DIGITIZING CONVENTIONAL PATTERNS OF GUJARAT EMBROIDERY AND PRODUCT DEVELOPMENT

Thesis submitted to the University of Agricultural Sciences, Dharwad in partial fulfillment of the requirements for the Degree of MASTER OF HOME SCIENCE in TEXTILES AND APPAREL DESIGNING

By SHAMEEMBANU A. BYADGI

DEPARTMENT OF TEXTILES AND APPAREL DESIGNING COLLEGE OF RURAL HOME SCIENCE UNIVERSITY OF AGRICULTURAL SCIENCES, DHARWAD 580 005 JUNE, 2009

ADVISORY COMMITTEE

DHARWAD JUNE, 2009

(SHAILAJA D. NAIK) MAJOR ADVISOR

Approved by: Chairman: (SHAILAJA D. NAIK) Members: 1 ____________________ (JYOTI.V.VASTRAD) 2._____________________ (L.B.KUNNAL) 3.____________________ (SUMA HASALKAR)

CONTENTS
Sl. No. CERTIFICATE ACKNOWLEDGEMENT LIST OF TABLES LIST OF FIGURES LIST OF PLATES LIST OF APPENDICES 1. 2. INTRODUCTION REVIEW OF LITERATURE 2.1 Traditional saris 2.2 Conventional embroideries 2.3 Revival of traditional saris and embroideries 2.4 Computer aided designing 3. MATERIAL AND METHODS 3.1 Sourcing and selection of the conventional motifs 3.2 Hand embroidering the conventional motifs 3.3 Digitizing the conventional motifs 3.4 Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique 3.5 Consumer acceptance for swivel pattern saris 3.6 Variables included for consumer acceptance 3.7 3.8 3.9 Cost of production of swivel pattern saris Statistical analysis Hypotheses set for the study Contd.. Chapter Particulars Page

Sl. No. 4. RESULTS 4.1 4.2

Chapter Particulars

Page

Digitizing the conventional motifs Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique Description of swivel pattern saris Consumer acceptance for swivel pattern saris Cost of production of swivel pattern saris

4.3 4.4 4.5 5.

DISCUSSION 5.1 Digitizing the conventional motifs

5.2 Product development - Weaving handloom Dharwad saris with digitized conventional motifs in hand woven Dharwad saris by swivel technique 5.3 5.4 5.5 6. Description of swivel pattern saris Consumer acceptance for swivel pattern saris Cost of production of swivel pattern saris

SUMMARY AND CONCLUSIONS REFERENCES

LIST OF TABLES
Table No.
1. 2. 3. 4. 5. 6. 7. 8a. 8b. 8c. 9a. 9b. 9c. 10. 11. 12.

Title
Unit repeat of digitized conventional motifs Details of raw material used Fabric sett and dimensions of the saris Details of Dharwad saris woven with swivel patterns of Gujarat embroidery Demographics of the respondents Preference for casual and ceremonial wears Preferences for polycotton saris Reasons for preference of polycotton saris by working women Reasons for preference of polycotton saris by housewives Reasons for preference of polycotton saris by respondents irrespective of occupation Preference for type of embellishments on saris by working women Preference for type of embellishments on saris by housewives Preference for type of embellishments on saris by respondents irrespective of occupation Awareness of respondents about traditional embroideries of India Respondents awareness about Gujarat embroidery Resemblance of the digitized Gujarat embroidery motifs with hand embroidered motifs

Page No.

Contd..

Table No. 13. 14. 15a. 15b. 15c. 16a. 16b. 16c. 17a. 17b. 17c. 18. 19.

Title Preference for digitized patterns of Gujarati motifs Preference for hand embroidered and self patterned saris Reasons to prefer hand embroidered saris by working women Reasons to prefer hand embroidered saris by housewives Reasons to prefer hand embroidered saris by respondents Reasons to prefer self patterned saris by working women Reasons to prefer self patterned saris by housewives Reasons to prefer self patterned saris by respondents Order of preference for swivel pattern saris by working women Order of preference for swivel pattern saris by housewives Order of preference for swivel pattern saris by respondents General opinion of respondents about swivel pattern saris Cost of production of swivel pattern saris

Page No.

LIST OF FIGURES
Figure No. 1a. 1b. 2. Title Conventional Gujarati motifs (Main motifs) Conventional Gujarati motifs (Buttas and Borders) Process flow of digitizing the Gujarat embroidery motifs using GC Kala-2004 with interface Paint Shop Pro (PSP) software 3. 3a. 3b. 3c. 4. 4a. 4b. 4c. 5. 5a. 5b. 5c. 6. 6a. 6b. 6c. 6d. Simulation of Gujarat embroidery motifs Design plan of Affronte parrots on graph base Design plan of Mirrored fish on graph base Design plan of Festooned elephant on graph base Simulation of Gujarat embroidery motifs Design plan of Prancing deer on graph base Design plan of Saddled horse on graph base Design plan of Confronte parrots on graph base Simulation of Gujarat embroidery motifs Design plan of Reflective peacocks on graph base Design plan of Stylized parrots on graph base Design plan of Chrysanthemum on graph base Simulation of Gujarat embroidery motifs Design plan of Concentric flower on graph base Design plan of Flower shoot on graph base Design plan of Four petal flower on graph base Design plan of Geometrical flower on graph base Page No.

Contd

Figure No. 7. 7a. 7b. 7c. 7d. 8. 9. 10. 11. 12. 13.

Title Simulation of Gujarat embroidery motifs Design plan of Stylized star on graph base Design plan of Effronte peacocks on graph base Design plan of Four petal floral border on graph base Design plan of Freehand floral border on graph base Punch card Lacing of punch cards Functional operation of Jacquard shedding mechanism Resemblance and preference for digitized Gujarati motifs Order of preference for swivel pattern saris Cost of production of swivel pattern saris

Page No.

LIST OF PLATES
Plate No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. Title Embroidering Gujarati motifs on Dharwad sari (Control) Computerized card punching machine Laced punch cards Bobbin winding machine Sectional warping Pirn winding machine Handloom with jacquard shedding mechanism Swivel shuttles Weaving of swivel pattern sari Cutting and doffing of the sari Folding the woven sari Hand embroidered sari (Control) Purple sari Yellow sari Orange sari Green sari Evaluation of swivel pattern saris Page No.

LIST OF APPENDICES

Appendix No.

Title

Page No.

1.

Consumer acceptance for swivel pattern saris

1. INTRODUCTION
Weaving is a popular handicraft and art for rural folk. It ranks amongst the oldest of crafts, the origin of which is lost in the past. Weaving is the next main occupation of not only rural folk but also many urban fellowmen after agriculture. It is the main method of fabric construction by interlacement of two sets of yarns, warp and weft, at right angles in established sequence. The weavers provide one of the important and basic necessities for every human being the clothing, apart from creating employment opportunities, generating auxiliary sectors and industries that eventually contribute a great amount to the National Economy. Numerous innovations have been made in the weaving machine the loom, that are hardly adopted by our rural folk. The lengthy, elaborate, time consuming and laborious process of handloom weaving is still persistent in many states which have retained the rich culture and heritage, expressed through the contemporary textiles of India. Handloom is the oldest known form of producing cloth manually. The word handloom refers to a traditional weaving method employing simply a loom operated by hand (Rangarajan, 1996), and was the basic activity of human society since time immemorial in which utility and aesthetics are blended together. The handloom industry is one of the prevalent and primeval cottage industries in Indias decentralized sector (Mamatha and Naik, 1997). Handlooms have been recognized by the unique creativity and skill of the weaver, his comprehension of colour, texture and function, the weavers capacity for rapid adaptation and production of small yardage in a variety of designs. The handloom plays an important role in the socio-economic development of the society. Though the handloom textiles are matchless and differ from monotony of mill-made textiles, need to be encouraged to uplift the weavers communities. In India, each region is specialized in the production of exclusive handloom textiles retaining the traditional textures and patterns (Barua and Gogoi, 1997). Creating designs on handlooms was perhaps the earliest method of decorating the fabric followed by dyeing, embroidery and appliqu work. To embellish fabrics in those days meant producing self-designed fabrics, which now refers to woven designs. Irrespective of the patterns and textures, in olden days the handloom was restricted to weave only a yardage cloth that ultimately adopted to weave longer lengths of made-ups. This made-up when later draped elaborately over the body by Indian women referred popularly as sari or saree. Sari is the traditional wear of Indian women and has been the ultimate hallmark of traditional feminity through the ages. The sari is expertly wound around the womans body in different fashions with the free end thrown over the shoulder (www.pramanik.in). Sari is a glorious past; possess timeless appeal and a bright future (hydepages.com). The word sari is the anglicized version of sadi which existed in Prakrit as sadia that derived itself from the Sanskrit word sati meaning a strip of cloth or pattas of cloth (www.aponline.gov.in). From shatika word satee was formed and later it came to be known as sadi in Marathi and sadee in Bengali, Bihari, Hindi and Oriya. The origin of the sari is exactly not known since its use has been mentioned in the Mahabharat and some ancient sculpture of the Sumerian tradition and could probably be traced back even farther. In Mahabharat, minicheri is nothing but a woven sari interwoven with pearls and glittering border. Hiranyadrapi in Rigveda is an example of a sari, a fine cloth with border as pattas. In Ajantha, there are various specimens of saris woven with different techniques. The chief characteristic of colour in sari is to produce rhythmic contrasts, which have been displayed in the murals of Ajantha (Joshi, 1984). India is world famous for producing exclusive saris with variegated textures and designs. Historically famous saris produced in different regions of the country are Baluchar saris of Varanasi, Bandanis of Kutch, Brocades of Banaras, Chanderi saris of Madhya Pradesh, Georgettes of Mysore (Karnataka), Ikat saris of Orissa, Jamdhani saris of Bengal, Karalkuddi saris of Kerala, Kora cotton saris of Coimbatore, Paithani shalu of Maharashtra,

Patolas and Tanchois of Gujarat, Rathwa loincloth of Chota Udaipur and Temple silks of South from Arni, Crepes, Dharmavaram and Kancheepuram. Karnataka one among the Southern states is famous for the distinctly produced cotton, silk and synthetic saris. Prominently notable among them are Ilkal saris with tope teni pallav and khana, the choli (blouse) material of Ilkal, Gajendragad and Guledgudda. Saris with patti pallav of Hubli and Betageri, silk saris with contrast borders of Molakalmuru, mulberry silk saris of Mysore, light weight printed silks of Bangalore are also famous. Among the mixed saris, Lakkundi polycotton sari and Dharwad sari are quite popular that have demand in international market too (Vastrad and Naik, 2004). Polycotton saris unique in their appearance are woven using harmonious combinations of the body and border. With warp as cotton and weft as polyester, the sari is most suitable as all seasons made-up as well as for age groups of both rural and urban folk. The use of polyester yarn not only made the sari light in weight but also improved the resiliency. Further the care and maintenance practices are also simplified. The pleasing colours in the body, border and pallav, add beauty to the sari giving it an elegant look and thus adopted as casual as well as party wears. The traditional polycotton saris were plain with contrast borders on either sides but today are embellished with traditional hand embroidery i.e., Kasuti of Karnataka thereby boosting the value and popularity for these saris in domestic as well as international market. Embroidery is a beautiful thread work on a variety of fabrics which makes it more attractive and appear gorgeous. In India, hand embroidery has been practiced since sixteenth century where the motifs were being traced from wall paintings, statuette found in Indus valley civilization and sculptures (Naik, 1996). Embroidery provides a mode of creative expression for the people of the soil. Their love and expression of nature, patience and perseverance in making beautiful things are expressed through the art of embroidery (Joshi, 1983). Each state in the country is unique by itself as far as embroidery and its variegated designs are concerned. This is mainly because of the difference in the mode of people, the availability of indigenously manufactured textile material, ground fabric, influence of ecology, custom, festival, deity, occupation, skill, likes and flare for various motifs, technique of stitchery, threads and so on. However, it can be said that, the local people are totally responsible and are the pioneers of their unique embroidery. Fashion is vicious circle, it keeps on revolving its trend from time to time, place to place and people to people, where in traditional craft has an important role to play. However, this change has hardly tapped the beauty of the traditional embroidery of any state. Today, the conventional patterns, colours and stitchery have formed the base in Indian embroidery. It is true that many of the natural, stylized and geometrical motifs and their combinations applied in textile designing are mostly traditionally drawn. Today, all over India classic embroideries are practiced by women of different castes and classes viz., Kantha of Bengal, Kashida of Bihar, Kutch and Kathiawar of Gujarat, Chamba Rumal of Himachal Pradesh, Kasuti of Karnataka, Kashida of Kashmir, Embroidery of Manipur, Applique craft of Orissa, Phulkari of Punjab, Embroidery of Rajasthan and Chikankari of Uttar Pradesh. The embroidery of Kutch and Kathiawar of Gujarat is one of the richest in design and most varied in stitches among the Indian folklore. This embroidery was introduced by Kathi, the cattle breeders, who were basically wanderers and brought by Karna, the famous warrior of Mahabharat. These wanderers collected and gathered themselves in a place and contributed variety, unique elements, patterns, designs, themes, moods and techniques of needle work, which became later an integral part of Gujarat embroidery. These wanderers worshipped Shiva and Ganesh and used to embroider the idols in the small squares called Sthapanas (Naik, 1996). A legend explains that, a notorious demon had enslaved thousands of women in a forest, who was killed by Lord Krishna and freed the women. Later, with passage of time, these women turned out to be his Gopikas, the playmates who were brought to Dwarka. These women, hailing from various parts of the country were inherently talented in one or the other crafts and stitchery, whose individual contribution nobled into a new form at Saurashtra, Gujarat (Naik, 1996).

According to J. M. Nanavati (1966), during sixteenth and seventeenth centuries, embroidery was a flourishing trade in Cambay and Patan cities of Gujarat when the embroidered articles were exported to European countries. Gujarat embroidery is not only rich by itself but depicts rich heritage of the state where several individuals express their ideas, views by making use of several colour schemes and is classified into two distinct styles i.e., Kutch and Kathiawar (Pandit, 1976). Kutch embroidery is believed to have been taught to Mochis (shoemakers) of the country about 300 years ago by a muslim fakir of Sind. A number of influences have been responsible for developing different styles of embroideries in Kutch. The peasant and tribal women of different communities are seen busy in embroidering the articles during their leisure time, thus retaining their own culture. Kutch embroidery has the foundation of various clans viz., Ahirs, Kanbis, Mochis and Rabaris. Ahirs are the primitive peasants of Saurashtra who were interested in enriching their attires and also prepared decorative articles. The embroidery is executed with the help of a hooked needle Ahir where the stitches appeared exactly like chain stitch. Kanbis are basically the cultivators, migrated from Saurashtra who engaged themselves in the beautiful art of Bharat (embroidery) and are known for their patient work. Mochi is the community of cobbler or shoemaker whose basic stitch used for making chappals and shoes has entered as popular Kutchi Bharat. Rabaris belonged to a tribe of Giri region, whose style and technique of embroidery was entirely different from that of others. The embroidery was relatively effective, impressive and attractive (Naik, 1996). Originally Kutch embroidery was carried out on dark coloured hand spun and hand woven Khaddar or Khadi material but at present it is done on silk and/or the locally manufactured satin fabric, the Gajji silk or a silky satin fabric, the Atlash. The hand work is done with cotton thread of yellow, orange, green, purple and white colours. The basic stitches used in Kutch work are the chain, herring bone, button hole, darning and couching or laid stitches. The motifs used in Kutch embroidery comprise of birds, animals, flowers, creepers, foliages; of them bulbul, dancing doll, elephant, fish, horse, human figures, karanphool, parrots, peacocks, the flower shaped earring are common. Kutch work is mostly carried out on articles of rural use and personal clothing like chaklas (wall hanging), challis, ghagras, trappings for cattle, torans or door hangings all indicating pastoral mode of life. Kathiawar embroidery has a great influence of neighbouring states especially the areas of Sindh, Punjab and Kutch, but however unique in its own style. The glistening characteristic of Kathiawar embroidery is the lavish application of mirrors. The basic stitches used are buttonhole, chain, darning, herringbone, interlacing and stem stitches. Silk floss, the pat, of crimson red, cream, black, indigo, ivory, yellow and green are the colours predominantly used. The motifs found in Gujarat embroidery are animals, birds, floral and human figures and geometrical designs. Kathiawar embroidery is basically employed to decorate the traditional ladies costume of Gujarat, the Choli and Ghagra (Chaniya). Besides ghagra and choli, it is also worked on natis or childrens bonnets ending in a square flap at the back, torans (panel over the doors), chaklas (square wall hangings), chandrawas (rectangular wall hangings) and other household articles. Kathiawar embroidery is comprised of six distinct styles viz., Abhla Bharat (mirror work), Applique work, Chain stitch, Heer Bharat, Moti Bharat (bead work) and Sindhi taropa (interlacing stitch). Folk embroidery is still very much of a living tradition in the rural areas of Gujarat. It represents a rich heritage of aesthetic sensibility and discipline. It is a colourful medium for sensitive and individual expression. Though the taste for hand embroidered articles in the modern society is in increasing demand due to the fast changing fashions and their gracious look, the traditional embroideries need to be popularized and developed into an industrial craft in order to generate employment opportunities mean while also to save the reminiscent beauty of the past and everlasting art. Further, the traditional motifs used in traditional embroideries are losing their importance in this modern era due to rapid development of computerized embroidery machines that saves time, money and labour.

