design and product development craft project on …

SPONSORED BY: CRAFT DEVELOPMENT CENTRE

PLANNING, TRAINING AND DESIGN DEVELOPMENT UNDERTAKEN BY SWARUP DUTTA & INDRAJIT DE

CRAFT

DEVELOPMENT

CENTRE

DESIGN AND PRODUCT DEVELOPMENT

PROJECT ON BARMER APPLIQUE WORK

5th – 19th JANUARY, 2011 CONDUCTED AT INDIAN INSTITUTE OF CRAFTS AND DESIGN

ACKNOWLEDGEMENT

We are thankful to Craft Design Centre, Indian Institute of Crafts and Design and the FOREX for

granting their kind cooperation and support for organizing this Design and Technical Development

Workshop on Barmer Applique Embroidery Craft, at IICD Jaipur.

We take the privilege to thank Ms. Sangita Shroff, Director IICD Jaipur for giving her encouragement,

support and time for conducting this project.

We would like to thank Mr. Jayant Bhojia and the regional crafts coordinator of Barmer, Mr. Revant

Singh along with all the artisans who formed the very core of the development programme, for their

relentless help and support towards completion of this project. Special thanks TO Shri Kheta Ram,

without whose support this workshop would not have been possible.

Also our sincere thanks Mr. Dilip Baid and other FOREX members for helping us with valuable advices

to complete the project successfully. They have been the backbone of the project.

Our heartfelt thanks to Ms. Sangita Sharma, coordinator CDC, for her efforts and advices throughout

the project.

TABLE OF CONTENT

CHAPTER I ABOUT CRAFT DESIGN CENTER

ABOUT FORHEX

CHAPTER II INTRODUCTION

OBJECTIVES

DELIVERABLES

CHAPTER III APPLIQUE EMBROIDERY OF BARMER

CHAPTER IV PLACES SURVEYED AND IMPLEMENTING AGENCIES

ABOUT BARMER DISTRICT

CHAPTER V PROJECT METHODOLOGY

CHAPTER VI OUTCOME OF THE PROJECT

CHAPTER VII THE COLLABORATORS

CHAPTER VIII LIST OF PRODUCTS DEVELOPED ALONG WITH COSTING

BIBLIOGRAPHY

ANNEXURE I RESUME – SWARUP DUTTA

ANNEXURE II RESUME – INDRAJIT DE

CHAPTER I

ABOUT CRFAT DESIGN CENTER

Craft Design Centre is a joint initiative of IICD and FORHEX (Federation of Rajasthan Handicraft

Exporters) with a vision:

To motivate the industry to continuously build and strengthen their design database.

To adapt the arts and crafts of Rajasthan to the requirements of the international market.

To be able to provide required services in the area of design interventions as well as offer

ready prototypes.

To initiate the process of identifying the languishing crafts of Rajasthan and work on their

revival.

CDC has, among others, Director IICD as Chairperson, President, FORHEX as Co-Chairperson, a CEO

and office-helper. The Governing Council consists of 3 IICD members, including the Chairperson, who

is also Director of IICD, Member Secretary, who is also Accounts Manager of IICD and 7 FORHEX

members, including the Co-Chairperson, who is also President of FORHEX.

Since its inception in 2005, it has successfully undertaken a number of design projects in wood,

metal, dhokra craft, textiles and pottery.

ABOUT FORHEX

Federation of Rajasthan Handicraft Exporters is a body dedicated to the Handicraft and Textile sector

of Rajasthan established in the year 2001. The federation is known for its active promotion of the

textile and handicraft items and the respective associated areas at State, National as well as

International levels.

Associated with more than 1,000 registered Handicraft and Textiles exporters across the State,

FORHEX works for the uplifment of the trade which gives employment at the grass root level.

Appreciated for instigating success for the entire Handicraft, Textile, Gift & Accessories industry of

Rajasthan, FORHEX has over the years earned respect from many international organizations &

Export Promotion Council for Handicrafts, New Delhi.

CHAPTER II

INTRODUCTION

Rajasthan, known as the „Land of Colours‟ is famous throughout the World for its rich culture,

handicrafts and varieties of textile products. Its geography and history have imbibed it with elements

of north. It is the largest state in the Republic of India by area. The state is known as India‟s craft hub,

lies in western part of the subcontinent and has two very distinct climatic zones divided by the

Aravalli mountain ranges. It encompasses most of the area of the large, inhospitable Great Indian

Desert (Thar Desert), which has an edge paralleling the Sutlej-Indus river valley along its border

with Pakistan. The state is bordered by Pakistan to the west, Gujarat to the southwest, Madhya

Pradesh to the southeast, Uttar Pradesh and Haryana to the northeast and Punjab to the north.

Rajasthan covers an area of 132,150 sq mi or 342,239 km². The proportion of the state's total area

to the total area of the country is 10.41 per cent.

Jaipur is the capital and the largest city of the state. Geographical features include the Thar Desert

along north-western Rajasthan and the termination of the Ghaggar River near the archaeological

ruins at Kalibanga of the Indus Valley Civilization, which are the oldest in the Indian

subcontinent discovered so far.

One of the world's oldest mountain ranges, the Aravalli Range, cradles the only hill station of

Rajasthan, Mount Abu, famous for Dilwara Temples, a sacred pilgrimage for Jains. Eastern Rajasthan

has the world famous Keoladeo Ghana National Park near Bharatpur, famous for its bird life and is

a World Heritage Site and two famous national tiger reserves, Ranthambore and Sariska Tiger

Reserve. Rajasthan was formed on 30 March 1949, when all erstwhile princely states ruled

by Rajputs, known as Rajputana, merged into the Dominion of India.

