo Corporation and French MNC Bureau Veritas.

He shared his views “ Handloom is making mark in India and International. Handloom industry scheme should be opted for industry stalwarts and make a handloom as an International Brand. HEPC can help to promote handloom in international market. Handloom Tourism can be started as an earning opportunity , where various cluster tour can be ar-ranged and explore our heritage.

Due to the increasing demand of synthetic clothing and fast fashion, Indian handloom textiles are facing a decline in the demand. Today, our weav-ers and artisans need appropriate value and respect for their work.

The government has launched and is still launching various schemes to encourage handloom business.

People in the value chain are also

working towards establishing a handloom brand and handloom tourism.

Handloom legacy of India is so rich that it can also be promoted in the international market.

The previous generation cherished the traditional textiles and treasured the traditional Paithanis, jamdanis, patola, bandhani, kanjeevaram, banarasi brocade and the other varieties of handloom textile. Today, due to the changing fashion trends, people do not under-stand the beauty and value of these heritage textiles.

Speaker 2 : Mr. Sarfraz Khatri Owner of Pracheen, A well-motivated and energetic individual , Participated in paramparik karigars exhibition, crafts council exhibitions in cities like Chennai, Hyderabad, Bangalore, Delhi, and Lakme fashion week 2013.

Conducted various workshops across India of hand block printing using natural dyes at chhatrapati shivaji maharaj vastu sangrahalaya organized by paramparik karigar.

He shared about how natural dying and printing gives natural vibrance in natural hand spun handloom fabric.

Difference between handloom fabric and power loom fabric is min-imal , from selvedge difference only fabric can be differentiated. We should

E V ENT U PDATE have awareness activity in Indian Retail and International , where we can keep one corner in the store where only handloom garment, fabrics are kept.

against the other but together with each other we can grow the industry. Though we have a different handloom to cherish our regional culture, we have to understand that its not

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embellished with hand embroidery, block print and other traditional embellishments that are handcrafted by the traditional artisans of Rajasthan.

Raghushree believes in sustainable and eco-friendly clothing.

She shared that to promote more consumer awareness and consumption, all citizen should wear handloom once in a week, she also suggested that if sarees are not suitable for every-day clothing, one can use these handcrafted textiles in the form of jumpsuits, kaftans, dresses, and other piece of clothing.

Speaker 3 : Dr. Ela Dedhia Former Head, Department of Textiles & Fashion Technology, Nirmala Niketan, University of Mumbai is an educationist since 38 years, shouldered various responsibilities as In Charge Principal, IQAC Coordinator.She is a Recipient of the Fellow of the Textile Association of India, Bronze Medal of Society of Dyers & Colorist, UK, and the Kutch Shakti Award.She has consulted research projects focus on three R’s Recycle, Reduce, Reuse: rejuvenating traditional processes & exploring advanced technologies.She is an Editor and Re-viewer for National and International Journals and is a PhD Research Guide for University of Mumbai and SNDT Women’s University.

She shared her views on rich heritage of handloom industry. Its not one

about any one par-ticular textiles but it is about each one of those legacies artisans have been passing on to their successors to maintain the textile heritage of India. She have initiated process of handloom by suggesting school to have School uniform in handloom fabric.

Speaker 4 : Raghushree Poddar, a Jaipur based designer and founder of brand “Reme Life-style’. Her 10-yearold brand has already marked its footprints reputed on online stores and vari-ous fashion weeks across India.

Her brand stands strong based on her instincts and passion. Her family owns Cheer Sagar export house. Reme is a chemical free fashion and home textile that makes products from organic handloom fabric and natural dyes only. Their collections are beau-tifully

Other few suggestions came from delegates that, handloom can be used in Railway home fur-nishing, promote brand in Retail store, malls, MBO, promote as brand, indulge in aware-ness activity ,Difference of handloom and power loom fabrics awareness activity etc.

The wonderful session was followed by an interactive session of questions and answers. Textile Value Chain is grateful to all the eminent speakers of the event, dignitaries from the field of tex-tiles and fashion, students and faculties from various institutes and all 100+ participants because of whom this event was successful. Handloom day is not just a single day but it could be cele-brated every day. Handloom and Power-loom should be branded separately in India as well as International market. Webinar is successfully concluded with continue webinars in future. We are thankful to entire textile value chain team for making this event successful and meaningful.

Cherishing the Handloom Legacy of India

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E V ENT U PDATE

FUTURE OF DESIGN WEBINAR by FASHION VALUE CHAIN

Fashion Value Chain organised a Webinar / Training Workshop entitled “Future of Design” with Priyanka Jagtap on 7th August 2021, 5 PM IST to 7 pm IST through Google Meet. Objective of the training workshop is to give knowledge about Digital Fashion and Textile Design illustration to students , interns, fashion professionals and many more.

provides immense career opportunities for the people pursuing fashion design.

Ms. Priyanka also stated the difference in the digital illustration and graphic design which are basically two different fields. The designer demonstrated illustration, rendering, and realistic effects during the webinar. She also guided the audience with the career opportunities and scopes in the field.

Ms. Priyanka Jagtap has pursued B.Sc in fashion design and is working with renowned fashion and costume designers of Bollywood and Tollywood as their digital illustrator for costume and collections. She recently launched her label ‘House of Binibini’ and is also the founder of digital fashion design academy under the same roof of her label.

Fashion industry has evolved at a great pace since last three decades. With the new technologies taking over to the contemporary working style across the globe, fashion industry is now shifting towards sustainability and digitalisation. Fashion courses generally impart the skill of manual fashion illustration into the budding designers. To match with the digital change, today, designers are majorly hiring digital illustrators, to bring their imagination to life.

Digital illustration not only gaining popularity due to its technical advances but also because it is more ecofriendly, less time consuming and allows more variation in less duration. To keep up with the changing world, it has now become necessary for the upcoming designers to inculcate this skill.

There is a huge number of designers in the industry, but the number of illustrators that deliver this quality of work is comparatively less. This also

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The designer also shared the career opportunities of digital illustrators in the field of textile designing. She also showcased her illustrations and designs in both textile and fashion.

Fashion Value Chain is grateful to Ms.

Priyanka Jagtap for sharing her exemplary knowledge, skill, and experience.

We are also thankful to the delegates, students and faculties of textile and fashion field who made this event a success. This event wouldn’t have been possible without the efforts of whole fashion value chain team. We congratulate Ms. Saba Shaikh, business developer for Fashion value chain and Ms. Kshipra Gadey for planning, organizing, and arranging this successful event. We at Fashion Value Chain are striving to provide exposure and career guidance to the upcoming generation of Fashion designers. We anticipate having more such eminent speakers for such events in future.

www.textilevaluechain.in GO DIGITAL WITH US

LET YOUR BUSINESS WORKS DIGITALLY INVEST TIME PRODUCTIVELY

MD. TANWEER +91 9167986305, SALES@TEXTILEVALUECHAIN.COM

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