Hence, the present study is taken up with a view to revive the traditional Gujarat embroidery by way of digitization and produce the digitized motifs onto the traditional Dharwad saris by swivel (Jamdani) technique. Thus the present study is taken up with the following objectives: 1. To investigate the possibility of modifying and digitizing conventional Gujarat embroidery motifs suitable for hand woven Dharwad sari. 2. To incorporate the digitized conventional patterns on hand woven Dharwad sari. 3. To assess the consumer acceptance of swivel pattern Dharwad saris. 4. To estimate the cost of swivel pattern Dharwad saris.

2. REVIEW OF LITERATURE
The relevant research studies pertaining to the present investigation on Digitizing Conventional Patterns of Gujarat Embroidery and Product Development are reviewed and presented in this chapter under the following sub headings: 2.1 2.1.1 2.1.2 2.2 2.3 2.3.1 2.3.2 2.4 Traditional saris Silk saris Cotton saris Conventional embroideries Revival of traditional saris and embroideries Revival of traditional saris Revival of conventional embroideries Computer aided designing

2.1

Traditional saris

Sari is the traditional wear of women which has timeless appeal and is beyond comparison. It is a fine creation, which gives a sensuous and caring touch, feminine appeal that aids the wearer with special sparkle and charm. It has been a part and parcel of the Indian culture since time immemorial and today stands tall among the galaxy of womens wear. It has withstood the damages through kingdoms, dynasties and battles and has emerged unharmed in spite of having the hardest of trials. The highlights of studies by researchers on varieties of saris are presented here under:

2.1.1 Silk saris

Golden age of Indian saris: Baluchar saris a study conducted by Joshi (1984) revealed that the saris were woven in Murshidabad district of West Bengal with charaka spun silk yarns either in dark red, blue or sometimes in combinations of red and blue. The elaborately designed anchal covered the entire width and was about 24" x 32" in dimensions. The most favourable season for weaving Baluchar saris was monsoon. Ravikumar (1984) observed that Kancheepuram saris were composed of cent percent mulberry silk that was charaka spun, the warp being finer than the weft. Use of flexible bamboo reeds in weaving checked the yarn damage. Contrast borders on either sides of the sari were stitched using three shuttles, two being used to interweave borders on both sides and the third to weave the body of the sari. Banaras brocade is the fabric of dream, a cloth of genuine gold. In olden days, very fine and delicate gold and silver wires were interwoven instead of yarn. The sari ultimately glittered with a metallic sheen. However, the silk yarns used in weaving were purchased from Bangalore, Kashmir and Malda and the tested jari from Surat. The varieties of Banaras textiles viz., Brocades, Jangala, Satin border, Banarasi butidar, tassar silk and Organza were woven with a harmonious combination of plain, satin and twill weaves to create interesting floral, fruit, animal, bird, geometrical patterns and human figures. Colours used were the shades of pink, red, blue, green, yellow and purple as reported by Thomas (1985) in a study on Banaras Textiles. Mondal (1988) described in the article on The ancient, glorious and vibrant Banaras silk industry that the Banaras brocade or saris were closely woven and designed with gold and silver. Banarasi organza, chiffon or crepe saris were lighter varieties of silk, made of filature raw silk and zari. Banarasi cutwork saris were of both filature raw silk and art silk. One meter long pallav design made in a Moghul motif with attractive borders was the speciality of Banaras brocade and saris. Kotha kota saris produced in Kotha kota town of Mahabub Nagar district of Andhra Pradesh, are the richly woven brocaded saris with 2 ply silk yarns used in both warp and

weftways envisaged Jacob (1989) in her study on Rich, artistic saris of Andhra Pradesh. The saris had a pleasing colour in the body with the contrast border and pallav. Mythological swan, the hamsa with carved tendrils in the border and gouli, a stylized single and doubleheaded eagle in the pallav were uniquely used motifs. Sonata saris produced in Karnataka are composed of pure mulberry silk as warp and pure mulberry spun silk as weft. This sari was basically a handloom product but now is economically woven on power looms. A weaver who used to weave 4 to 5 meters a day on handloom is now able to produce 15 meters a day on power loom. Use of jacquard and dobby has made it possible to create beautiful designs much similar to Kanjeevaram, Dharmavaram and Kumbhakonam saris (Kannan, 1989). Kannan (1989) in the article Karnataka: the home of traditional and modern saris described some of the traditional and modern saris produced in Karnataka. The traditional saris included Kadalthare, Ilkal Darshini, Karnataka Konguri, Dariya Daulat and Kadalanchu. Kadalthare saris are produced in South Kanara mostly woven with check pattern in the body and skirt border. Karnataka Konguri saris produced at Tiptur and Kallur in Tumkur district are popularly known as Molakalamuru saris woven with contrast solid colour and borders. Dariya Daulat are printed saris, the designs were developed from the paintings of Dariya Daulat Summer Palace of Tippu Sultan at Srirangapatnam. Kadalanchu saris are developed by Weavers Service Centre, Bangalore and woven with cotton extra warp designs in the border and cotton extra weft designs in the pallav. Modern saris included georgette, crepe, chiffon, satin crepe, satin and printed saris. Ramesh and Kirsur (1989) in an article on The splendid, rich, elegant and sanctified saris of Kancheepuram described Kancheepuram sari as a fine quality charaka spun silk sari weighing about 400-600g of which gold zari weighed 30-200g. The body of the sari was either plain or with stripes of zari or in simple checks most commonly with all over buttas. The pallav was richly woven with incomparable temple designs. Marvellous kancheepuram saris, a study conducted by Nadiger et. al., (1995) elaborated the uniqueness of Kancheepuram saris that lies in weaving the solid border and Mundhani (also called pallav) formed the other end of the sari, when worn, drapes over the shoulder. Korvai is an elaborate process of interlocking individual warp yarns with the pallav yarns of previous sari. The pallav often runs upto 48" full of decorative details and finish. The body of the sari was either plain or with simple checks or most commonly woven with buttas like rudraksham, vankis, kanchu, garudahanchu, simhasana, ardhasimhasana, brick pattu, diamond and half diamond pettu, elephants, horses, parrots, peacocks and gandaberunda were the motifs used as buttas. Jacob (1996) in her study on Grandeur of Kanchipuram stated that silk with 16/18 denier is generally used to weave Kanchi saris and for which most of the silk was purchased from Karnataka. The sari woven in double colour was its speciality. The motifs used represented a gallery of exotic, sturdy and exquisite designs. Geometrical designs, stylized rings, rudraksha beads, dots and other decorative floral and mango patterns of various style and size, peacocks, parrots, elephants, motifs from Ajantha and Ellora temple, creepers, animals, birds, diamond, half diamond, double headed mythological bird formed the integral part of the design. These patterns woven with extra warp and weft were worked into the body of the fabric by means of an indigenous device known as Adai which performed the same function as jacquard. Korvai technique prevailing in Tamil Nadu was adopted to join the border to the body. The solid pallav matching the borders in colour produced by doffing the warp yarns and then twisting another set of warp with original warp of the body called the petni. Krishnamurthy et. al., (1996) in a study on Kumbhakonam saris a blend of tradition and modernity mentioned that the weaving of Kumbhakonam saris was a slow process because of the intricacies and elaborate designs. Designs in the border and body by extra warp figuring was woven using jacquard mounted on a frame loom. The warp comprised of two ply silk yarns of 20, 16 and 28d where as weft constituted of 2, 3 and 4 ply untwisted filature silk. Crimson, violet, carrot, green, arakku and turquoise were the common colours whereas blue, brown and mixed colours were woven occasionally on demand. The hallmark of Kumbhakonam saris were absolute perfection well geometrized, well-defined curved motifs derived from nature and temples. It was noted that sigappa raja, white raja, button dollar,

grape, creep, cross creep, double flower, red rose and diamond rose were a few popularly woven designs. Bhagwat (1998) described the Maheshwari saris of Madhya Pradesh in the article Silk products of Madhya Pradesh. The Maheshwari sari is woven with 80s count cotton yarn and 20/22d twisted silk yarn. These saris were woven with silk check patterns on cotton ground both in warp and weft. The varieties of check patterns known as Gunji, Pakhi, Popli, Dorwa, Chandtara and so on. The border and pallav designs of Maheshwari saris are influenced by the carvings on the Ghats of Narmada. A typical attractive border which appears alike from both right and reverse sides of the sari is the speciality of Maheshwari saris. A study on Splendorous silks of Dharmavaram conducted by Rajappan and Vatsala (1998) indicated that the saris were woven on pit loom with dobby and jacquard attachments for border and pallav respectively to produce extra warp and extra weft designs. Two ply silk yarns of 20/22, 20/24 and 28/32 were employed to weave the Dharmavaram saris with contrast border and pallav commonly called as Kuttu type whereas; those with self borders and pallav were called as Lattu type. Weaving Kuttu saris was a slow process because it involved stitching. The motifs and designs for the saris were adopted from the sculptures of temples at Lepakshi and Tadapatri. Besides, motifs from nature like peacock, deer and flowers were also woven. Lux, parrot, olive green, rama or magenta, peacock blue and mustard were the few fast moving colours. Sanapapamma (2000) revealed in her study on Silk saris of Molakalmuru that 2 ply filature silk was used in the warp and 3-4 ply charaka silk in the weft of the saris. A galaxy of geometrical, temple and intricate designs were used. Most commonly woven buttas were the banaras venki, diamond, hamsa, lotus, mango, peacock, parrot, phoenix and rudraksha beads on both contrast and self bordered saris. An article on Marvellous garbha silk saris of Bhagyanagar revealed that Bhagyanagar is a small village in Koppal district of Karnataka where the local weavers were engaged in production of beautiful silk saris, popularly known as garbha reshme or half silk saris, comprised of fine quality silk as warp and cotton as weft. The contrast border and tope teni pallav of the sari still manifests the beauty of traditionality. These garbha reshme saris were available in 5.70 or 6.30 meters of 42 inches width of which 30 inches formed the body and wide borders of Gomi or Ilkal, gadi dhadi, flower, diamond and peacock borders on either side. Besides, other motifs in the border were paras, patti, pineapple, chrysanthemum, mango, rudraksha and so on. The surface enrichment in these saris was brought about by using metallic zari (Naik and Suvarnagouri, 2005). World famous Banarasi silk saris, which once adorned the women at weddings and other social gatherings but now witnessing a gradual decline during the past decades due to stiff competition from machine made saris, may find a saviour in the United Nations envisaged by Pandey (2008) in a paper on Dying Banarasi sarees find a saviour. The author mentioned that The United Nations Conference on Trade and Development (UNCTAD) has decided to protect the Banarasi saris by having a formal geographical indication at the national level and subsequent international recognition for Banarasi silk saris, brocades and other products of silk to gain more value outside India. Today there are mainly four varieties of Banarasi saris available viz, Pure Silk (Katan), Shattir, Organza (fine kora with zari and silk works) and the Georgette. The signature feature of the Ilkal sari is the pallav or seregu made of red silk with patterns in white. The monotony is relieved by various styles of teni or spokes at the extremities of the white band of the pallav. The spokes are named after their shapes like hanige or comb tooth, koti kammli or fort ramparts, tope-teni or jowar/sorghum-shaped and rampa or the shape of a mountain range. The pallav and body are joined by a technique called kondi or locking, executed by hand. Four to six inches broad on either sides of the saree, in the auspicious colours of maroon or red with distinct designs, patterned in ochre is the border which is the striking feature of the Ilkal sari. A variation of the Ilkal sari is the chaduranga chikki (chess spots), i.e., sari woven in fine checks (Rao, 2008).

2.1.2 Cotton saris

Bansal and Phadke (1984) in a study on Hand woven saris of Maharashtra mentioned that the weaving of pure cotton sarees of Ahmednagar were introduced into the city by a rich Koli of the Bhangria clan, soon after the city was found in the year 1499. The weavers purchased cotton yarn from Bombay, Coimbatore and local markets. Motifs used in the border included gome, bugdi, veel bugdi, rueful, kamal, rudraksh, swastika, kuyari, karvati, lehari, pinjara, nagmani, khawale and surya. The length of the sari varied from 5-9 yards and the width was 45" to 49". Dorias of Kota weavers: a spell of magic, a study conducted by Paul (1994) explained that a fabric is called Doria only when it has duras i.e., striped Kota dories were pure cotton saris of either 100s or 120s. The original doria saris were called masuria since produced at Mysore (Karnataka). The weavers migrated from Karnataka to Kota in the late th th 17 and early 18 centuries and the saris were later called as Kota masuria. Traditional plain doria fabrics were woven on a simple throw shuttle pit loom without any extra attachments. Presently the saris are woven on both handlooms and power looms with jacquard shedding mechanism. Blooming flowers, grazing animals and flying birds are the motifs seen in the wispy sky of doria saris. Jacob and Bala (1999) mentioned that Venkatagiri saris were one among the finer varieties of saris of Andhra Pradesh in a study on Changing trends in cotton zari saris of Andhra Pradesh. These saris were popular for their purity of cotton with rich zari work mainly produced by swivel weaving (Jamdani) using extra weft insertions. The sari was made up of finely spun cotton yarns of 100s in the warp and 120s in the weft. The traditional saris were woven in off-white colour with pure zari border. The solid bordered saris were commonly called Kaddi Anchu. Border was rarely designed with batani or asharfi buttas. Polycotton saris unique in the appearance are woven using harmonious combinations in the body and border. The author noted that master weavers at Lakkundi used dyed cotton yarns for the body warp where as border warp as well as extra warp figuring constitute of polyester yarns. The 2 ply cotton yarn used was of 100s while polyester yarn of 80d was used for the body and that of 80/2d for the border. The geometrically shaped motifs viz., chrysanthemum and rudraksha formed the main designs in the border. Other popular borders woven were the Paras, Gadi (Ilkal type) and stylized borders, but the pallav remained plain with 3-4 bands of varied colours. The traditional polycotton saris were plain with contrast borders on either sides but today are woven with Kasuti motifs as stated by Vastrad and Naik (2004) in a study on Elegant polycotton saris of Karnataka. Itagi et. al., (2008) conducted a survey on Polyester cotton blended sari of Shigli (Karnataka): A success story. The power loom weavers in Shigli use cotton and polyester yarns for production of blended saris. The weavers purchased cotton yarn from Hubli and Ilkal where as polyester from Belgaum district. Some weavers purchased polyester yarn directly from Mumbai. The sari is woven from cotton warp of 2/100s, border with polyester yarn of 2/80s and 80s for weft. The main motifs used are Rudrakshi checks, Meenakshi, Kajal, Neelavathi, Kalavathi, Nandini, Mini checks, Kanchi checks, Balli, Ganga Jamuna and Nidhi checks. The designs are produced by using simple dobby mechanism on powerlooms. Kakkanavar (2008) in an article on A success story on varieties of traditional saris in Betgeri (Karnataka) cluster reported on varieties of traditional saris produced at GadagBatgeri cluster. Betgeri is famous for its quality mercerized cotton and silk saris with predominant Gadi-Dhadi border and red colour Tope teni pallav. The author revealed that powerloom weavers used either cotton or mercerized cotton as weft and silk as warp for production of beautiful blended saris. Of the raw materials, cotton is purchased from Coimbatore and silk from Bangalore. The different saris produced in this cluster commonly known in the local language are Gadi-Dhadi, Chikki-Paras, Skirt-Border, Todi-Paras, KareChandrakali, Chadarang-Chikki, Star sari and Gomi-Cotton saris. All varieties of sarees are produced on simple powerlooms except Skirt-Border saris which are produced on handlooms. The saris are embellished with hand embroidery (Kasuti work) and/or machine embroidery as per the customer requirement.