Rajasthan dons a new image with the IT wave, and urbanization spreading across the State. Now,

Jaipur, the capital of Rajasthan has been transformed into a modern city that coexists alongside the

heritage pink city and continues to grow and expand every day. One of the most sacred and revered

Muslim pilgrimages, the Ajmer shrine is in Ajmer in Rajasthan and visited by devotees of all religions

throughout the year. Buddhists have also left magnificent evidence of their craft and influence at

Kiradu near Barmer in south western part of the state as the Jains did in Ranakpur temples. Skilled

craftsmen continue to create a wide variety of handcrafts. Rajasthan is a home to large pool of

artisans engaged in weaving and in handicrafts. Handicrafts constitute an important segment of the

decentralized/unorganized sector of our economy. It is mainly rural based, having reach in backward

and in-accessible area. Originally, started as a part time activity in rural areas. It has now transformed

into a flourishing economic activity due to significant market demand over the years. Handicrafts

have big potential as they hold the key for sustaining not only the existing set of millions of artisans

spread over length and breadth of the country, but also for increasingly large number of new entrants

in the crafts activity. Presently, handicraft sector is contributing substantially in employment

generation and export but this sector has suffered due to very nature of being unorganized with

additional constraints like lack of education, capital, poor exposure to new technologies, absence of

market intelligence and poor institutional framework, with the main objectives of increasing

production of Handicrafts and thereby enhancing the employment opportunities and earning capacity

http://en.wikipedia.org/wiki/Thar_Desert

http://en.wikipedia.org/wiki/Sutlej

http://en.wikipedia.org/wiki/Indus

http://en.wikipedia.org/wiki/Pakistan

http://en.wikipedia.org/wiki/Gujarat

http://en.wikipedia.org/wiki/Madhya_Pradesh

http://en.wikipedia.org/wiki/Madhya_Pradesh

http://en.wikipedia.org/wiki/Uttar_Pradesh

http://en.wikipedia.org/wiki/Haryana

http://en.wikipedia.org/wiki/Punjab,_India

http://en.wikipedia.org/wiki/Square_mile

http://en.wikipedia.org/wiki/List_of_state_and_union_territory_capitals_in_India

http://en.wikipedia.org/wiki/Ghaggar_River

http://en.wikipedia.org/wiki/Kalibanga

http://en.wikipedia.org/wiki/Indus_Valley_Civilization

http://en.wikipedia.org/wiki/Indian_subcontinent

http://en.wikipedia.org/wiki/Indian_subcontinent

http://en.wikipedia.org/wiki/Mountain_range

http://en.wikipedia.org/wiki/Aravalli_Range

http://en.wikipedia.org/wiki/Hill_station

http://en.wikipedia.org/wiki/Mount_Abu

http://en.wikipedia.org/wiki/Dilwara_Temples

http://en.wikipedia.org/wiki/Jainism

http://en.wikipedia.org/wiki/Keoladeo_National_Park

http://en.wikipedia.org/wiki/Bharatpur,_India

http://en.wikipedia.org/wiki/World_Heritage_Site

http://en.wikipedia.org/wiki/Ranthambore_National_Park

http://en.wikipedia.org/wiki/Sariska_Tiger_Reserve

http://en.wikipedia.org/wiki/Sariska_Tiger_Reserve

http://en.wikipedia.org/wiki/Rajput

http://en.wikipedia.org/wiki/Rajputana

http://en.wikipedia.org/wiki/Dominion_of_India

of the Crafts persons and promoting marketing, Inter-state as well as Foreign Trade, the office of the

Development Commissioner (Handicrafts), Ministry of Textiles, Govt. of India has setup Regional

offices and number of Field units throughout the Country. The Regional Office for Western Region is

located at Jaipur and the field units in Rajasthan are located in Udaipur, Jodhpur, Jaisalmer, Kota and

Bikaner to undertake activities of Handicrafts at a grass root level in 33 Districts of Rajasthan with

assistance of Government as well as Non-Government organizations/agencies who deal with the

Handicrafts sector. In view of the above, Craft Development Center (CDC), an independent unit of

Indian Institute of Crafts and Design based in Jaipur under took awareness generation activity by

building up good relation with the target communities. The Centre strongly believes that any

developmental activity requires in-depth understanding of the problems of the target group bringing

the attitudinal change among the rural women. With this strategy, CDC has taken action to empower

the women by providing opportunities for improving their standards and establishing socio-economic

status in the rural society. CDC has formulated and implemented training programmes for women to

develop skills of tailoring, embroidery, woodcraft, basket making etc. in the chosen clusters. It has

been undertaking various other developmental and vocational activities all throughout the state in

assistance with numerous other NGOs. In the current project, CDC in collaboration with the faculty

members of IICD, Jaipur are involved in training and developing products under Barmer Patchwork

Embroidery in one cluster, namely, Chohtan. The main objectives and deliverables of the project are:

OBJECTIVES

To develop new prototypes to suit the tastes and preferences of contemporary market using

the traditional skills of artisans.

Introduction of new techniques and technologies for enhanced production.

Establish market linkages for the artisans for sustainable development.

DELIVERABLES

The outcome of the project was to develop a range of fifteen to twenty prototypes of bags and wall

decorations to suit the tastes and preferences of contemporary market using the traditional skills of

artisans and introduction of new techniques and technologies for enhanced production along with a

detailed documentation report indicating the needed interventions in order of priority for the overall

improvement and development of the identified handicrafts especially focused at: raw material,

technology, design, common facilities, domestic/overseas market, brand building, quality,

productivity etc. The project report will also indicate the history of the craft, the demographical and

socio economic study of the practitioners of the craft, list of the interventions and concurrent

activities along with technical specification sheets, costing and market feedback. In this report, the

work done on Barmer appliqué work and the products developed with the help of the artisans are

mentioned in detail.

CHAPTER III

APPLIQUE EMBROIDERY OF BARMER

Barmer is located in the western part of the Rajasthan forming a part of the Thar Desert. The district

is surrounded by Jaisalmer district in the north, Jalore district in the south, Pali and Jodhpur district in

the east and Pakistan‟s Sindh province in the west.