2.2 Conventional embroideries

The magic of Indian folklore has evolved over the ages. The embroidery art in India forms a cultural and social identity. It would be inaccurate to say that the exquisite variations in the embroidery designs separate the Indian art and its rich heritage from rest of the world. With each state having its own distinctive and unique style, India is popularly known for intricate designs and vibrant colours in this traditional stitchery. The highlights of studies on traditional embroideries of the country are described here under: Joshi (1983) in a study on Phulkaris from Punjab explained Phulkari as a symbol of ageless boom and luxuriance of Punjab countryside, a saga of embroidery of teaming earth and the richness of life. Phulkari designs display imagination, originality and profound knowledge of colour blending. The author classified Phulkari into four main groups viz., Tilpatra, Nilak, Chope and Suber. Til-patra phulkari was made on inferior quality khaddar with loose stitches on the body and the pallav. Nilak phulkari was worked on black or navy blue khaddar with yellow and crimson red silk floss. Chope was the wedding phulkari larger in size appeared similar to cross stitch. Suber phulkari was a stitchery on plain dark red khaddar with five each motifs in every corner and in the centre. A study on Phulkari, folk embroidery from Punjab conducted by Grewal (1986) revealed that long and short darning stitches are the two prime stitches in Phulkari, worked so compactly that it gave an impression of woven pattern. Other stitches traditionally used were herringbone, blanket, chain, running and stem. Most commonly used floral motifs were cotton boll, wheat ear, sesame seeds, marigold, jasmine and small buds. Other popular motifs were mango slices, rolling pin, peacock, parrot, snake, kite, umbrella, aeroplanes and Cyprus tree and jewellery articles. Dresses, household textiles, made-ups and utility articles were embellished with Phulkari embroidery. Joshi (1986) expressed that ancient literature and sculptures have the evidence of the antiquity of Kasuti embroidery in the study Kudos for Kasuti from Karnataka. Historically famous temples, palaces and their ruins with fine stonework revealed the architectural excellence of Karnataka. Inspired artisans drew the designs by needle and thread that was patronized by the rulers of that rein. Kasuti was purely a domestic art of the peasant community, who enjoyed the needle craft during their leisure time. The author observed that gavanti, murgi, negi and menthi are the four stitches of Kasuti, Gavanti being double running stitch, used to create simple vertical and diagonal lines, Murgi a ladder/staircase type stitch appeared identical on either sides of the cloth. Gujarat has produced a greater wealth and variety of embroideries than any other Indian state opined Joshi (1986) in a study on Grandeur of Gujarat embroidery. Gujarat boasts some of the most colourful and exquisite embroideries such as the mirror work embroidery of Kutch and bead work of Saurashtra. The embroidery of Gujarat is characterized mainly by the use of mirrors that substituted precious stones, which once adorned as royal garments. Three varieties of silk, gazi from Surat, atlus from Jamnagar and madvi were used as a base fabric while the embroidery was carried out in bright coloured silk floss. The motifs used are flowering trees, peacocks, parrots, bullock, horse and geometrical patterns. The articles prepared are pachhitpati narrow but very long wall hanging, ochhad a wall hanging, ulech coverlet for mattresses, quilts and cushions, besan or bhitiya a large wall hanging and chakla a square wall hanging. Varughese (1986) in a study on Towards revival of Dharwad Kasuti noticed that mainly women folk were engaged in this needlecraft during their leisure hours and prepared a sample piece of cotton almost a meter size that contained all traditional kasuti embroidery motifs. On the contrary, institutions treasured a portfolio consisting of kasuti samples on Mockleno cloth which was used as sample piece for personal use as well as in business transactions. The author described four types of stitches as negi that produced woven effects, gaonti/gavanti resembled running and back stitches, menthi the cross stitch and murgi with zigzag lines like a ladder. Cotton and silk threads of green, red, yellow, pink, orange, dark maroon and brown colours were used to embroider on various coloured backgrounds including white, crme, black, purple, blue, pink and green. Chamba Rumal: poetic imagery of pahari miniature, a study conducted by Grewal (1987) explained that Chamba Rumal the folk embroidery of North-western Himachal Pradesh

was traditionally done on two types of cotton fabrics viz., Khaddar home made rough quality and Halwan mill made fine quality and on tasar silk too. The embroidery was done on off white, red or indigo backgrounds with brilliant blue, brown, black, crimson, green, grey, pink and purple coloured threads. The stitches included chain, darning, double running, double satin and stem. This embroidery was a source of embellishment for decoratives, dresses, household textiles and made-ups. Mittal and Paul (1989) elaborated Success story of zari craftsmanship involved in gold and silver embroidery of Lucknow. Transfer of design onto the fabric was through tracing or by using graph. Very rarely the patterns were created by free hand drawing. Laid, chain, running, satin, stem and cross stitches were prominently used to embroider the traced designs. Motifs included the traditional mango, swastika, animal and human figures; geometrical designs were created by using lines, triangles and circles. Accessories, dresses, furnishings and made-ups were embellished with gold and silver embroidery. Grewal (1990a) in a study on Variegated embroideries of Rajasthan revealed that the motifs and patterns were impressed onto the fabric with the help of carved wooden blocks, dipped in the paste of fullers earth and um prior to embroidery. The use of perforated paper for tracing designs was seen rarely. The author described different group of embroideries practiced in Rajasthan as Mochi bharat, the chain stitch using cobblers hook needle called the Katarin or Ari. Heer bharat is a embroidery with double satin, herringbone, interlock and buttonhole stitch using silk floss. Lotus was the motif extensively used in combination with flower buttas, stylized parrots, garuda, cantering horse and elephant carrying a palanquin with two human figures gazing out. Pichhvai one of the religious embroideries of Rajasthan embellished the sacred textiles used in temples, and were traditionally used according to the seasons. Velvet and satin used during winter were called the Sarhad, where as cottons in summer were called the Gresham. Silk or cotton threads of bright red, green, yellow and orange colour were used on red, purple, blue or white backgrounds. The patchwork outlined with white cord in addition to gold and silver embroidery was also observed in Rajasthan. Designs used were pictorial in character depicting themes from Bhagad purana, Ras mandala, Krishna leela and Gokul vana. Besides, these Pichhvai embroidered articles had heavily ornate borders comprising of floral scapes and scaollops as stated by Grewal (1990b) in the article Variegated embroideries of Rajasthan. Jain embroidery was the second religious embroidery of Rajasthan (Grewal, 1990b). Jains offer wall hangings, canopies, panels, chaklas and torans as gifts to the shrines. Satin fabric of red, blue, indigo and violet colours were used as base on which embroidery and patchwork of red, yellow, white, green and blue colours were done. The designs used in the Jain embroidery included themes based on Jain philosophy such as mandala, adidivapa, dipkala and ashatmangala. Mandala was the diagrammatic representation of Jain beliefs and concepts and depicted the centre of universe, heaven, various gods and goddesses. Adidivapa showed Jain cosmology with three worlds worked out in concentric circles and the names of different gods and goddesses inscribed in it. Ashatmangala contained eight auspicious objects related to different Tirthankaras. Court embroidery was another style of embroidery practiced in Rajasthan including gold and silver embroidery and thread work as mentioned by Grewal (1990c) in a study on Variegated embroideries of Rajasthan. Gold and silver work was further categorized into gota and salma work. Gota formed an intrinsic part of Rajasthani women ensemble. It was woven with flat, metallic yarn called badla as a border. Salma work was broadly classified into two classes, zardozi and kamdani. Zardozi was the heavier type of work rendered by taking the stitches close together while kamdani referred to lighter type of work which was more popular than zardozi work. Embroidery: the vanishing heritage of the nomadic rabaries, a study conducted by Edwards (1996) explored that in the Rabari community, embroidered clothing played an integral role in the twin system of dowry and bride price. Blouses, veils, quilts and bags in particular were important inclusions in the series of gift exchanges enacted as a part of the whole system of Betrothal and marriage. Embroidered embellishment on the clothing and household items became a mark of group identity, marital status, function and also a testament to the skilled workers. The stitchery revealed several aspects of day to day

existence and activities viz., stylized women carrying water pots, flowers, parrots and peacocks compete for space with camels. Embellishments and Trimmings, an article by Jacob (1998) described, Zardosi as a heavier and more elaborate stitchery worked on almost all heavy coats, cushions, curtains, canopies, shoes and similar kind. The ground material employed was heavy silk, velvet or satin cloth. The precious metals were turned into salma or sitara and stitched into the cloth with silk thread. Once zardosi glittered on the robes of royals but now applied as embellishment on synthetic sarees and dresses. The wires may be straight, spirally twisted or coiled to suit particular design. Gupta and Goel (1999) described Chutki work as the traditional embroidery of Rampur in Uttar Pradesh in the article Rampur folk art: Chutki work embroidery. Simple slipstitch was used to tack small motifs onto the base fabric. Supporting stitches viz., feather stitch was applied for decoration and ornamentation of the design whereas stem stitch was used to create lines in the design. Main characteristic of chutki work was a dot and a leaf, which was prepared by folding pieces by hand called as patti. These designs were named after the arrangements as chaddiyan, jaldaar, haar, suraj and gamla. Dresses and made-ups were marvelously enriched with chutki work. Prashanti and Jacob (1999) made an attempt to diversify the Banjara embroidery to incorporate it in salwar kameez to suit the larger segments of the society in a study on Banjara embroidery for salwar kameez. In total 12 salwar kameez sets were designed with banjara embroidery in different designs and styles and the cost of production of these value added salwar kameez was calculated. The results revealed that all the 12 dresses were found to be ethnic and beautiful. Materials like woven fabrics, tie and dye materials and other printed fabrics were more suitable for banjara work. It was concluded that these dresses could be popularized and commercialized in domestic as well as international markets. Bains and Bhatti (2001) in a study Philosophy of Phulkari classified phulkari according to the area of fabric embroidered as bagh, chope, ghungat bagh, nilak, salloo, til patra, shisdar and suber. There were about 23 types of phulkaris and baghs named after the designs and motifs embroidered on them. Phulkari was done using silk floss the pat on hand spun, hand woven and home dyed cotton khaddar. Bright coloured threads viz., golden yellow, crimson red, green, orange, white, black and sometimes blue were used to embroider geometrical motifs, floral and plants, fruits and vegetables, birds and animal motifs, household motifs like rolling pins, hand-fans, comb, brass utensils and other miscellaneous motifs like roads, aeroplanes, kites top, feathers and umbrellas. A study on Splendid kasuti embroidery on variegated made-ups conducted by Naik and Shejwadkar (2004) mentioned that kasuti embroidery comprised of four stitches viz., gavanti, murgi, negi and menthi. Gavanti produced straight lines whereas Murgi produced staircase effects. Negi resembled woven motifs and Menthi the cross stitch. The basic ground fabric used for kasuti work was the Ilkal sarees and khanas (choli material) of Guledgudda. Apart from sarees and khanas, the stitchery was extended on Kunchinge (cap), Kulai (bonnet), Parakara (lenga or lehenga) and Choli (saree blouse). The motifs used were gopuram, palanquin, chariot, lampstand, shivalinga, crown of Shiva, orn, swastika, sun, conch shell, asana, Ramas cradle, Hanuman, horse, elephant, squirrel, parrot, sparrow, peacock, swan and deer. Saini et. al., (2005) conducted a study on Existing trend of embroidery on feminine garments with a view to study the fashion trend of embroidery on feminine garments like saree, kameez, gown, nighty and lengha for further improvement of styles and techniques. The results revealed that stylized mode of design, modern appearance, flat texture, hand embroidery, floral motifs were prevalent trend of embroidery. Chain stitch, French knots and satin stitch (machine) were the existing and most preferred stitches of embroidery. Window displays was one of the promotion techniques.

2.3 Revival of traditional saris and embroideries

Mans crave for something new has led to creation of new concepts in colours, designs, patterns, weaves and prints in clothing. Fashion cycle, especially in apparel industry

revolves continuously and rapidly. People, particularly youth always enjoy the diversity that brings change in the trends. Presented here are the insights of researches on innovative developments taking place in traditional saris and embroideries:

2.3.1 Revival of traditional saris

An attempt was made by Balamba and Jacob (1988) to bring about a variety in Venkatgiri sari in terms of overall appearance and performance in a study on Mercerized yarn good for Venkatgiri sari. Two varieties of saris were woven, one type with mercerized yarn and another using non-mercerized yarn. The saris were subjected to different level of launderings and were evaluated by a panel of judges. The findings revealed that the mercerized Venkatgiri saris showed better characteristics such as dimensional stability, bending length, drape coefficient abrasion resistance and tear strength compared to nonmercerized saris at different levels of launderings. Reddy and Jacob (1989) conducted a study on Polynosic rayon yarns in the weft of traditional Dharmavaram silk sari. Three saris were woven with silk warp and polynosic rayon as weft. The newly produced saris were evaluated subjectively by a panel of judges and compared with pure Dharmavaram silk saris for their characteristics like luster, whiteness and overall appearance, after 10th and 20th washes. The results revealed that majority of the consumers preferred silk-polynosic saris because of semi-dull appearance of artificial luster after laundering. Not much difference existed in the appearance of control and newly designed saris on laundering, low cost, luster, better hand and feel and over all appearance. Dorias of Kota weavers: a spell of magic a study conducted by Paul (1994) revealed that kota saris were woven into union fabrics of silk and cotton with chequered patterns. Fine silk yarns produced the transparent background while the relatively coarser cotton yarns formed the grid effect. Jacquard and dobby shedding mechanisms were recently employed to produce border designs. The Naka, Pagio and Jala system of Banaras were put into action of weaving intricate and beautiful designs in the aanchal of the sari. Tandon (1994) in a study on Marketing of Banarasi silk goods revealed that the diversification by mixing silk with viscose, nylon and cotton yarns was tried to enhance the appearance, feel and texture of the sari and further to slash down the cost of production of pure silk saris. Besides saris, a wide range of products like the zari woven dress material, scarves, stoles, furnishings, wall hangings, cushion covers and tabletops were introduced. Jacob and Bala (1999) in their study on Changing trends in cotton zari saris of Andhra Pradesh discussed that various colours were introduced in Venkatgiri saris since 1962 under the supervision of All India Handloom Board, Madras. The pastel shades were introduced to be in par with the taste and demand of the consumers. Zari, which was earlier imported from Paris, was later procured from Surat. Tested zari, plastic zari and powder zari succeeded in replacing the pure zari. In 1960s lots of changes were brought about in the motifs. Film bordered design representing the holes in the cine reel were introduced along with motifs viz., parrot, mango and gold coins. In 1970s changes were made in the body designs by the imitation of dorias. Later tissue patterns with zari as weft and pure cotton as warp became famous in 1980s. In addition to kaddi anchu some buttas were incorporated in the pallav. However, in the recent decade (1990s) wide range of floral, bird and mango motifs were seen with peacock as the most popular one. The results of the study on Revival of Baluchari sari of Bengal conducted by Sarkar (2001) revealed that pure tasar Baluchari saris were woven in other textures too, to meet the demand of all sets of consumers and also to popularize the saris. Half tasar saris i.e., polytasar and pure cotton Baluchari saris were available at most reasonable price ranging from Rs. 300 to Rs. 800 respectively. An article on New trends in silk fibers and fabrics by Sinha et. al., (2008) revealed that the Paithani saris were woven with a poetry composed in silk and gold, depicting the motifs of mor (peacock) from the Moghul period, the golden lotus from the Yadavs times and Asavari (vine and flowers) among others against the traditional Paithani sari with plain body that sets off its richly ornamented border and pallav and the tiny motifs of coins, star, mangoes etc. The saris were available in traditional colours like yellow, green, red and blue.

2.3.2 Revival of traditional embroideries

Grewal (1986) in a study on Phulkari, folk embroidery from Punjab mentioned that the designs of Phulkari embroidery were traced on the fabric instead embroidering by counting the threads from the wrong side of the fabric. Designs were transferred onto the fabric using charcoal powder or by block printing on the right side. Chamba Rumal, which was done traditionally on khaddar and halwan is now worked on a variety of fabrics including poplin, linen, satin, organdy and blended fabrics too. Twisted rayon embroidery threads replaced the untwisted silk floss, pat. White, cream, sky blue and lemon yellow were the newly added colour for the background. The author (Grewal, 1987) observed scarce use of chain and darning stitches. This embroidery was also extended to household textiles such as fine screens and room dividers. Varughese (1987) in a study Revival of Chikankari embroidery mentioned that in Chikankari embroidery darker shades of threads were used against lighter background of the same hue; for example, dark purple embroidery on light purple background. Sometimes even contrast combinations like green or brown threads against white ground were applied. Apart from these lighter tints of pastel hues like green, blue, pink, purple and yellow and shades of darker hues like black, maroon, blue, purple and dark yellow replaced the traditional white background. Variegated embroideries of Rajasthan-I a study conducted by Grewal (1990a) narrated that mill dyed cotton threads did replaced the traditionally used silk floss pat. Heer bharat was also done on a variety of fabrics including hand spun or mill spun cottons and woollens. Naik and Vastrad (2008) made an attempt to revive the negi motifs of kasuti embroidery by way of automation mentioned in an article on Protection and revival of traditional hand embroidery, kasuti by automation. The authors cited that among the four types of stitches of kasuti embroidery viz, Gavanti, Murgi, Negi and Menthi, negi was the stitch which is rarely used and is gradually becoming extinct since it involves skill, patience, expertise and intricacy. GC Kala 2000 with interface Paint Shop Pro (PSP) software was used for automation and handloom with jacquard attachment of 180 needle capacity was employed for incorporating the automated negi motifs on the sari. It was concluded that the technology of computerizing negi motifs and woven with the help of jacquard shedding mechanism on the handloom, that hastened production rate as well as retained the traditionality.

2.4

Computer aided designing

Computer Aided Designing (CAD) is a major trend in the apparel industry. The use of CAD has provided the opportunity to assist in the process of product development, and has made manufacturing flexible. Computers have assisted to carry on the work easily and in a short duration, maximum number of assignments can be fulfilled leading towards profit of the company. CAD has dramatically increased the efficiency of apparel manufacturing and production as well. Hence it was felt necessary to gather the highlights of researchers on CAD as under: Designing the dream an article by Kapadia (1994) recorded the benefits of CAD and CAM. The author opined that CAD has simplified the process of putting designs into repeats. Few CAD softwares even allowed the designers to visualize the garments by rendering the outfits on digitally generated mannequins that didnt exist. CAD also provided an additional advantage of generating self created imaginary fibres into yarns, yarns into custom weaves and weaves into fabrics and finally into garments without even touching thread to spindle or needle to garment. Jayachandran and Sundaram (1995) in a study CAD for handloom, power loom explained the possibilities of producing designs for weaving. It is possible to programme the basic weaves in the computer language that could be stored in the memory. Software developed need to have the facility to input the designs and to edit by appropriate commands viz., cut, enlarge, reduce, mirror, rotate, paste that could be superimposed within and between the achieve. The CAD system should have module for simulation, for real image Tm Tm display as well as to print. TCS - Dobby and TCS - Jacquard are the two software available for dobby and jacquard designing.

Computers boosters of textile business in this modern age a study conducted by Pandit (1996) envisaged that textiles which took into account design patterns woven, knitted and printed made use of computer aided designing thus simplifying the task than it used to be. Gone are the days of drawing the designs on the papers with various patterns and different coloured threads. Instead one can use CAD system to try out number of combinations displayed on the monitor and make final selection. Computer Colour Matching (CCM) has proved to be of tremendous help that eliminates the trial and error techniques which solely depended upon the dyers/printers ability to match the specific shade. Resolution, colour palette, memory, hard copy capability and the graphic software are the five attributes of the system suitable for textile designing as mentioned by Patwardhan (1997) in a review article Computextiles. The author expressed that creation of yarn, pattern, design and simulation of the fabric were the essential operations expected of any textile design software. This could be possible with high resolution computer colour graphics, wherein a designer is free to choose any fabric type and design patterns. It was also possible to introduce new colour ways or change the designs or settings and simulate all types of fabric patterns. Agarwal and Gahlot (1999) in a study Simulation of textile designs on computer explored that with the advent of computer aided textile designing it is possible to visualize the fabric showing different types of designs and combinations of colours. CAD has lead better quality and flexibility in design development, increasing the efficiency and shortening the time between the design concept and the actual marketing. All the basic components of design could be programmed in computer languages and stored in computer memory. The applications of textile CAD in fields of weaving, fashion, embroidery, apparels, printing and knitting has been dealt by Arun (2000) in a paper on Implementation of CAD/CAM in textile industry. In weaving, CAD technology can be applied to electronic pattern cards that control the movement of healed frames or ends in dobby and jacquard. In case of embroidery, embroidery heads and stitches can be controlled effectively according to design. In fashion technology, it is possible to convert typical 3D models to 2D models and vice versa for RIA. In the field of apparels, printing and knitting through CAD application, designs could be created, edited, modified and saved in respective archives to vetrine as and when in demand. The software eventually saves time, money and labour resulting into low cost of production of any product. The results of the study Computers in textiles by Srivastava et. al., (2000) on surveying 30 units, it was found that majority of the units belonged to spinning mills followed by processing, weaving and other units. The personnel and administration, human resource department and accounts departments did have computer facilities. Fox pro and clipper were the most accepted platforms for developing software by the participants. The author concluded that majority of the mills yet to computerize the various sections and departments. Arun (2001) in his editorial explained the Versatility of computers in textile industry. A textile manufacturer or a designer could send his design samples to any part of the world through computer-based packets of information. The computer technology/information technology has increased the potential of the textile industry to face the growing competitive market. It comprised product design, production planning, production control, production process, quality control, production equipment and other plant facilities. Bains and Bhatti (2001) made an attempt to develop Software for Phulkari design under Microsoft disk operating system (MS-DOS). The basic statements used in MS-DOS were arithmetic operators, DIM, read, for-to, go-to, go-subroutine, if-then-else, input, locate, loops, print, return and end statements. The software developed provided immediate visualization of the results of any design on the monitor and any detailed alterations could be done in minutes. The simulation involved also provided an additional advantage of checking out the suitability of designs on computer screens for commercial production. Computer Aided Designing (CAD) systems, the first of the mechatronic elements are rapidly proliferating in the textile enterprise opined Das and Bidani (2001) in a review article on CAD to sharpen competitive edge in garment designing. The author mentioned that a typical CAD system consisted of a Personal Computer equipped with input devices such as an image scanner and a video camera and output devices such as a colour monitor and a colour printer. The CAD system can also generate processing information for weaving

machines, such as lifting of the harness that can be directly sent to electronic dobbies and jacquards. Introduction of computers for creating designs helped the designers to save time and labour. It almost took 3 to 6 days to finish a design manually on a graph sheet of size 288 square inches, whereas it took just one day to get the finished design using computer. But master weavers are still encouraging manual designing as they apprehended that computers may lead to multiple supply of designs which was difficult in case of manual designing. This was a big revolution in Dharmavaram design industry (Kumar and Nerli, 2001). Parthasarathi (2001) conducted a study on Implementation of CAD and E-commerce in apparel industry with the objective to reveal the usage of Tex CAD and E-commerce in various departments of apparel industry. The author envisaged that Tex CAD and Ecommerce added velocity to an enterprise, simplified and streamlined business process and integrated the different activities of an enterprise, making it more efficient and effective. The areas in the apparel industry where the CAD technology could be applied are fashion illustration, pattern design, pattern grading and marker planning. The main advantages of Ecommerce are vast choices, economy in transactions and wealth of information. Computer technology has reduced the time required and increased the accuracy of different activities of apparel industry (Kathiervelu, 2002). CAD systems offer significant benefits in time reduction, improved quality and cost control. The author mentioned some of the CAD (Computer Aided Designing) and ADS (Apparel Design System) computer systems that are widely used as latest tools for design and pattern development process. Capabilities of CAD systems used in the apparel business included pattern making, pattern grading, marker making and plotting. Apparel Design System included electronic sketching systems and made-to-measure software programs. Srivastava and Gupta (2004) in a article on Software that automates fashion designing stated that CAD allows a designer to create accurate technical sketches, reducing the working time drastically. It enables quick variations in the intricacy in dress patterns, necklines, fitting and designing along with mixing and matching of colours. A number of softwares are used for fashion designing such as Corel Draw, Tuka CAD, TUKA Studio, Karat CAD, Adobe Illustrator, Adobe Photoshop, Auto CAD, Designer, Picture Publisher, Lectra, TEX Illustrator, TEX Edit, TEX Develop, TEX Trace, TEX 3D, CADian 2002, AcuMark, Fashion CAD, 3D Studio Max and Investronica. ScotWeave Jacquard and Dobby Designer programmes have a simple auto drape feature, which allowed to quickly drape the current design onto one of several fixed drape settings. ScotWeave Jacquard Designs, one of the most compatible CAD tools to weave jacquard pattern, was user friendly and simple to learn, and produced accurate results. The important features viz., Artwork Designer and Yarn Designer assist to create jacquard (fill) patterns as stated by Naik et. al., (2006) in a study ScotWeave, the most versatile textile designing CAD software. CAD/CAM is virtually a No Limit solution for textile designing and manufacturing with a vast application area in dobby, jacquard and screen printing industries as well as blanket, carpet and knitting industries, enlightened Mitra (2007) in a study on CAD/CAM: ultimate solution for textile excellence. Implementation of CAD/CAM technology through adoption of modern designs and colour combinations and also through its ease, efficiency and economy of reproduction has revolutionized the textile industry, both handloom and power loom and the textile designing in particular.

3. MATERIAL AND METHODS

The present study on Digitizing Conventional Patterns of Gujarat Embroidery and Product Development was carried out at the Department of Textiles and Apparel Designing, University of Agricultural Sciences, Dharwad, during the year 2007-2009. The methodology adopted for the study is classified under the following sub headings: 3.1 3.2 3.3 3.4 3.4.1 3.4.2 3.4.3 3.5 3.6 3.6.1 3.6.2 3.6.3 3.7 3.8 3.9 Sourcing and selecting the conventional motifs of Gujarat embroidery Embroidering the conventional motifs on hand woven Dharwad sari Digitizing the conventional motifs Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique Punching and lacing of jacquard cards Planning and placement of the digitized motifs in hand woven Dharwad saris Handloom weaving Consumers acceptance for swivel pattern saris Variables included for consumers acceptance Dependent variables Independent variables Classification of independent variables Cost of production of swivel pattern saris Statistical analysis Hypotheses set for the study

3.1

Sourcing and selection of conventional motifs

The conventional motifs of Gujarat embroidery is comprised of bird, animal, floral and geometrical patterns. For the present study seventeen motifs from three categories viz., eight main motifs (birds and animals), six buttas and three border designs were sourced from text books, magazines, journals, internet, websites and traditionally embroidered costumes and saris for digitizing and preparing punched cards for jacquard. The details of conventional motifs selected for the present study is specified in Figure 1a and 1b.

3.2 Embroidering the conventional motifs on hand woven Dharwad sari

The basic stitches used in Gujarat embroidery are chain, herringbone, darning and stem. The base material is always dark coloured hand spun; hand woven khaddar or khadi material and cotton thread of yellow, orange, green, purple, blue and white colours is predominantly employed for embroidery. The selected motifs were hand embroidered on hand woven Dharwad sari retaining the traditionality with respect to stitchery, thread and colours. Accessories such as mirrors and beads were excluded so as to highlight the stitchery alone. This embroidered hand woven sari is referred as control sari in later part of the study (Plate 1).

3.3 Digitizing the conventional motifs

GC Kala - 2004 with interface Paint Shop Pro (PSP) was the software used to digitize the selected conventional motifs into woven designs.

3.4 Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique
3.4.1 Punching and lacing of jacquard cards
GC Punch, card punch controlling software interfaced with the computerized card punching machine was used to punch the jacquard cards. The punched cards were laced manually in serial order to form a pattern chain.

Fig.1a. Conventional Gujarati motifs (Main motifs)

Fig.1b. Conventional Gujarati motifs (Buttas and Boarders)

Plate.1. Embroidering Gujarati motifs on Dharwad sari (Control)

.4.2 Planning and placement of digitized motifs on hand woven Dharwad saris
Prior to weaving the saris, a careful planning and grouping the motifs and borders was made to create a pleasing harmony within the pattern considering the motif form, size and type. The selected motifs and borders were grouped into four combinations to produce four different saris.

3.4.3 Handloom weaving

The digitized conventional motifs were woven in handloom Dharwad saris by using jacquard shedding mechanism. However, this weave is referred to as swivel. In total four saris woven with variegated combination of motifs were then assessed for consumer acceptance.

3.5

Consumer acceptance for swivel pattern saris

3.5.1 Locale and sample

Assessment of consumer acceptance for swivel pattern Dharwad saris is one of the objectives of the present study. The purposive sampling method was adopted to elicit the information from 30 each working women and housewives of Dharwad town.

3.5.2 Tools used

The data was collected by administering self-structured questionnaire. Exhibitions of swivel pattern saris was arranged in the premises of College of Rural Home Science, UAS, Dharwad as well as in local places of Dharwad town to gather the information and assess the extent of acceptance for these saris by comparing with hand embroidered sari.