Barmer district is part of the Great Indian Desert or Thar Desert. Like all other districts in the desert

region, Barmer is known for its patchwork, folkdance and music. The Bhopas and are found in

Barmer, who compose music in honour of the deities of the region and its war heroes. The other folk

musicians come from a community called the Muslim Dholis (drummers) for most of whom this is

the only means of livelihood. Langas and Manganiars are the some of these musician communities.

Barmer is famous for its carved wooden furniture and hand block printing industry. This area is best

visited to gain an insight into the desert life and admire the decorative skills of the simple village folk.

The villagers have some of the most beautiful mud huts that are decorated with delicate folk motifs.

Jasol, Juna Burmer, Khed, kiradu, Mallonath Fair (Cattle Fair), Meva Nagar (Nakoda), Kanana (sheetla

fair) Neemari are the prime attractions of the district.

India, the land of diverse cultures, of diverse customs, of diverse languages and habits, and of diverse

arts and crafts, yet united together by a single bond, its cultural richness, its art and craft, known to

the world since ages. Barmer is one such region in India boasting of a huge community of villagers

involved in the craft of patchwork since last century and has been a constant source of beautifully

crafted textile pieces sold all over the world. But did the craft exist there from the beginning? Is it a

traditional craft of barmer or is it an introduced craft from the neighbourinig region of Sindh,

Pakistan? In this report we have tried to answer a few fundamental questions like these so that it

becomes clear whether the design intervention can happen on contemporary or traditional lines.

Patchwork is a sibling of the rich handicraft and an age old art of the Indian subcontinent. Also

known as piecing, patchwork involves joining together pieces of fabric into a larger design. Patches of

various shapes and colors lead to the making of a larger design, usually based on repeat patterns.

Patchwork, one of the primary construction techniques of quilting, is often combined with appliqué.

Basic geometric shapes are usually used in the making of most of the appliquéd items.

In its broadest sense, an appliqué is a smaller ornament or device applied to another surface. In the

context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work,

generally for the purpose of decoration. The term is borrowed from French and, in this context, means

"applied" or "thing that has been applied."

Appliqué was first discovered when clothes ripped and needed fixing so they used to sew over the top

of the rip patches of different material other wise known as patch work.

In the context of sewing, appliqué refers to a needlework technique in which pieces

of fabric, embroidery, or other materials are sewn onto another piece of fabric to create designs,

patterns or pictures. It is particularly suitable for work which is to be seen from a distance, such as

in banner-making. A famous example of appliqué is the traditional Barmer Appliqué work.

Types of appliqué

Applied pieces usually have their edges folded under, and are then attached by any of the following:

Straight stitch, typically 2-3mm in from the edge.

Satin stitch, all around, overlapping the edge. The patch may be glued or straight stitched on

first to ensure positional stability and a neat edge.

http://en.wikipedia.org/wiki/Needlework

http://en.wikipedia.org/wiki/Textiles

http://en.wikipedia.org/wiki/Embroidery

http://en.wikipedia.org/wiki/Banner-making

http://en.wikipedia.org/wiki/Straight_stitch

http://en.wikipedia.org/wiki/Satin_stitch

http://en.wikipedia.org/wiki/Glue

http://en.wikipedia.org/wiki/Straight_stitch

Reverse appliqué: several layers of material are stitched together, parts of the upper layers

are cut away, and the edges are stitched down. The largest cuts are made in the topmost

layer.

Applique in India is mainly associated with the westernmost states of Gujarat and Rajasthan, though

Punjab and Orissa also practices this craft. Various coloured and patterned fabrics of different shapes

and sizes are together on a plain background. An important feature characterizing Indian patchwork

is that the stitches of the patches are not hidden but are done with jazzy shades which get

highlighted, adding a more artistic appeal. Making its way to India from Europe and Arabia, applique

work is an important craft in the country now, creating a unique art, making dramatic use of colour.

Gujarati and Barmer applique work items are the most well known ones. The Gujrati appliqué is

highly ornamented with motifs, with the magical spell of appliquéd items lying in the contours of

each individual character. Glaring motifs of trees, birds and animals in bold colors can be seen in

each item - shaped patches sewn unto cotton cloth. Whereas the appliquéd works found in Barmer

are mostly done white on kora fabrics and marketed through the government owned chain stores –

„Rajasthali‟.

Expressing the stark monotony of the engulfing deserts, these embroidered items of the westernmost

states of Gujarat and Rajasthan reveal the imaginations and innovations of the craftsman. Bold and

beautiful, created with warmth and craftsmanship, appliqué and patch work still remains the integral

part of the western states.

From appliquéd quilts and bedcovers to wall hangings, runners and cushion covers, there is a wide

range of items.

Keeping the above traditions in mind we conducted a field survey in Barmer, interacted with the

artisans and tried to understand the psychology and the context behind the motifs, techniques, colors

of Barmer appliqués. Barmer is a district in Rajasthan lying very close to the Pakistan border and

adjacent to the Sindh province in Pakistan to the north-west. It is well known for its handicrafts. All

over Rajasthan and around the country, Barmer‟s exceptional woodcarvings, carpets, hand printed

fabrics, embroidered textiles, and undeniably its simple and friendly people transform the Thar into

what's popularly known as the most colourful desert in the world. It is also recognized for its hand

painted fabrics locally called ajrakh, block printing, embroidered textiles, carpets etc.

After an extensive research it was found that very interestingly the technique and the craft itself is an

introduced craft in the region from the neighbouring state of Sindh in Pakistan.

Sindh is one of the four provinces of Pakistan and historically is home to the Sindhi people also

locally known as the "Mehran". Sindhi Muslims are the largest population in the province, but other

cultural, religious and ethnic groups also reside in Sindh. Sindh is also home to the exquisitely

created Ralli quilt.

http://en.wikipedia.org/wiki/Administrative_units_of_Pakistan

http://en.wikipedia.org/wiki/Pakistan

http://en.wikipedia.org/wiki/Sindhi_people

http://en.wikipedia.org/wiki/Sindhi

http://en.wikipedia.org/wiki/Muslims

Ralli Quilt is a textile jewel finished with physical and spiritual labour or done with hand and mind

putting in almost 180 hours, of labour by a woman artisan. In ancient Indus civilization, a Ralli Quilt

was also a textile currency like other valuables. Woman starts making Ralli Quilts in early age as part

of their dowry. The poor artisans used to make Ralli Quilt as gifts for the occasion of marriages and

births of the elite families. In return, they were given a buffalo, a cow or a goat as "Kheer Piyarini" or

to provide a permanent milk source for the artisan's family. This tradition continues in Sindh,

especially in Thar desert (Barmer) too. Women have been making these quilts for hundreds, maybe

thousands of years. The lives of the people who make the textiles are woven into each piece. The

symbols of flowers and animals used in the decoration and colors are imaginative and exotic.

Every Ralli quilt tells a story. It tells of the natural creativity and love of color and design of the

women who create them. Every Ralli tells the story of the strength of tradition. The basic designs and

motifs of Rallis have been passed from mother to daughter and woman-to-woman for maybe

thousands of years."

It was this craft that was brought to the Barmer region some 100 years ago by local tribesmen and

since then been introduced in that region. It has gone through many transformations and design

interventions to achieve its modern form which is significantly different from the original craft form

present in the Sindh region.

The present design vocabulary of appliqué at Barmer is a result of constant design interventions of

various NGOs, designers, exporters and wholesalers who are working with artisans of the region for

the last few decades.

http://www.ralliquilt.com/textiles.html

CHAPTER IV

PLACES SURVEYED AND IMPLEMENTING AGENCIES

An initial survey was conducted by Swarup Dutta, Dean, UGP, IICD and Sangeeta Sharma, Co-

ordinator, CDC at Barmer.

On the recommendation of Mr. Jayant Bhojia, visiting faculty at IICD, Mr. Revant Singh, regional

crafts coordinator social activist associated with appliqué artisans at Barmer was contacted. A visit

was conducted as follows:

27th December 2010

Visit to Mahabaar Village, Barmer The following observations were made:

1000-1500 women working in dhanis or villages in the area.

An NGO, named SURE, is active in the region.

The production process starts with tracing and cutting of selected design patterns, which is

done by male artisans in cutting units situated in Barmer.

Hemming for patchwork and appliqué done by women in the villages.

Although women from all communities are involved, the majority are from Rajpurohit, Rajput

and Bhil communities.

Once done with the housework, women get together in small groups, usually from the

neighborhood or from the same family and work on pieces given to them.

Two varieties of appliqués are seen:

i. Colored patchwork.

ii. White on white appliqué.

Both appliqué and reverse appliqué techniques are used along with running stitch, blanket

stitch etc.

A 60x90 bed sheet takes approximately 15 days to complete.

The women get a minimal wage of Rs 20to Rs 30/day.

Due to the low wages, they do not pay adequate attention to quality control. The work is

mostly mediocre in quality of finishing.

In yet another cluster visited in the area, Suthar and Rajput women were working on the

appliqué and patchwork products in the bid to make extra income.

The women are reluctant to get out of their houses. So the raw material is delivered at their

doorsteps and the finished goods collected after completion.

Due to the conservative nature of society, the women are discouraged to work outside their

homes. The women themselves are averse of travelling.

28th December 2010

Visit to Dhanau Village, Barmer The following observations were made:

Dhanau village is 80 km from Barmer.

Only the Meghwal caste is involved in patchwork and appliqué work.

A master artisan called Raimalji creates designs for the whole village. He also takes care of

cutting. The cut samples are out for the women artisans to do the appliqué.

Uttam Kaga‟s workshop was visited as suggested by Shri Jayant Bhojia.

Around 200 women get employment through Uttamji‟s unit.

Approximately 30% of the total production at the unit is being done for FABINDIA.

Cotton and organdy is used as base fabrics.

10 to 12 layers are cut together with hammer and cutter.

The kacchi dhulai is done in Dhanau, where the fabric is washed with soap and whitener.

The pakki dhulai and dyeing is done in Barmer town.

A women artisan gets approximately Rs 150 for a curtain, which takes 10 days to complete

if a woman works on it part-time.

As the pieces are made for clients like FABINDIA, the finishing and designs are much more

sophisticated than those produced for the local market but at the same time the traditional

elements are getting lost due to introduction of new designs.

ABOUT BARMER DISTRICT

Located in the north western Indian state of Rajasthan, Barmer district is well-known for its

hand block printing and carved wooden furniture. The headquarters of the district is Barmer

town. The major towns in the district are Chohatan, Baytu, Guda Malani, Jasol, Balotra and

Siwana.

The town of Barmer is 224 kilometers from Jodhpur via Balotra and 198 kilometers via

Panchpadra. The city of Jaisalmer is 157 kilometers from here while Jaipur is 588 kilometers

away. The city of Ahmebdbad is 485 kilometers from Barmer.

http://www.mapsofindia.com/maps/rajasthan/

http://travel.mapsofindia.com/travel-jodhpur/index.html

http://www.mapsofindia.com/maps/rajasthan/jaisalmer.htm

http://travel.mapsofindia.com/travel-jaipur/index.html

Barmer district is situated in the Thar Desert or the Great Indian Desert. The district is well-

known for its dance and folk music. One can find the Bhopas or priest singers here. They are

known for their music composition honoring war heroes and the deities of the region.

Another type of folk musicians, the Muslim Dholis or drummers are also famous here.

The population of the district is around 1963758, according to 2001 census. Males

constitute 10, 35,813 of the population while females comprise 9, 27,945 residents. The

district is divided into eight tehsils, four blocks and 1999 villages.