3.6

Variables included for consumer acceptance

3.6.1 Dependent variables

1. Gujarat hand embroidery motifs 2. Swivel patterns of Gujarat embroidery motifs

3.6.2 Independent variables

1. Education of the respondents 2. Annual family income of the respondents

3.6.3Classification of independent variables 3.6.3.1 Education of the respondents

The respondents were grouped based on the education as under: Sl. No. Categories Education level 1. Secondary 7 10 2. Higher secondary PUC 3. Graduation Degree 4. Post graduation Above degree

3.6.3.2 Annual family income of the respondents

By using the statistical expression x 0.425 SD the respondents were classified based on their annual family income into three categories:

Sl. No.
1. 2. 3.

Categories
Low income Middle income High income

Annual family income

Rs. < 1.8 lakh Rs. 1.8 3.8 lakh Rs. > 3.8 lakh

3.7 Cost of production of swivel pattern saris

The various factors like fixed cost (depreciation) and variable costs (repairs and maintenance, cost of yarns and punch cards, preparatory processes, wages for weaving and embroidering) were taken into account for determining the cost of production by assuming 25 per cent net profit on the total production cost of four swivel pattern saris as well as hand embroidered sari. Depreciation of the handloom per annum was calculated by straight line method and divided for weaving of five hand woven saris taking into account the average number of saris woven for one year and the time required for weaving.

3.8 Statistical analysis

The statistical tools such as averages, mean, standard deviations and percentages were applied wherever appropriate to draw valid inferences.

Weighted Average Ranking (WAR) was applied to assess the extent of acceptance for newly designed swivel pattern saris. The formula used to calculate WAR was:
WAR = Ri fi fi

where, Ri ranks given by the respondents

Fi the frequency Ranking was given in the ascending order i.e. first rank with the lowest value and last rank with the highest value.

Chi-square test of significance was applied to assess the resemblance of the digitized motifs with hand embroidered motifs as well as to test the significance of preferences for hand embroidered and digitized motifs among the respondents. The formula used to calculate chi-square test with the significance tested at (r - 1) (c - 1) degrees of freedom was:
= (Oij Eij) Eij
2 2

where, Oij observed frequency Eij expected frequency (row total x column total / grand total) r number of rows c number of columns

3.9 Hypotheses set for the study

The hypothesis set for the present study is as under: 1. The conventional Gujarat embroidery motifs cannot be transformed into woven patterns by swivel technique. 2. The digitized woven patterns do not resemble the hand embroidered motifs.

4. RESULTS
The results of the present study on Digitizing Conventional Patterns of Gujarat Embroidery and Product Development is analyzed and presented under the following sub headings:

4.1 4.2

Digitizing the conventional motifs Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique

4.2.1 Preparation of jacquard pattern chain 4.2.2 Raw materials 4.2.3 Pre loom processes 4.2.4 Loom processes 4.2.5 Post loom processes 4.3 Description of swivel pattern saris

4.3.1 Fabric information 4.3.2 Weaving swivel patterns in Dharwad saris 4.4 Consumers acceptance for swivel pattern saris

4.4.1 Demographics of the respondents 4.4.2 Preference for casual and ceremonial wears 4.4.3 Preference for polycotton saris 4.4.4 Preference for type of embellishment on saris 4.4.5 Awareness of respondents about traditional embroideries of India 4.4.6 Respondents awareness about Gujarat embroidery 4.4.7 Resemblance of digitized Gujarat embroidery motifs with conventional hand embroidered motifs and its preference 4.4.8 Preference for hand embroidered and self patterned saris 4.4.9 Order of preference for swivel pattern saris 4.4.10 General opinion of the respondents about swivel pattern saris 4.5 Cost of production of swivel pattern saris

4.1 Digitizing the conventional motifs

The process of digitizing the motifs involved three stages, design input, design processing and design plan. The process flow of digitization using GC Kala 2004 with interface Paint Shop Pro (PSP) is given in the Figure 2. The design input process involves creation of motifs using various options in computer or transfer them on the system through scanner. Design processing is the second stage of digitization. It is done with the Computer Aided Textile Designing software, Paint Shop Pro (PSP) where in the designer has to resize the width and height of the motif, giving the specific dimensions either in centimeter or millimeter. In practice, the product of the reed count and the actual width of the motif as required on the fabric is used to create the design. For instance, if a 2" X 2" motif is to be woven on the fabric with 70 ends and 60 picks/inch, then width x height for the particular motif

is 140 X 120. As soon as this information is fed in the system, the bit map (bmp) sheet with the above specifications is ready for design creation or editing. Once the design is ready, the designer can take the simulation of the design produced or can save the same as a bmp file. The third stage of digitization i.e. design plan (on graph base) was a key process which aided in easy and speedy card punching. The existing or the newly created bmp file was further refined in GC Kala-2004 software with respect to colour of the graph, design and grouping of squares. Grouping of squares on point paper depended on the capacity of jacquard.

10 X 10 squares 12 X 10 squares 16 X 10 squares 24 X 10 squares

Normal graph 120 jacquard 172 to 400 jacquard 400 to 600 jacquard

Finally, the print out of the digitized conventional motifs was obtained print. Figures 3 to 7 records the simulation of the digitized motifs and corresponding Figures 3a to 7d record the design plans. Table 1 reveals about the unit repeat of the digitized motifs selected for the study. It is learnt from this Table that the main motifs were grouped into three categories by using the statistical expression x 0.425 S.D viz., large (>96 picks), medium (78 to 96 picks) and small (<78 picks) size based on the number of picks required to create these designs. Stylized parrots (123 X 120), reflective peacocks (108 X 101) and confronte parrots (104 X 100) fell into the large category; and saddled horse, festooned elephant and prancing deer belonged to medium as their unit repeat were 102 X 88, 100 X 86 and 109 X 78 respectively. However, affronte parrots and mirrored fish were grouped as small patterns. Usually the buttas in any textile material refers to small size patterns either tossed or arranged in scattered fashion. Similarly in the present study, the buttas were designed on relatively lesser number of picks ranging from 22 to 54. The unit repeat of border designs four petal floral border, effronte peacocks and freehand floral border was 158 X 64, 161 X 52 and 161 X 50 respectively categorized as small patterns.

4.2 Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique
Weaving is an ancient technique of fabric construction by interlacing warp and weft yarns at right angles to each other. Swivel (Jamdani ) technique refers to the extra weft figuring, where the design is produced by means of series of small swivel shuttles, each of which is capable of weaving an independent pattern, through the ground warp across the width of the fabric. These patterns were woven in a separate shed formed by jacquard shedding mechanism. Weaving of the above mentioned saris involved various processes like preparation of jacquard cards, raw materials; pre loom, loom and post loom processes.

4.2.1 Preparation of jacquard pattern chain a. Punching of jacquard cards

GC Punch is the card punch software interfaced with computerized card punching machine which assisted in punching of jacquard cards (Plate 2). The GC Punch software displays the order of punching jacquard cards sequentially weftwise, which is then transferred to the computerized card punching machine. The cards are punched as per the design, the holes indicating warp-up. The punched cards were serially numbered and laced.

Fig.2. Process flow of digitizing the Gujrat embroidery motifs using GC Kala-2004 with interface Paint Shop Pro (PSP) softwa

Fig.3. Simulation of Gujarat embroidery motifs

Fig.3a. Design plan of Affronte parrots on graph base

Fig.3b. Design plan of Mirrored fish on graph base

Fig.3c. Design plan of Festooned elephant on graph base

Fig.4. Simulation of Gujarat embroidery motifs

Fig.4a. Design plan of Prancing deer on graph base

Fig.4b. Design plan of Saddled horse on graph base

Fig.4c. Design plan of Confronte parrots on graph base

Fig.5. Simulation of Gujarat embroidery motifs

Fig.5a. Design plan of Reflective peacocks on graph base

Fig.5b. Design plan of Stylized parrots on graph base

Fig.5c. Design plan of Chrysanthemum on graph base

Fig.6. Simulation of Gujarat embroidery motifs

Fig.6a. Design plan of Concentric flower on graph base

Fig.6b. Design plan of Flower shoot on graph base

Fig.6c. Design plan of Four petal flower shoot on graph base

Fig.6d. Design plan of Geometrical flower shoot on graph base

Fig.7. Simulation of Gujarat embroidery motifs

Fig.7a. Design plan of stylized star shoot graph base

Fig.7b. Design plan of Effronte peacocks on graph base

Fig.7c. Design plan of Four petal floral boarder on graph base

Fig.7d. Design plan of Freehand floral border on graph base

Table 1. Unit repeat of digitized conventional motifs

Sl. No. I. a. 1. 2. b. 1. 2. 3. c. 1. 2. 3. II. 1. 2. 3. 4. 5. 6. III. 1. 2. 3. Main motifs Small size (<78 picks)

Unit repeat Motifs (ends x picks)

Affronte parrots (face to face parrots) Mirrored fish (fish facing each other) Medium size (78 to 96 picks) Festooned elephant (adorned elephant) Prancing deer (dancing deer) Saddled horse (horse adorned with saddle) Large size (>96 picks) Confronte parrots (facing parrots) Reflective peacocks (peacocks facing each other) Stylized parrots (parrots facing each other) Buttas Chrysanthemum Concentric flower Flower shoot Four petal flower Geometrical flower Stylized star Borders Effronte peacocks (peacocks facing opposite sides) Four petal floral border Freehand floral border

101 X 70 119 X 53

100 X 86 109 X 78 102 X 88

104 X 100 108 X 101 123 X 120

34 X 32 52 X 54 46 X 22 33 X 30 50 X 48 51 X 48

161 X 52 158 x 64 161 X 50

Plate.2. Computerized card punching machine

b. Lacing of punched cards

Punch card is a small rectangular card made of thick cardboard coated with wax with a pattern of holes, the holes indicating warp-up. These cards measured 19.5 cm in length and 16.2 cm in width. The number of holes in the punch cards depend upon the size of design to be woven. Maximum rows of holes in each card were 8 and each row has maximum 20 holes. Further, it is necessary to state that, 6 holes on either sides of the card are reserved for emergency punching. In other words, each card consists of 172 holes indicating that a design could repeat on a maximum of 172 picks. However, maximum number of holes in each row for main motifs and buttas were 14 where as for border designs it was 20. Each card is bored with 6 holes, 4 on each corner and one each in the centre on either sides as shown in the Figure 8. Two large holes situated in the centre are called pegholes, that fit into the pegs of the lacing frame where as four small holes on four corners are used for lacing the punch cards serially. The punched cards were laced manually. About 30 to 50 punched cards were placed flat, serially on an iron lacing frame, consisting of two long narrow metal supports studded with small metal or wooden pegs on either sides of the frame, that coincide with the pegholes of the punched cards fitting exactly on the lacing frame. The manner in which the cards are laced is shown in Figure 9. The lacing involves a unique technique where in the lace crisscrosses between two consecutive holes as well as between two consecutive cards that makes lacing very secure and prevents overlapping of adjacent cards (Plate 3). At the end, the first and the last cards were laced together to form a pattern chain. In the present study, totally seventeen pattern chains were prepared of which eight were for main motifs, six for buttas and three for border designs.

4.2.2 Raw materials

The raw materials employed in the product development is recorded in Table 2. The body and pallav of the swivel pattern saris were composed of two ply mercerized cotton of 100s as warp while untwisted polyester multi-filament yarn of 110d formed the weft. However, the extra weft figuring was produced by using four folds of the same polyester multi-filament yarn of 110d. The thread density of the border was relatively higher than that of the body. Though the filling yarn remained same, the warp constituted of two ply mercerized cotton of 64s. Extra warp figuring in the border was produced by using two ply rayon of 80s. The yarns used in the manufacture of these saris is purchased from the yarn market at Hubli and Belgaum.

4.2.3 Pre loom processes a. Bobbin winding

The mercerized cotton hanks were transferred on to plastic bobbins with the aid of power operated bobbin winder to obtain a continuous thread of greater length (Plate 4).

b.

Warping

Sectional warping method was adopted to prepare the warp, where the yarn is drawn from the bobbins arranged on the creel machine. The yarn from 250 bobbins was drawn first through a small reed and then wound on the warp mill (Plate 5). The reed keeps the leases and acts as a guide to check the broken ends. In total, 10 sections for body warp and 2 sections of border warp were wound according to the pre-determined colour combinations.

c. Beaming
The process of transferring the warp yarns from warp mill onto the warp beam in the form of a single continuous sheet is known as beaming. While winding the warp yarns onto the warp beam, the individual threads are laid parallel to each other and are kept under uniform tension.

Fig.8. Punch card

Fig.9. Lacing of punch cards

Plate.3. Laced punch cards

Table 2: Details of raw material used

Yarn details Sl. No. Details of Sari Fibre content 1. a. b. c. 2. a. b. c. Body and Pallav Body warp Body weft Extra weft Border Border warp Border weft Extra warp Mercerized cotton Polyester Rayon 2 ply Untwisted, multi-filament 2 ply 64s 110d 80s Mercerized cotton Polyester Polyester 2 ply Untwisted, multi-filament Untwisted, multi-filament 100s 110d 440d Yarn type Yarn count

d. Pirn winding
Pirn winding is the process of transferring the weft yarn from yarn package to the pirn. In the present study, multi-filament polyester yarn was wound on the pirn with the aid of power operated pirn winding machine (Plate 6).

4.2.4 Loom processes a. Loom employed for weaving swivel pattern Dharwad saris
Handloom with jacquard shedding mechanism of 172 needle capacity was employed to produce weft swivel patterns on the Dharwad sari with reed count of 68 (Plate 7). The extra warp figuring in the border on either sides of the sari was produced by dobby shedding mechanism. The functional operation of jacquard shedding mechanism is given in the Figure 10. The horizontal needles A are connected to vertical hooks B by forming a loop and are supported by a needle board I, through which they project slightly. The rear end of each needle, which is formed into a narrow loop is pressed by a spiral spring F to ensure the return of the needle to the original position after each selection. The hooks are prevented from turning sideways by doubling-up their lower ends and passing through narrow slits in gate G with the bent ends resting on spindles H when the hooks are in low position. It is a general rule to connect the needles and hooks in the order shown in Figure 3, the top needle being connected to the hook nearest to, and the bottom needle to the hook farthest from the card cylinder C. The number of lifting knives carried in an iron frame J is same as that of the number of vertical hooks B. A card cylinder C, over which the pattern cards D pass, contains a hole opposite to the end of each needle. Each face of the cylinder is provided with two pegs, which act as the locating points to ensure proper registration of the card against the cylinder perforations. The number of the cards that is equal to the number of picks in the repeat of a design, are laced together to form an endless pattern chain. The harness consisting of neck cords M are suspended from the hooks B. Harness cords N are connected to the neck cords M that are passed separately through the holes in a

Plate.4. Bobbin winding machine

Plate.5. Sectional wraping

Plate.6. Prin winding machine

Plate.7. Handloom with jacquard shedding mechanism

comber-board O, mails P and weights Q. The number of harness cords, mails and weights connected to each neck cord M varies according to the tie and sett of the harness. By means of the weights Q, the warp threads, cords and hooks are returned to the original position after they have been raised. The purpose of the comber-board O is to keep the harness cords in position to determine the number of cords per unit space. Suitable connections from the loom provide the rising and falling movement to the knives, as well as the in-and-out movement to the card cylinder ensuring correct synchronization of the jacquard action with the loom cycle. The cylinder turns one quarter of a revolution as it moves back thus presenting a new card for selection. If the needle encountering the perforation in the card enters the corresponding hole in the cylinder, no action takes place, which allows hook B to remain on the lifting knife K forming the top shed line. On the contrary, if the needle is opposed by a blank in the pattern card, the needles are forced back and this in turn presses the hook clear off the knife causing the hook to rest on spindles H thus forming the bottom shed line through which the filling yarn is inserted. The digitized motifs were woven in Dharwad saris by means of small swivel shuttles (Plate 8). These shuttles were inserted through a separate jacquard shed formed by pulling the jacquard pattern chain manually. After the insertion of each shuttle, the shed is closed and the ground weft is beaten to the fell of the cloth. The same procedure is continued till the completion of the design (Plate 9).

b. Cutting and doffing of the sari

An extra length of fabric approximately 100 centimeters was woven after completion of each sari and separated from the cloth beam with the help of knife (Plate 10). This helped to prevent the slippage of yarns through the dents. The woven sari was folded on the loom itself by laying several folds in a zigzag fashion (Plate 11).