There are a number of attractions in Barmer district like Asotra, Batada Kua, Brahma

Temple, Jain Temple, Jogmaya Temple, Mahabar Dunes, Surya Mandir Temple, Kher Temple,

Viratra Mata Mandir, Kiradu, Nakora, Nimbari, Garib, Pipa Mandir and Bhimgoda.

One can see mud huts with beautiful folk motif decorations. The people wear colorful

costumes and there are a number of shops selling traditional handicrafts. Barmer festival is

held every year in the month of March which is a major tourist attraction of the district.

CHAPTER V

PROJECT METHODOLOGY The project methodology consisted of the following steps:

Step I - Survey:

Detailed Survey of the practicing artisans and the craft practiced.

Survey of Raw materials availability.

Research into the target audience of the products presently produced and profit margins

thereof.

Gender specificity and its impact on the methods of production to be implemented.

Step II - SWOT Analysis:

Based on the survey a SWOT analysis was to be undertaken for better clarity.

Step III – Sourcing:

Based on the survey and SWOT analysis, raw materials including fabrics, trimmings, accessories,

threads, mirrors etc. was to be sourced with focus on resources available locally for easy access of

raw materials.

Step IV – Design Interventions:

Design interventions were to be undertaken keeping in mind the market requirement, training

outcome and the traditional context of the craft.

Step V – Selection of Artisans:

Based on the kind of products to be developed, a skill mapping test was to be devised selecting

artisans capable of yielding optimum quality required for the new designs.

Step VI– Training:

Training methodology was to be devised based on aesthetic, technical requirements based on the

SWOT analysis.

Step VII - Conversion of Products:

Based on the infrastructure available and outcome of the training, product conversion was to be

undertaken.

Step VIII – Specification Sheet development and Costing:

The technical specification sheet of each product was to be prepared along with costing.

Step IX – Customer Feedback:

Once the products were ready a customer feedback format was to be devised and feedback was to

be taken from design professionals, retail and wholesale buyers, and primary consumers.

Step X –Assessment of the Outcome of the Project.

Assessment of the project would be done based on commercial viability, aesthetics, artisan‟s

feedback and feedback from the organizations.

CHAPTER VI

OUTCOME OF THE PROJECT

Step I - Survey:

Survey was conducted at Barmer and the following observations were made:

ABOUT THE CRAFT

Traditionally, patchwork and appliqué was done on “gudris” and quilts by women for

household use.

They were also made to give as dowry to girls.

The colors used traditionally were bright and the motifs were mainly geometric, animal and

human figures.

As the craft gained popularity in the domestic and particularly, international market, pastel

colors and white on white appliqué became fashionable.

With commercialization, the quality of work also became mediocre and only a few women/

workshops are conscious of quality control standards.

ABOUT THE ARTISANS

Traditionally, the designs, tracing, cutting and pasting of motifs is done by men and the

hemming is done by women.

As women used to practice the craft as a past-time, most women learn it along with other

household chores at a very early age.

The artisans preferred not using embroidery frames, which in many cases resulted in

puckering of the base fabric in many cases.

The tracing of the motifs on fabric was not done accurately, resulting in embroideries being

inconstant and irregular, which is considered defective qualitatively.

The wages earned by the women varies between Rs 20 – Rs 50/day, depending on the

number of pieces they complete. As the wages are low, the women don‟t bother about the

quality of work they produce.

FUTURE PROSPECTS AND POTENTIAL

The demand for patchwork and appliqué products is very high but due to the labour-

intensiveness of the craft, the supply does not meet the demand.

The potential of the craft has not been explored to its fullest.

Greater design intervention can throw up exciting new possibilities, in terms of the motifs,

colors and products keeping the essence as close to Ralli craft as possible.

Fabindia and Rangsutra are trying to explore new motifs and maintain the quality of the

craft, but the colors used and products made are largely market driven and hence lacks the

context for the artisans.

Fresh talent and new markets can ensure that the craft becomes more vibrant and also

retains its traditional charm.

A mature attitude and focus on the artisans‟ needs, their health and education as well as

increased wages will go a long way in keeping the craft alive.

As rightly observed by one of the craftsmen, the gap between the artisan (earning Rs

20/piece) and the retailer ( selling it at Rs 1,000- Rs 1,500) needs to be bridged for the craft

to thrive.

Step II - SWOT Analysis:

Based on the survey a SWOT analysis was undertaken for better clarity. Following were the outcome

of the analysis:

Strengths:

The craftswomen had the willingness to adapt and learn new techniques, technologies and

designs ideas.

The richness of the craft itself attracts a lot of attention. Added to it is the historical and

cultural ethos of the tribes, which is vibrant and rich.

The skill levels of most of the artisans were good, which results in them adapting and

assimilating mew techniques much faster.

As they are all working from home, they are being able to shuffle their household chores and

working on the craft, which gives them flexibility and also keeps their overheads low (e.g.

travelling to factory / workplace, fooding expenses etc.).

The nature of work also allows producers to source required handcrafted products at

optimum pricing.

Weaknesses

The craftspersons are mostly not educated, which poses several socio economic and

functional problems towards practicing an entrepreneurial venture as well as to conduct

technical training.

Unavailability of raw materials pertaining to the craft poses logistical problems, especially if

the products are needed to be produced in bulk.

Computer Literacy of the craftsperson is almost negligible which poses research, logistical

and communication problems while conducting business.

There is a huge lifestyle and cultural gap between the craftsperson and their target market

which makes it difficult to make the craftsperson understand the needs and requirements of

their consumers.

Opportunities

There are tremendous potentials if the products are based on contemporary requirements.

The market for handcrafted products is increasing day by day nationally as well as

internationally, which makes the craft relevant.

If produced esthetically in keeping with good quality standards, the products can fetch very

good prices on the pretext that they are handcrafted.