4.2.5 Post loom processes

The woven saris were examined for defects (if any), folded systematically and neatly packed.

4.3 Description of swivel pattern saris

4.3.1 Fabric information
Table 3 reveals about the fabric set and dimensions of the swivel pattern saris. It is clear from this Table that saris exhibited same fabric sett of 72 X 64 ends and picks in the body except border of 74 ends/inch with pick count as that of body. The width of all the five saris measured 112.5 cm of which body 100 cm and 6.25 cm on either sides of the sari. border

Though the length of the saris remained same i.e. 6.2 meters, the length of pallav varied slightly (Table 3). The hand embroidered sari was woven with greater length of pallav measuring 67.5 cm followed by green sari 65.0 cm and orange sari 60.0 cm; yellow sari 57.5 cm and finally purple sari 52.5 cm. All the five saris were woven with running blouse piece. The required length of blouse piece was separated from sari as per consumer demand.

4.3.2 Weaving swivel patterns in Dharwad saris

The detail of swivel patterns woven in Dharwad saris is presented in Table 4. The hand embroidered sari was considered as control sari in the present study which comprised of all the main motifs, buttas and borders, arranged systematically and embroidered sequentially that added beauty and enhanced the appearance (Plate 12). In total four saris were hand woven with swivel patterns, the main colours being purple, yellow, orange and green produced by shot effect. The colour of the swivel patterns in these saris were decided accordingly to match with the respective border colour (Plate 13 to 16).

Fig.10. Functional operation of Jacquard shedding mechanism

Plate.8. Swivel shuttles

Plate.9.. Weaving swivel pattern sari

Plate.10. Cutting and doffing of the sari

Plate.11. Folding the woven sari

Table 3. Fabric sett and dimensions of the saris

Threads/inch Sl. No. Saris Body Ends I. 1. II. 1. 2. 3. 4. Control Hand embroidered sari Swivel pattern saris Purple sari Yellow sari 72 Orange sari Green sari 64 74 64 72 64 74 64 Picks Border Ends Picks

Width of the sari (cm) Body Border Total Length of the pallav (cm) Length of the sari (m)

100

6.25

112.5

67.5

6.2

52.5 57.5 100 6.25 112.5 60.0 65.0 6.2

Further, care was taken not to repeat either the main motifs or buttas as well as border designs in each sari. A combination of birds, animals and floral designs was planned and accordingly the saris were woven.

4.4 Consumer acceptance for swivel pattern saris

4.4.1 Demographics of the respondents
The general information on education, occupation and annual family income of both working women and housewives is narrated below:

a. Education
Majority of the working women (73.33%) were post graduates followed by graduates (16.66%) and higher secondary (10.00%). Among the housewives, 36.66 per cent had completed higher secondary followed by secondary education (33.00%), graduation (20.00%) and post graduation (10.00%) as revealed from Table 5a. However, on the whole, 41.66 per cent were post graduates while 23.33 per cent belonged to higher secondary group, and the least (16.66%) were secondary educated.

b. Annual Family Income (Rs.)

Distribution of the respondents based on their annual family income is presented in Table 5b. Majority of the working women belonged to middle income (40.00%) followed by high (36.66%) and low (23.33%) income groups. On the contrary, 53.33 per cent of the housewives belonged to low income group followed by middle (36.66%) and least to high (10.00%) income groups. However, irrespective of the occupation, an equal per cent of the respondents belonged to middle and low income groups (38.33% each) and remaining to high (23.33%).

4.4.2 Preference for casual and ceremonial wears

Table 6 reveals about the preference for casual and ceremonial wears by the respondents. It is evident from this Table that both working women and housewives preferred salwar kameez (66.66% and 56.66%) as casual wear followed by saris (50.00% and 46.66%). Less than 30.00 per cent of working women and housewives preferred chudidar kurta for casual wear. However, on the whole, 61.66 per cent of the respondents preferred salwar kameez as casual wear where as 48.33 per cent of them wished to wear saris and chudidar kurta (21.66%) casually. In total very negligible i.e. 01.66 per cent of the working women and housewives preferred trousers. Further, cent per cent of the respondents preferred saris for ceremonies followed by salwar kameez (18.33%) and chudidar kurta (06.66%), where as none preferred ghagra choli as ceremonial wear. 4.4.3 Preference for polycotton saris Polycotton saris are also called mixed type since warp is composed of mercerized cotton and weft, the polyester or vice versa that are popular as Dharwad saris. These saris are not only famous locally but have entered into international market too. Thus, the preference for these saris and the reasons for its preference as stated by the respondents are highlighted in Table 7 and Table 8. It is clear form Table 7 that majority of the working women (76.66%) did have polycotton saris in their wardrobe where as just 10.00 per cent of the housewives who had these saris. However, in total 55.00 per cent of the respondents did have polycotton saris in their collection. Among the working women, 56.66 per cent preferred these saris for occasional wear followed by professional (36.66%), daily (20.00%) and ceremonial (16.66%) wears. On the other hand, 20.00 per cent of the housewives wished to wear these saris for special occasions while 13.33 per cent preferred these saris as ritual; and party and ceremonial (each 06.66%) wears. However, on the whole, majority of the respondents (38.33%) preferred these saris as occasional wear followed by professional (20.00%), ritual (13.33%), ceremonial and daily (each 11.66%) wears.

Table 4. Details of polycotton saris woven with swivel patterns of Gujarat embroidery

Sl. No. I. 1. Control

Arrangement of motifs Saris Body Pallav

Hand embroidered sari

All motifs of bird, animal, buttas and borders selected for the study

Six bands of lines with stylized star and geometrical flower

II. 1.

Saris with swivel patterns Purple sari Mirrored fish, confronte parrots and four petal flower Four stripes interspaced with four petal floral border Three bands of effronte peacocks

2.

Yellow sari

Festooned elephant, affronte parrots and chrysanthemum

3.

Orange sari

Saddled

horse,

reflective

peacocks

and

Three bands of freehand floral border

concentric flower 4. Green sari Prancing deer, stylized parrots and flower shoot Multi colour rich pallav with stylized star and geometrical floral buttas

Plate.12. Hand embroiderd sari (Control)

Plate.13. Purple sari

Plate.14. Yellow sari

Plate.15. Orange sari

Plate.16. Green sari

Table 5. Demographics of the respondents N = 60 Sl. No. a. 1. 2. 3. 4. b. 1. 2. 3. Education Secondary Higher secondary Graduation Post graduation Annual family income (Rs.) Low income (< 1.8 lakh) Middle income (1.8 3.8 lakh) High income (> 3.8 lakh) Figures in paranthesis indicate percentages 07 (23.33) 12 (40.00) 11 (36.66) 16 (53.33) 11 (36.66) 03 (10.00) 23 (38.33) 23 (38.33) 14 (23.33) 03 (10.00) 05 (16.66) 22 (73.33) 10 (33.00) 11 (36.66) 06 (20.00) 03 (10.00) 10 (16.66) 14 (23.33) 11 (18.33) 25 (41.66) Categories Working women (n = 30) Housewives (n = 30) Total

Table 6. Preference for casual and ceremonial wears N = 60 Sl. No. Category Working women (n = 30) 09 (30.00) 20 (66.66) 15 (50.00) 01 (03.33) 04 (13.33) 07 (23.33) 30 (100.00) Housewives (n = 30) 04 (13.33) 17 (56.66) 14 (46.66) 04 (13.33) 30 (100.00) Total 13 (21.66) 37 (61.66) 29 (48.33) 01 (01.66) 04 (06.66) 11 (18.33) 60 (100.00)

Chudidar kurta Salwar kameez I. Casual Saris Trousers Chudidar kurta Ghagra choli II. Ceremonial Salwar kameez Saris Multiple responses possible Figures in parenthesis indicate percentages

Table 7. Preferences for polycotton saris N = 60 Sl. No. I. 1. Category Collection of polycotton saris Yes 23 (76.66) 2. II. 1. 2. 3. No Preference of polycotton saris Ceremonial wear Daily wear Occasional wear 05 (16.66) 06 (20.00) 17 (56.66) 4. Party wear 03 (10.00) 5. Professional wear 11 (36.66) 6. Ritual wear 04 (13.33) 02 (6.66) 01 (03.33) 06 (20.00) 02 (6.66) 01 (03.33) 04 (13.33) 07 (11.66) 07 (11.66) 23 (38.33) 05 (08.33) 12 (20.00) 08 (13.33) 07 (23.33) 10 (33.33) 20 (66.66) 33 (55.00) 27 (45.00) Working women (n = 30) Housewives (n = 30) Total

Multiple responses possible Figures in parenthesis indicate percentages Table 8(a), (b) and (c) denotes the reasons for preference of polycotton saris by the respondents. The values are expressed in Weighted Average Ranking (WAR) where lower the value, greater is the preference and vice versa. Further, the reasons quoted by 55.00 per cent of the total respondents were considered for statistical analysis It is learnt from Table 8a that 30.43 per cent of the working women preferred polycotton saris mainly because they are simple to care and maintain and have good drape. Further, from the Weighted Average Ranking, other reasons mentioned are elegant/unique (4.3), suitable for all seasons and occasions (4.4) and wide colour range (4.6). On the other hand, Table 8b revealed that 50.00 per cent of the housewives quoted light weight (2.7), simple care-maintenance (3.5), wide colour range (3.6) and contrast body and border (3.7) are the reasons for the preference of these saris. However, irrespective of working women and housewives, 24.24 per cent of them mentioned that the main reasons to go for polycotton saris were easy to care and maintain (3.1), good drapeability (4.2), wide colour range (4.3) and light weight (4.4) and suitable for all seasons and occasions (4.6) (Table 8c). 4.4.4. Preference for type of embellishments on saris Embellishments are applied on the textile made-ups to enrich the fabric surface by means of appliqu, cut work, dyeing, hand embroidery, machine embroidery, painting, printing, weaving and zardosi. Hence, it was felt important to gather information about preference for type of embellishment on the saris which is assessed and presented as Weighted Average Ranking (WAR) in Table 9(a), (b) and (c), where lower the value higher is the preference and vice versa.

Table 8a. Reasons for preference of polycotton saris by working women (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Reasons Wide colour range Available with blouse piece Contrast body and border Does not require sari fall Elegant / Unique Good drapeability Light in weight Simple care and maintenance Sufficiently large 1 05 (21.73) 02 (08.69) 06 (26.08) 03 (13.04) 06 (26.08) 02 (08.69) 2 04 (17.39) 01 (04.34) 03 (13.04) 03 (13.04) 02 (08.69) 07 (30.43) 01 (04.34) 05 (21.73) 3 03 (13.04) 03 (13.04) 01 (04.34) 08 (34.78) 02 (08.69) 03 (13.04) 02 (08.69) 03 (13.04) 4 01 (04.34) 02 (08.69) 02 (08.69) 01 (04.34) 02 (08.69) 06 (26.08) 02 (08.69) 02 (08.69) 04 (17.39) Working women (n = 23) 5 6 7 8 01 03 06 (04.34) (13.04) (26.08) 02 02 08 (08.69) (08.69) (34.78) 04 01 05 01 (17.39) (04.34) (21.73) (04.34) 01 03 01 04 (04.34) (13.04) (04.34) (17.39) 02 03 01 01 (08.69) (13.04) (04.34) (04.34) 02 03 01 01 (08.69) (13.04) (04.34) (04.34) 01 01 01 (04.34) (04.34) (04.34) 02 02 01 (08.69) (08.69) (04.34) 01 03 01 03 (04.34) (13.04) (04.34) (13.04) 05 02 01 01 (21.73) (08.69) (04.34) (04.34)

9 01 (04.34) 01 (04.34) 02 (08.69) 06 (26.08) 01 (04.34) 01 (04.34) 06 (26.08) 01 (04.34) -

10 01 (04.34) 03 (13.04) 02 (08.69) 04 (17.39) 02 (08.69) 01 (04.34) 06 (26.08) 01 (04.34)

WAR 4.6 6.6 6.0 7.8 4.3 4.2 5.2 3.0 6.4 4.4

R V IX VII X III II VI I VIII IV

Suitable for all seasons and occassions Multiple responses possible Figures in parenthesis indicate percentages WAR Weighted Average Ranking R Ranks

Table 8b. Reasons for preference of polycotton saris by housewives (Ranking)

Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Reasons Wide colour range Available with blouse piece Contrast body and border Does not require sari fall Elegant / Unique Good drapeability Light in weight Simple care and maintenance Sufficiently large

Housewives (n = 10) 1 04 (40.00) 01 (10.00) 01 (10.00) 01 (10.00) 02 (20.00) 01 (10.00) 05 (50.00) 02 (20.00) 01 (10.00) 2 01 (10.00) 03 (30.00) 02 (20.00) 03 (30.00) 01 (10.00) 3 01 (10.00) 01 (10.00) 01 (10.00) 01 (10.00) 02 (20.00) 02 (20.00) 03 (30.00) 4 01 (10.00) 01 (10.00) 01 (10.00) 01 (10.00) 02 (20.00) 03 (30.00) 5 02 (20.00) 01 (10.00) 02 (20.00) 01 (10.00) 02 (20.00) 01 (10.00) 01 (10.00) 6 01 (10.00) 02 (20.00) 01 (10.00) 01 (10.00) 01 (10.00) 02 (20.00) 01 (10.00) 7 01 (10.00) 02 (20.00) 01 (10.00) 01 (10.00) 02 (20.00) 01 (10.00) 01 (10.00) 8 01 (10.00) 02 (20.00) 02 (20.00) 03 (30.00) 9 03 (30.00) 01 (10.00) 02 (20.00) 02 (20.00) 10 01 (10.00) 04 (40.00) 01 (10.00) 02 (20.00) WAR 3.6 6.9 3.7 7.6 4.3 4.2 2.7 3.5 7.2 5.0 R III VIII IV X VI V I II IX VII

Suitable for all seasons and 01 occassions (10.00) Multiple responses possible Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R - Ranks

Table 8c. Reasons for preference of polycotton saris by respondents irrespective of occupation (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. Reasons Wide colour range Available with blouse piece Contrast body and border Does not require sari fall Elegant / Unique Good drapeability Light in weight Simple care and maintenance Sufficiently large Suitable for all seasons and occassions Respondents (N = 33) 5 6 7 03 04 07 (09.09) (12.12) (21.21) 03 02 04 (09.09) (06.06) (12.12) 06 02 06 (18.18) (06.06) (18.18) 01 03 02 (03.03) (09.09) (06.06) 02 04 03 (06.06) (12.12) (09.09) 02 03 02 (06.06) (09.09) (06.06) 02 01 02 (06.06) (03.03) (06.06) 04 01 02 (12.12) (03.03) (06.06) 02 05 01 (06.06) (15.15) (03.03) 06 (18.18) 03 (09.09) 01 (03.03)