Threats

Due to lack of design and technical understanding there is a possibility that they would not

be able to compete with their better organized artisan groups.

Use of poor quality of materials results in products which are qualitatively and esthetically

poor resulting in lesser margins.

As most of the craftsperson involved was housewives, marketing the product was of a big

concern.

Threat from influx of mass produced industrial products as well as cheap handicrafts from

other part of the country and abroad was of a great concern.

Step III – Sourcing:

Based on the survey raw material was sourced from Jaipur and locally concentrating on price and

quality. Instead of inexpensive mill made plain fabric, handloom block printed fabrics where sourced

from various State Emporiums which in turn will help other craftsperson from different parts of the

country survive.

Most of the embroidery materials and trimmings were sourced from wholesale markets in Jaipur.

Step IV – Design Interventions:

Design interventions were to be undertaken in keeping with the market requirement and essence of

the craft.

Based on the SWOT and the raw material availability a collection of bags and accessories were

devised. The flavour of the collection was folksy kitch which emulated the carefree flavour but at the

same time contemporary and utilitarian.

Block printed textiles were used as they give certain surface interest and thus looks more value

added. Certain parts of the prints were strategically highlighted keeping in mind the esthetic

considerations and pricing of the product. Also, as the tracing techniques still needed improvement,

highlighting of prints with embroidery was a strategic consideration.

The designs targeted contemporary urban, suburban as well as foreign buyers who are young at heart

and are appreciative of handcrafted products for their esthetics as well as welfare reasons.

Step V – Selection of Artisans:

Based on the kind of products to be developed, a skill mapping test was to be devised selecting

artisans capable of yielding optimum quality required for the new designs.

The preparation of the new designs needed proficiency in certain kind of stitching techniques such as

blanket stitching, hem stitch, mirror attachment etc. amongst them. The criterion of selection was

based on skill level, neatness of work and creative innovation.

Step VI–VII Product Conversation:

The following products were developed in the project:

36 embroidery samples along with artworks.

18 bags along with patterns.

6 wall hangings along with artworks.

Step VIII – Specification Sheet Development and Costing:

The technical specification sheet of each product was prepared along with costing.

Step IX – Customer Feedback:

Once the products were ready a basic feedback was taken on the products from general consumers,

wholesalers and retailers. The products were showcased in the EPCH organized Indian Gifts and

Handicraft Fair held in Greater Noida during January 2011. The feedback of the products have been

favorable and enquires on bulk procurement were generated.

The recently developed products had a different niche then the once produced by the craftsperson

earlier. The new products are more value added with a strong folk and kitch flavour which would

create new market appeal, and fetch the artisans more margins, contributing to their livelihood

favorably.

Step X –Assessment of the Outcome of the Project.

The products developed have generated favorable response. The artisans are also eager to produce

the designs as they are not very difficult to produce. The novelty of the designs has appealed to the

prospective buyers. The prime motive now is to produce the developed designs in multiples and work

on a sustainable marketing strategy for the same.

CHAPTER VII

THE COLLABORATORS

Mr. Kheta Ram Ms. Chandi Devi Ms. Amti Devi Ms. Dheli Devi

Mr. Kheta Ram was the main anchor of the product development initiative, supported by the three

above mentioned ladies. All the above artisans are from the village of Sahid Katla which is only 30

km from Pakistan border.

CHAPTER VIII

LIST OF PRODUCTS DEVELOPED ALONG WITH

COSTING

Costing is based on sampling rates. Exact production cost can only be calculated after taking into

account various other factors, like overheads, productivity of the unit, number of units to be

produced, wastage etc.

Style Name / Number: CDC – SLING BAG 01

Dimension: L X B (Inches): 18 X 14

Material / Embellishment / Sewing Cost per Unit Consumption Total Cost

1. Shell Fabric Rs.60 /meter ( 44”width) 100 cm 60.00

2. Lining Fabric Rs.50 /meter ( 44”width) 100 cm 50.00

3. Interlining : Fusing / Fabrics - - -

4. Foam Rs.30.00 sq. meter 05.00

5. Zipper - - -

6. Magnet Button (Wooden) - - -

7. Cutting / Stitching Cost Rs.500/ Day 250.00

8. Embroidery Cost (Wage +

Material) Rs.200 / Piece

200.00

9. Finishing / Trimming (Avg.) Rs.2 /piece 1 2.00

10.Wastage/ Overheads 15% 85.00

Total Sample Cost Price 652.00

Approximate production cost 45% of cost price 293.00




1. Shell Fabric Rs.60/ meter ( 44”width) 100 cm 60.00




5. Zipper - - -





200.00












5. Zipper - - -





200.00





Style Name / Number: CDC – BACK PACK 01







5. Zipper - - -





100.00












5. Zipper - - -





100.00





Style Name / Number: CDC – SIDE BAG 1







5. Zipper - - -





100.00












5. Zipper - - -





100.00





Style Name / Number: CDC – FLANNEL BAG







5. Zipper - - -





150.00





Style Name / Number: CDC – POLKA BAG







5. Zipper - - -





200.00





Style Name / Number: CDC – BAGIYA BAG







5. Zipper - - -





150.00





Style Name / Number: CDC – BALANCE






250.00

3. Cutting / Stitching Cost Rs.500/ Day - -

4. Framing Rs.1500/Piece 1500.00

9. Finishing / Trimming (Avg.) Rs.2 /Piece 1 2.00




Style Name / Number: CDC – LOVE






250.00







Style Name / Number: CDC –HOME






250.00







Style Name / Number: CDC –HAPPINESS






250.00







Style Name / Number: CDC –LIVE






250.00







BIBLIOGRAPHY

www.wikipaedia.com

www.india-crafts.com

www.craftsofindia.com

www.jcraftindia.com

www.ethnicindiacraft.com

www.indianmirror.com

www. barmer. com

http://www.wikipaedia.com/

http://www.india-crafts.com/

http://www.craftsofindia.com/

http://www.jcraftindia.com/

http://www.ethnicindiacraft.com/

http://www.indianmirror.com/

ANNEXURE - I

RESUMÉ

Swarup Dutta

Present Contact Address:

OCFIT, Chenetha Bhawan, Nampally, Hyderabad – 500001

Mobile: 9177332262

Permanent Address:

Flat 4B, 5 Radhanath Choudhary Road, Kolkata – 15

Telephone: 033 23297177 (Residence), 033 23357342 (Office)

Email: [email protected], [email protected]

Date of Birth: 22nd April 1977

Academic Record:

Year Specialization University / College Division

Year 2000 Masters in Fashion and

Textiles

Nottingham Trent

University, UK

Distinction

1995 - 1998 Three Years Diploma in

Fashion Design

NIFT First

Division

1998 Certificate Course in

Patternmaking of

Leather Goods

FREYA NA

Professional Record:

September 2008 – Present: Senior Associate Professor and Design Consultant – Orient Craft Fashion

Institute of Technology, Hyderabad

Have been proactively involved in training grass root artisans and craftspersons in the areas

of design and technical skill.

Coordinating various short term certificate and training courses conducted by the

organization.

October 2001 – August 2008: Assistant Professor and Internal Design Consultant – NIFT, Kolkata

Nature of Duties:

Have been proactively involved in teaching design subjects in various departments.

Have been mentoring design collection in Fashion Design, Knitwear Design departments.

mailto:[email protected]

Have helped in photo documentation of students‟ creations and have choreographed

departmental graduating shows (FDIT 2006).

Coordinated the Fashion and Textile Department from August 2004 till January 2005.

Presently working as Internal Design Consultant (SGSY) helping in product development for

Rajiv Gandhi Handicrafts Bhawan. (Kolkata Cluster Products constitutes the highest sales

from the shop). Working with crafts like kantha, macramé, silk weaving, batik and shanti

leather.

Was the part for the team responsible for organizing various promotional events for the Jute

Sector like Jute Symposium (JMDC) and Jute Show.

Was the regional design co-coordinator for Tantavi.

Part of the team working on IPR of Arunachali and Mizo handicraft and textiles.

Was the regional design co-coordinator for DsYN 2004 – An event which placed a strong

emphasis on Indian design skills and "made in India” brand promotion by NIFT for Ministry of

Textiles.

April 2000 – September 2001: Deputy Manager (Design) – Indian Rayon and Industries Pvt. Ltd.,

Aditya Birla Group

Nature of Duties:

Propensity of marketing through product development.

Developed knitting yarns and knitwear in linen rich blends.

Developed value added yarns / fancy yarns.

Developed ranges in linen for furnishing and fashion usage.

Developed flame retardant upholstery and drapery for India Railways for Air Conditioned

compartments (the designs are presently being used as upholstery in Rajdhani and Shatabdi

Express).

Projects Undertaken:

Done various projects for DC Handicrafts in the area of Leather Goods, Terracotta, Wood

Carving and Dokra.

Researching on methods of reviving Potochitra Paintings of West Bengal (part of SGSY

Special Project). Have already trained the artists to paint on unfinished leather and helped

them develop exclusive range of leather lifestyle products.

Photography and Promotional Work:

Profile has been featured in Images Year Sourcebook 2007.

Promotional photo sessions for various designers like Sabyasachi, Shantanu Goenka,

Anamika Khanna, Kiran Uttam Ghosh, Dev n Nil, Sharbori Dutta, Abhishek Dutta amongst

others for LIFW and WIFW and other promotional events.

Styled the „Parinita‟ Campaign for Tanishque (Photography by Farique Sayeed Agency:

Lintas, Bangalore) May 2006.

Conceptualized and executed look books, press kits, stall designs other promotional material

development for Anamika Khanna, Sabyasachi, Kiran Uttam Ghosh, Shantanu Goeanka, etc.

Logo development for various designers like Shantanu Goeanka, Gauri Bajoria (FDCI

member) etc.

Have done editorial feature photo sessions and styling for various publications like ELLE, La

Official, Verve, Femina, Savvy, Hi Blitz, Beautiful People, FnL and Platform, Me (DNA) etc.

Work has published in Collezioni Sports n Street.

Special Awards/Honors/ scholarship received:

Year Name of award / honour Name of organization

1998 Full scholarship to peruse masters in

Fashion and Textiles

Nottingham Trent University,

UK and NIFT

1995 - 1998 AEPC scholarship for meritorious students AEPC and NIFT

Name & Address of Referees:

1. Dr. B V Somasekhar, Director General, OCFIT

2. Ms. Anamika Khanna (Fashion Designer and board member FDCI)

(033) 24863159, 09831030690

[email protected]

3. Mr. Shantamanu, Director, NIFT Kolkata

09831007508

(Other references will be made available upon request)

I, hereby, declare that all entries in this form as well as attached sheets are true to the best of my

knowledge and belief.

(Signature of the Candidate)

Place :

Date :

ANNEXURE - II

INDRAJIT DE

Mobile: +91 8094321049; Email: [email protected]

FASHION & GRAPHIC DESIGNER

Profile

Designer with 6 years of experience; passionate about a creative career in garments, accessories, graphics and

handicrafts; more than five years experience as designer consultant for leading fashion and export houses in

Kolkata with many successful designing assignments to credit.

Qualified Fashion Designer from NIFT

Creatively inclined and team player

Keen aesthetic sense and an eye for details

Practical experience of tailoring, printmaking & visual merchandising

Excellent communication skills

Achievements as a Designer

Assisted Ms. Kiran Uttam Ghosh in creating her Autumn/Winter 09/10 collection of garments and

accessories for Wills India Fashion Week 2009.

Designed and created two collections of batik printed and quilted waistcoats and jackets (almost 80 pieces)

for the Design studio at NIFT Kolkata.