1 09 (27.27) 03 (09.09) 01 (03.03) 01 (03.03) 08 (24.24) 01 (03.03) 08 (24.24) 08 (24.24) 03 (09.09) 01 (03.03)

2 05 (15.15) 04 (12.12) 05 (15.15) 06 (18.18) 02 (06.06) 07 (21.21) 01 (03.03) 06 (18.18)

3 01 (03.03) 03 (09.09) 04 (12.12) 01 (03.03) 02 (06.06) 10 (16.66) 04 (12.12) 06 (18.18) 02 (06.06) 03 (09.09)

4 01 (03.03) 03 (09.09) 03 (09.09) 02 (06.06) 03 (09.09) 07 (21.21) 04 (12.12) 02 (06.06) 07 (21.21)

8 01 (03.03) 08 (24.24) 01 (03.03) 06 (18.18) 01 (03.03) 01 (03.03) 01 (03.03) 05 (15.15) 04 (12.12)

9 01 (03.03) 04 (12.12) 02 (06.06) 07 (21.21) 01 (03.03) 03 (5.00) 06 (18.18) 03 (09.09) -

10 01 (03.03) 04 (12.12) 02 (06.06) 08 (24.24) 03 (09.09) 01 (03.03) 08 (24.24) 01 (03.03)

WAR 4.3 6.6 5.3 7.6 4.8 4.2 4.4 3.1 6.7 4.6

R III VIII VII X VI II IV I IX V

Multiple responses possible Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R - Ranks

Table 9a. Preference for type of embellishments on saris by working women (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. Working women (n = 30) 5 6 7 04 04 4 (13.33) (13.33) (13.33) 05 07 02 (16.66) (11.66) (06.66) 01 01 02 (03.33) (03.33) (06.66) 04 (13.33) 02 (06.66) 03 (10.00) 07 (11.66) 01 (03.33) 01 (03.33) 08 (26.66) 02 (06.66) 01 (03.33) 02 (06.66) 04 (13.33) 04 (13.33) 02 (06.66) 02 (06.66)

Type of embellishments Applique Cut work Dyeing Hand embroidery Machine embroidery Painted patterns Printed patterns Woven patterns Zardosi

1 18 (60.00) 07 (11.66) 05 (16.66)

2 03 (10.00) 02 (06.66) 03 (10.00) 04 (13.33) 07 (11.66) 02 (06.66) 02 (06.66) 07 (11.66) 03 (10.00)

3 02 (06.66) 01 (03.33) 01 (03.33) 04 (13.33) 05 (16.66) 02 (06.66) 06 (20.00) 04 (13.33) 04 (13.33)

4 01 (03.33) 02 (06.66) 04 (13.33) 03 (10.00) 05 (16.66) 02 (06.66) 02 (06.66) 07 (11.66) 03 (10.00)

8 03 (10.00) 03 (10.00) 06 (20.00) 04 (13.33) 04 (13.33) 01 (03.33) 01 (03.33)

9 03 (10.00) 01 (03.33) 05 (16.66) 02 (06.66) 07 (11.66) 02 (06.66)

WAR 5.8 5.6 6.2 1.7 4.6 6.5 4.9 3.0 4.1

R VII VI VIII I IV IX V II III

Multiple responses possible Figures in parenthesis indicate percentages WAR Weighted Average Ranking R Ranks

Table 9b. Preference for type of embellishments on saris by housewives (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. Housewives (n = 30) 5 6 7 03 02 05 (10.00) (06.66) (16.66) 03 04 02 (10.00) (13.33) (06.66) 02 03 (06.66) (10.00) 02 02 (06.66) (06.66) 01 (03.33) 03 07 07 (10.00) (11.66) (11.66) 09 04 01 (30.00) (13.33) (03.33) 05 01 (16.66) (03.33) 02 01 (06.66) (03.33)

Type of embellishments Applique Cut work Dyeing Hand embroidery Machine embroidery Painted patterns Printed patterns Woven patterns Zardosi

1 13 (43.33) 02 (06.66) 03 (10.00) 07 (11.66) 05 (16.66)

2 01 (03.33) 06 (20.00) 10 (33.33) 02 (06.66) 05 (16.66) 07 (11.66)

3 06 (20.00) 09 (30.00) 04 (13.33) 07 (11.66) 04 (13.33)

4 02 (06.66) 01 (3.33) 08 (26.66) 03 (10.00) 01 (03.33) 05 (16.66) 11 (36.66)

8 03 (10.00) 08 (26.66) 03 (10.00) 04 (13.33) -

9 06 (20.00) 03 (10.00) 09 (30.00) -

WAR 7.1 7.2 7.7 2.3 2.9 6.5 4.1 3.0 3.1

R VII VIII IX I II VI V III IV

Multiple responses possible Figures in parenthesis indicate percentages WAR Weighted Average Ranking R Ranks

It is found from Table 9a that majority (60.00%) of the working women preferred hand embroidery (1.7) as the most suitable embellishment for saris, followed by woven patterns (3.0), zardosi (4.1) and machine embroidery (4.6). Similarly, 43.33 per cent of the housewives preferred hand embroidery (2.3), machine embroidery (2.9), woven patterns (3.0) and zardosi (3.1) (Table 9b). However, irrespective of respondents occupation, majority (51.66%) of them preferred hand embroidery (2.0) followed by woven patterns (2.8), zardosi (3.5) and machine embroidery (5.1) techniques suitable for saris. Least preference given by the respondents of these two categories were printed patterns, dyeing, appliqu, painted patterns and cut work with slight variation in the Weighted Average Rankings (WAR) (Table 9c).

4.4.5 Awareness of respondents about traditional embroideries of India

The distinctive and unique embroideries practiced in different states of our country are in a diminishing trend due to modernization. Consequently, it was felt necessary to assess the awareness of respondents about these traditional embroideries. It is evident from Table 10 that majority (93.33%) of the working women were aware about Kasuti of Karnataka followed by Zardosi (80.00%), Kutch and Kathiawar of Gujarat (76.66%), Kantha of Bengal (66.66%), Kashida of Kashmir (60.00%) and Phulkari of Punjab (50.00%). Similarly, 80.00 per cent of the housewives had knowledge about Kasuti of Karnataka, Kutch and Kathiawar of Gujarat (56.66%) and Zardosi (46.66%). Among the working women less than 50.00 per cent of them were aware about Chikankari of Uttar Pradesh and Chamba Rumal of Himachal Pradesh; on the contrary, less than 46.66 per cent of the housewives were aware about Kantha of Bengal, Chikankari of Uttar Pradesh, Phulkari of Punjab and Chamba rumal of Himachal Pradesh. However, on the whole, 86.66 per cent of the respondents were aware about Kasuti of Karnataka followed by Kutch and Kathiawar of Gujarat (66.66%), Zardosi (63.33%) and Kantha of Bengal (43.33%).

4.4.6 Respondents awareness about Gujarat embroidery

The traditional embroidery of Gujarat is one of the richest and most colourful among the other variegated Indian embroideries. The investigator in the present study has chosen to digitize the Guajarati patterns and thus it becomes imperative to find out the awareness about the Gujarat embroidery by the respondents. Further respondents awareness about the features and articles embellished with Gujarat embroidery was gathered, assessed and presented in Table 11. It is inferred from this Table that majority of the working women were aware about thread type (86.66%), background material (83.33%), Guajarati motifs (76.66%), accessories (70.00%), thread colours (66.66%) and stitches (63.33%) used in Gujarat embroidery. On the contrary, majority of the housewives were not aware about thread colour (73.33%), stitches and accessories (each 66.66%) and motifs (56.66%). However, more than 46.66 per cent of the total respondents irrespective of their occupation were aware about the Gujarat embroidery. Further, both working women and housewives opined that ghagra choli (90.00% and 66.66%) is the main costume embellished with Gujarat embroidery followed by bags and purses (86.66% and 60.00%), bed linen (80.00% and 43.33%) and toran (73.33% and 33.33%).

4.4.7 Resemblance of digitized Gujarat embroidery motifs with conventional hand embroidered motifs and its preference
Hand embroidery and digitized woven patterns are elegant in their own way, style and respect. However, the resemblance of digitized patterns with the respective hand embroidered motifs and preference for the same as expressed by the respondents is presented in Table 12 and 13. The results are expressed in terms of chi-square values.

Table 9c. Preference for type of embellishments on saris by respondents irrespective of occupation (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. Type of embellishments 1 Applique Cut work Dyeing Hand embroidery Machine embroidery Painted patterns Printed patterns Woven patterns Zardosi 31 (51.66) 02 (03.33) 03 (05.00) 14 (23.33) 10 (16.66) 2 04 (08.33) 02 (03.33) 03 (05.00) 10 (16.66) 17 (28.33) 02 (03.33) 4 (08.33) 12 (20.00) 10 (16.66) 3 02 (03.33) 01 (01.66) 01 (01.66) 10 (16.66) 14 (23.33) 02 (03.33) 10 (16.66) 11 (18.33) 08 (13.33) 4 01 (01.66) 02 (03.33) 06 (10.00) 04 (08.33) 13 (21.66) 05 (08.33) 03 (05.00) 12 (20.00) 14 (23.33) Respondents (N = 60) 5 6 7 07 06 09 (11.66) (10.00) (15.00) 08 11 04 (13.33) (18.33) (08.33) 01 03 05 (01.66) (05.00) (08.33) 02 02 (03.33) (03.33) 05 01 02 (08.33) (01.66) (03.33) 05 08 11 (08.33) (13.33) (18.33) 12 12 05 (20.00) (20.00) (08.33) 05 03 02 (08.33) (05.00) (03.33) 09 03 02 (15.00) (05.00) (03.33)

8 06 (10.00) 11 (18.33) 09 (15.00) 04 (08.33) 08 (13.33) 01 (01.66) -

9 09 (15.00) 04 (08.33) 14 (23.33) 02 (03.33) 07 (11.66) 02 (03.33)

WAR 6.4 6.3 6.8 2.0 5.1 6.3 7.6 2.8 3.5

R VII V VIII I IV VI IX II III

Multiple responses possible Figures in parenthesis indicate percentages WAR Weighted Average Ranking R Ranks

Table 10. Awareness of respondents about traditional embroideries of India N = 60 Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. Traditional embroideries Chamba rumal of Himachal Pradesh Chikankari of Uttar Pradesh Kantha of Bengal Kashida of Kashmir Kasuti of Karnataka Kutch and Kathiawar of Gujarat Phulkari of Punjab Zardosi Figures in parenthesis indicate percentages Working women (n = 30) 10 (33.33) 14 (46.66) 20 (66.66) 18 (60.00) 28 (93.33) 23 (76.66) 15 (50.00) 24 (80.00) Housewives (n = 30) 03 (10.00) 05 (16.66) 06 (20.00) 04 (13.33) 24 (80.00) 17 (56.66) 04 (13.33) 14 (46.66) Total 13 (21.66) 19 (31.66) 26 (43.33) 22 (36.66) 52 (86.66) 40 (66.66) 19 (31.66) 38 (63.33)

a. Resemblance of digitized patterns with hand embroidered motifs

It is evident from Table 12 and Figure 11 that among the main motifs, confronte parrots, mirrored fish and stylized parrots (each 66.66%) partially resembled with hand embroidered motifs as mentioned by working women where as festooned elephant, prancing deer (each 60.00%) and saddled horse (50.00%) resembled wholly. On the contrary, housewives mentioned that except stylized parrots and reflective peacocks (each 50.00%) rest all the main woven patterns wholly resembled with the respective embroidered motifs. Similarly among the buttas, except concentric flower (60.00%) rest all the buttas resembled partially as opined by working women where as the opinion of the housewives was vice versa. Among the borders, four petal and freehand floral borders (each 40.00%) resembled partially as quoted by working women where as housewives mentioned that all the borders resembled wholly with the respective hand embroidered motifs. Further, the chi-square values were highly significant for the motifs viz., confronte parrots (11.38), flower shoot (9.77), mirrored fish (9.64), four petal and freehand floral borders (each 6.79) at 1 per cent level of significance implying better resemblance with the respective hand embroidered motifs. However, among the 17 digitized patterns, five of them viz., festooned elephant, reflective peacocks, saddled horse, stylized parrots and concentric flower did not resemble with the respective hand embroidered motifs.

b. Preference for digitized patterns

Table 13 (Figure 11) reveals about the respondents preference for digitized patterns. It is inferred from this Table that among the main motifs, digitized patterns of reflective peacocks and stylized parrots (each 100.00%), confronte parrots (70.96%), mirrored fish (66.66%) and festooned elephant (63.15%) were preferred by the working women where as housewives preferred affronte parrots (96.66%), confronte parrots (77.77%), reflective peacocks and stylized parrots (each 70.96%). Among the buttas, except concentric flower (16.66% W and 38.70% H) all the digitized patterns were preferred by both working women

Table 11. Respondents awareness about Gujarat embroidery N = 60 Sl. No. I. 1. 2. 3. 4. 5. 6. II. 1. 2. 3. 4. 5. 6. Category Features Background material Motifs Stitches Thread colour Type of thread used Embellishments Attires/Articles Bags and purses Bed linen Chaklas Chandrawas Ghagra choli Toran 26 (86.66) 24 (80.00) 20 (66.66) 21 (70.00) 27 (90.00) 04 (13.33) 06 (20.00) 10 (33.33) 09 (30.00) 03 (10.00) 18 (60.00) 13 (43.33) 10 (33.33) 08 (26.66) 20 (66.66) 10 (33.33) 12 (40.00) 17 (56.66) 20 (66.66) 22 (73.33) 10 (33.33) 20 (66.66) 44 (73.33) 37 (61.66) 30 (50.00) 29 (48.33) 47 (78.33) 32 (53.33) 16 (26.66) 23 (38.33) 30 (50.00) 31 (51.66) 13 (21.66) 28 (46.66) 25 (83.33) 23 (76.66) 19 (63.33) 20 (66.66) 26 (86.66) 21 (70.00) 05 (16.66) 07 (23.33) 11 (36.66) 10 (33.33) 04 (13.33) 09 (30.00) 18 (60.00) 13 (43.33) 10 (33.33) 08 (26.66) 20 (66.66) 10 (33.33) 12 (40.00) 17 (56.66) 20 (66.66) 22 (73.33) 10 (33.33) 20 (66.66) 43 (71.66) 36 (60.00) 29 (48.33) 28 (46.66) 46 (76.66) 31 (51.66) 17 (28.33) 24 (40.00) 31 (51.66) 32 (53.33) 14 (23.33) 29 (48.33) Working women (n = 30) Yes No Housewives 30) Yes (n = No Yes Total No

22 08 (73.33) (26.66) Figures in parenthesis indicate percentages

Table 12. Resemblance of the digitized Gujarat embroidery motifs with hand embroidered motifs

N = 60 Sl. No. I. 1. 2. 3. 4. 5. 6. 7. 8. II. 1. 2. 3. 4. 5. 6. III. 1. 2. 3. Motifs Main motifs Affronte parrots Confronte parrots Festooned elephant Mirrored fish Prancing deer Reflective peacocks Saddled horse Stylized parrots Buttas Chrysanthemum Concentric flower Flower shoot Four petal flower Geometrical flower Stylized star Borders Effronte peacocks Working women (n = 30) W. R P. R 14 (46.66) 10 (33.33) 18 (60.00) 10 (33.33) 18 (60.00) 11 (36.66) 15 (50.00) 10 (33.33) 11 (36.66) 18 (60.00) 11 (36.66) 10 (33.33) 11 (36.66) 10 (33.33) 16 (53.33) 20 (66.66) 12 (40.00) 20 (66.66) 12 (40.00) 19 (63.33) 15 (50.00) 20 (66.66) 19 (63.33) 12 (40.00) 19 (63.33) 20 (66.66) 19 (63.33) 20 (66.66) Housewives (n = 30) W. R P. R 22 (73.33) 23 (76.66) 22 (73.33) 22 (73.33) 25 (83.33) 15 (50.00) 19 (63.33) 15 (50.00) 22 (73.33) 20 (66.66) 23 (76.66) 18 (60.00) 20 (66.66) 18 (60.00) 24 (80.00) 22 (73.33) 22 (73.33) 08 (26.66) 07 (23.33) 08 (26.66) 8 (26.66) 05 (16.66) 15 (50.00) 11 (36.66) 15 (50.00) 8 (26.66) 10 (33.33) 07 (23.33) 12 (40.00) 10 (33.33) 12 (40.00) 06 (20.00) 08 (26.66) 08 (26.66) 2 values

4.44* 11.38** 1.20 9.64** 4.02* 1.08 1.08 1.71

8.15** 1.20 9.77** 4.29* 5.41* 4.29*

16 14 (53.33) (46.66) Four petal floral border 12 18 (40.00) (60.00) Freehand floral border 12 18 (40.00) (60.00) Figures in parenthesis indicated percentages W. R - wholly resemble P. R - partially resemble * - significant at 5% ** - significant at 1%

4.80* 6.79** 6.79**

and housewives. Similarly, among the borders, all the digitized patterns were preferred by respondents of both the categories. Further, the chi-square values for festooned elephant (6.20), stylized star (5.61), confronte parrots (5.16), mirrored fish (4.78), four petal flower (4.63) and effronte peacocks (4.40) were found to be significant at 5 per cent level thus making them more acceptable. However, among the buttas, except stylized star (5.61) rest all were found to be nonsignificant implying least preference of these motifs.