Conducted skill up gradation workshop for the weavers at NIFT Kolkata , introduced them to the role of

printing in commercializing textiles and organized industry visits to the printing units in and around Kolkata.

Worked closely with Italian designer Filippo Agnelli, designed collections of dresses, womens jackets and

eveningwear, developed patterns, muslin fits and handled the entire production of the sample order.

Designed and executed theatre costumes for the play „Lehron ke Rajhans” by well known theater

personality Mr.Shyamanand Jalan. The play was showcased at the National School of Drama festival and

was sponsored by Padatik.

Assisted Mr. Sabyasachi Mukherjee for his Autumn/Winter 04/05 collection showcased at the Milan

Fashion Week in September 2004.

Exhibited limited editions of signature collections in stores like Ogaan and participated in exhibitions like

Nirmaan, Nouveau and Parampara.

Designed and created a collection of jute accessories and apparel for Jute Manufacturing and Development

Corporation as part of NIFT student team. The collection was titled “Symphony” and was showcased in a

glittering show at the Taj Bengal Hotel.

Many works have been featured in leading publications like TOI Kolkata, Pratidin newspaper, Kolkata,

Platform magazine, Mumbai etc.

Best All Round Performance Award at the NIFT Kolkata in 2004.

Work Experience

Indian Institute of Crafts and Design, Jaipur

Assistant Professor (November 2010- currently employed)

Responsibilities:

Teaching design subjects like patternmaking, garment construction, trends and forecasting, fashion

studies etc in the Under Graduate Programme.

Mentoring design students for creating their portfolios and design projects.

Assisting the students in photo documentation of their creations.

Co-coordinating the creation of the new website for IICD.

Maintaining both the front end and back end of the institute‟s website.

Involved in the teaching of softwares like CorelDraw, Photoshop and NedGraphics to the students.

Documenting the old and dyeing textiles and oral literatures of Rajasthan.

Projects Handled:

The Barmer Applique work Project in association with Craft Development Centre, IICD, Jaipur. As part of

the project a range of products were developed like bags, wall hangings etc using the applique

technique. The products were exhibited in the EPCH organized Indian Gifts and Handicraft fair, Delhi in

January 2011 which got rave reviews from both the Indian and foreign buyers.

R.M. International, Kolkata

Design Assistant (January 2003-October 2010)

Responsibilities:

Conceptualization, designing and development of fashion product ranges for international clients like

Reethi rah, Maldives, El Baulde Carmencita, Spain etc.

Understanding design from a technical perspective i.e. producing patterns, toiles and technical

specifications for designs etc.

Sourcing, selecting and buying fabrics, trims fastenings and embellishments.

Developing a pattern that is cut and sewn into sample garments, accessories and supervising the

making up of these, including fitting, detailing and adaptations.

Overseeing production of export orders.

Vendor development, management and negotiation with suppliers.

Assisting the fashion photographers with styling of products, designing brochures and making

presentations for jute and other handicraft projects.

Kimono by Kiran Uttam Ghosh, Kolkata

Assistant Designer on project basis (October 2008 to April 2009)

Responsibilities:

Doing extensive research on Autumn-Winter 09/10 trends and inspirations.

Creating the silhouettes for the womenswear collection.

Developing patterns for the selected styles, stitching up the muslin fits and making the toiles.

Draping the showstopper ensemble, creating the pattern for the same and supervising the masters and

tailors in the production of each and every piece of the collection.

Assisting the designer in finalizing the styling and look of the ensembles.

Sourcing as well as developing the accessories for the collection.

Designing the gifts and press kits.

Assisting the fashion photographer with the photoshoot of the garments and accessories.

Design Studio, NIFT Kolkata

Designer and Guest Lecturer (November 2007 to March 2008)

Responsibilities:

Designing the silhouettes for quilted, batik printed and kantha embroidered fabrics.

Assisting the Design Studio in creating two collections of garments out of the textiles developed at the

Bolpur cluster and with the production of the selected styles.

Developing the patterns, making the muslin fits and stitching nearly 80 to 90 pieces of waistcoats and

jackets.

Teaching the basics of printing and design aesthetics to the tant weavers of Bengal through skill

upgradation workshop at NIFT.

Organizing industry visit to the nearby printing unit.

Internship

Interned successfully at Oggo Export, Mumbai for 8 weeks and worked as designer / merchandiser.

Developed the kids wear ensembles for the European market and procured orders of approx 2000 pcs

for each style developed.

Project in Craft Documentation

Documented the mat craft of Midnapur in the form of a research paper. After extensive research and

field work prepared a presentation for the press and industry personnel and exhibited the developed

mat products.

Developed tant saree with woven mat border in Omorshi that was sent to Textile department, IIT

Kharagpur for research and further development.

Computer Skills

Proficiency in MS Office, Adobe Photoshop CS2 and CorelDraw X4

Academic Background

3 yrs Graduate Diploma in Fashion designing from NIFT Kolkata

At present studying Bridge course at NIFT Kolkata for the award of B.Des degree.

Personal Particulars

Date of Birth: 22/05/1983

Languages known: Fluent in Hindi, Bengali, and English.

Contact Address: A 38 R.K.Nagar, P.O.Laskarpur, 24 Parganas(S), Kolkata-700153

OVERALL SUPERVISION

Ms.Sangita Shroff

PLANNING, TRAINING AND DESIGN INTERVENTION

Mr. Swarup Dutta

Mr. Indrajit De

DOCUMENTATION

Mr. Swarup Dutta

Mr. Indrajit De

LOGISTICAL HELP

Mrs. Sangeeta Sharma

Mr. Revant Singh

Mr. Jayant Bhojia

ARTISANS INVOLVED

Mr. Kheta Ram

Ms. Dheli Devi

Mr. Chandi Devi

Ms. Amti Devi

design and product development craft project on …

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