4.4.8. Preference for hand embroidered and self patterned saris

It is obvious that each individual is bound with his or her own likings and interests. Therefore, respondents preference for hand embroidery and self patterned saris and reasons for the same was assessed and revealed in Table 14, 15 and 16 respectively. Table 14 denotes that both working women and housewives preferred both hand embroidered and self patterned saris (56.66% W and 50.00% H). However, 30.00 per cent of the working women preferred hand embroidered saris where as housewives preferred self patterned saris. Further, irrespective of occupation, the respondents gave maximum preference for saris with both hand embroidery and self patterns (53.33%) followed by hand embroidered (25.00%) and self patterned (21.66%) saris.

a. Reasons for preference of hand embroidered saris

The reasons for preference of hand embroidered saris is presented in Table 15 (a), (b) and (c). Further, reasons quoted by 47.00 per cent of the total respondents was considered for statistical analysis. It is clear from Table 15a and 15b that elegant/unique appearance (3.0), expression of skill and creativity (3.3), expression of rich culture (3.5), protection and preservation of folklore (4.0) and opportunities for employment (4.6) were the main reasons quoted by working women for the preference of hand embroidered saris where as reasons mentioned by the housewives are traditional look/exquisite pattern (3.1), elegant/unique appearance (3.2), opportunities for employment (3.3), provides a mode of creative expression (4.6) and protection and preservation of folklore (4.7). However, on the whole, the respondents opined that elegant/unique appearance (3.1), expression of skill and creativity (3.8), opportunities for employment (4.0), traditional look/exquisite pattern (4.2) and medium for individual expression (6.0) were the main reasons for their preference (Table 15c).

b. Reasons for preference of self patterned saris

The reasons for preference of self patterned saris as quoted by the respondents are recorded in Table 16 (a), (b) and (c). The reasons mentioned by 45.00 per cent of the total respondents was considered for statistical analysis and the values are expressed in Weighted Average Ranking (WAR) where, lower the values, greater is the preference. The reasons quoted by working women to prefer self patterned saris were elegance and classy appearance (2.3), uniformity in design (2.5), regular placement of motifs (3.0), contemporary/modern look (3.3) and creation of self designs (3.5) while that of housewives were uniformity in design (2.4), regular placement of motifs (2.6), elegance and classy appearance (2.9), contemporary/modern look (3.1) and creation of self designs (3.4) (Table 16a and 16b). However, irrespective of working women and housewives, uniformity in design (2.5) and elegance and classy appearance (2.6) were the main reasons while least considered were self designs (3.4), contemporary/modern look (3.2) and regular placement of motifs (2.8) (Table 16c).

4.4.9 Order of preference for swivel pattern saris

Four saris were hand woven with swivel patterns assisted with jacquard shedding mechanism. Finally, the respondents response for these swivel pattern saris was assessed and the results are presented in Table 17 (Figure 12). The values are expressed in Weighted Average Ranking (WAR) where lower the values, greater is the preference and visa versa.

Table 13. Preference for digitized patterns of Gujarati motifs N = 60 Sl. No. I. 1. 2. 3. 4. 5. 6. 7. 8. II. 1. 2. 3. 4. 5. 6. III. 1. 2. 3. Motifs Main motifs Affronte parrots Confronte parrots Festooned elephant Mirrored fish Prancing deer Reflective peacocks Saddled horse Stylized parrots Buttas Chrysanthemum Concentric flower Flower shoot Four petal flower Geometrical flower Stylized star Borders Effronte peacocks Four petal floral border Freehand floral border Working women (n = 30) H. E D. P 12 (40.00) 09 (29.03) 14 (36.84) 10 (33.33) 12 (40.00) 16 (45.71) 12 (33.33) 25 (83.33) 11 (34.37) 07 (22.58) 08 (25.00) 08 (24.24) 08 (22.85) 02 (6.66) 09 (29.03) 18 (60.00) 22 (70.96) 24 (63.15) 20 (66.66) 18 (60.00) 30 (100.00) 19 (54.28) 30 (100.00) 24 (66.66) 05 (16.66) 21 (65.62) 24 (77.41) 24 (75.00) 25 (75.75) 27 (77.14) 28 (93.33) 22 (70.96) Housewives (n = 30) H. E D. P 01 (3.33) 08 (22.22) 22 (66.66) 19 (61.29) 20 (54.05) 09 (29.03) 20 (60.60) 09 (29.03) 06 (18.75) 19 (61.29) 09 (28.12) 09 (29.03) 10 (33.33) 01 (3.33) 16 (47.05) 09 (27.27) 15 (46.87) 29 (96.66) 28 (77.77) 11 (33.33) 12 (38.70) 17 (45.94) 22 (70.96) 13 (39.39) 22 (70.96) 26 (81.25) 12 (38.70) 23 (71.87) 22 (70.96) 20 (66.66) 29 (96.66) 18 (52.94) 24 (72.72) 17 (53.12) 2 values

11.90** 5.16* 6.20* 4.78* 1.31 10.21** 1.51 10.21**

1.85 3.20 0.30 0.34 0.52 5.61*

4.40* 4.63* 2.16

Multiple responses possible Figures in parenthesis indicated percentages H. E - hand embroidery D. P - digitized patterns * - significant at 5% ** - significant at 1%

Fig.11.Resemblance and preference for digitized Gujarati motifs

Table 14. Preference for hand embroidered and self patterned saris N = 60 Sl. No. Preference Working women (n = 30) 09 1. Hand embroidered saris (30.00) 2. Self patterned saris 04 (13.33) 17 (56.66) Housewives (n = 30) 06 (20.00) 09 (30.00) 15 (50.00) 32 (53.33) 13 (21.66) Total 15 (25.00)

3.

Both

Figures in parenthesis indicate percentages

Table 15a. Reasons to prefer hand embroidered saris by working women (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. Working women (n = 26) 2 01 (03.84) 02 (07.69) 03 (11.53) 04 (15.38) 03 (11.53) 02 (07.69) 04 (15.38) 03 (11.53) 02 (07.69) 01 (03.84) 02 (07.69) 01 (03.84) 3 01 (03.84) 02 (07.69) 07 (26.92) 01 (03.84) 03 (11.53) 01 (03.84) 02 (07.69) 03 (11.53) 01 (03.84) 4 02 (07.69) 02 (07.69) 01 (03.84) 02 (07.69) 01 (03.84) 04 (15.38) 01 (03.84) 5 02 (07.69) 03 (11.53) 04 (15.38) 02 (07.69) 02 (07.69) 01 (03.84) 03 (11.53) 01 (03.33) 02 (07.69) 6 03 (11.53) 02 (07.69) 01 (03.84) 02 (07.69) 02 (07.69) 02 (07.69) 01 (03.84) 04 (15.38) 01 (03.84) 7 01 (03.84) 01 (03.84) 01 (03.84) 01 (03.84) 01 (03.84) 02 (07.69) 02 (07.69) 01 (03.84) 01 (03.84) 02 (07.69) 01 (03.84) 02 (07.69) 01 (03.84) 8 02 (07.69) 01 (03.84) 01 (03.84) 01 (03.84) 02 (07.69) 03 (11.53) 01 (03.84) 02 (07.69) 01 (03.84) 01 (03.84) 01 (03.84) 01 (03.84) 01 (03.84) 9 01 (03.84) 02 (07.69) 01 (03.84) 02 (07.69) 01 (03.84) 02 (07.69) 01 (03.84) 04 (15.38) 02 (07.69) 01 (03.84) 10 01 (03.84) 02 (07.69) 01 (03.84) 04 (15.38) 01 (03.84) 02 (07.69) 01 (03.84) 01 (03.84) 04 (15.38) 01 (03.84) 11 02 (07.69) 01 (03.84) 01 (03.84) 02 (07.69) 01 (03.33) 02 (07.69) 05 (19.23) 04 (15.38) 12 01 (03.84) 01 (03.84) 02 (07.69) 02 (07.69) 01 (03.84) 01 (03.84) 02 (07.69) 03 (11.53) 04 (15.38) 13 03 (11.53) 02 (07.69) 01 (03.84) 01 (03.84) 04 (15.38) 02 (07.69) 02 (07.69) 14 01 (03.84) 02 (07.69) 04 (15.38) 01 (03.84) 02 (07.69) 02 (07.69) 01 (03.84) 01 (03.84) 02 (07.69) WAR 3.0 5.7 3.5 3.3 7.5 4.0 6.3 4.6 6.1 5.9 7.5 5.0 7.3 7.2 R I VII III II XIII IV X V IX VIII XIII VI XII XI

1 Elegant/Unique 15 (57.69) Embroidered in multi 06 colours (23.07) Expresses rich culture 13 (50.00) Expresses skill and 08 creativity (30.76) Fashion in vogue 05 (19.23) Protects and preserves the 09 folklore (34.61) Colourful medium for 07 individual expression (26.92) Opportunities for 07 employment (26.92) Passion for collecting 05 traditional saris (19.23) Provides a mode of 05 creative expression (19.23) Speciality of geographical 05 region (19.23) Traditional look / Exquisite 08 pattern (30.76) Varied arrangement of 06 motifs (23.07) Variety of stitches can be 08 used (30.76) Multiple responses possible WAR - Weighted Average Ranking

Reasons

02 (07.69) 02 02 03 (07.69) (07.69) (11.53) 01 01 (03.84) (03.84) 01 01 01 (03.84) (03.84) (03.84) Figures in parenthesis indicate percentages R - Ranks

Table 15b. Reasons to prefer hand embroidered saris by housewives (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. Reasons Housewives (n = 21) 7 8 9 01 (04.76) 02 03 01 (09.52) (10.00) (04.76) 01 01 (04.76) (04.76) 04 02 (19.04) (09.52) 06 (28.57) 01 03 (04.76) (14.28) 04 (19.04) 03 (14.28) 03 (14.28) 01 01 01 (04.76) (04.76) (04.76) 01 (04.76) 02 (09.52) 01 (04.76) 02 (09.52) 02 (09.52) 01 (04.76)

1 2 Elegant/Unique 09 4 (42.85) (19.04) Embroidered in multi 04 02 colours (19.04) (09.52) Expresses rich culture 04 02 (19.04) (09.52) Expresses skill and 05 01 creativity (23.80) (04.76) Fashion in vogue 04 (19.04) 02 Protects and preserves 07 the folklore (23.33) (09.52) 02 Colourful medium for 05 individual expression (23.80) (09.52) Opportunities for 09 03 employment (42.85) (14.28) Passion for collecting 04 traditional saris (19.04) 03 Provides a mode of 04 creative expression (19.04) (14.28) 03 Speciality of 07 geographical region (23.33) (14.28) 03 Traditional look / 09 Exquisite pattern (42.85) (14.28) Varied arrangement of 04 02 motifs (19.04) (09.52) Variety of stitches can 05 01 be used (23.80) (04.76) Multiple responses possible WAR - Weighted Average Ranking

3 01 (04.76) 02 (09.52) 01 (04.76) 02 (09.52) 02 (09.52) 01 (04.76) 01 (04.76) -

4 01 (04.76) 01 (04.76) 02 (09.52) 02 (09.52) 02 (09.52) 02 (09.52) 01 (04.76) -

5 02 (09.52) 03 (14.28) 01 (04.76) 01 (04.76) 02 (09.52) 2 (09.52) -

6 02 (09.52) 02 (09.52) 01 (04.76) 03 (14.28) 03 (14.28) 01 (04.76) 01 (04.76)

10 05 (23.80) 01 (04.76) 01 (04.76) 01 (04.76) 03 (14.28) 02 (09.52) 01 (04.76)

11 01 (04.76) 01 (04.76) 01 (04.76) 03 (14.28) 01 (04.76) 02 (09.52) 01 (04.76) 01 (04.76)

12 01 (04.76) 01 (04.76) 01 (04.76) 03 (14.28) 02 (09.52) 01 (04.76) 01 (04.76) -

13 02 (09.52) 03 (14.28) 04 (19.04) 01 (04.76) -

14 01 (03.33) 02 (09.52) 04 (19.04) 02 (06.66) -

WAR 3.2 6.2 5.8 4.8 8.4 4.7 5.7 3.3 9.2 4.6 4.9 3.1 5.4 5.0

R II XII XI VI XIII V X III XIV IV VII I IX VIII

02 02 05 (09.52) (09.52) (16.66) 01 02 01 01 (09.52) (04.76) (04.76) (04.76) 01 02 03 (09.52) (14.28) (04.76) 01 02 01 05 01 (09.52) (04.76) (04.76) (04.76) (23.80) 01 02 03 02 02 (06.66) (09.52) (04.76) (14.28) (09.52) Figures in parenthesis indicate percentages R - Ranks

Table 15c. Reasons to prefer hand embroidered saris by total respondents (Ranking) Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. Reasons Elegant/Unique Embroidered in multi colours Expresses rich culture Expresses skill and creativity Fashion in vogue Protects and preserves the folklore Colourful medium for individual expression Opportunities for employment Passion for collecting traditional saris Provides a mode of creative expression Speciality of geographical region Traditional look / Exquisite pattern Varied arrangement of motifs Variety of stitches can be used Respondents (N = 47) 7 8 9 02 02 (4.25) (4.25) 03 03 02 (6.38) (6.38) (4.25) 02 02 02 (4.25) (4.25) (4.25) 05 01 (10.63) (2.12) 01 07 (2.12) (14.89) 01 03 05 (2.12) (6.38) (10.63) 01 07 01 (2.12) (14.89) (2.12) 05 01 02 (10.63) (2.12) (4.25) 01 05 01 (2.12) (10.63) (2.12) 02 02 05 (4.25) (4.25) (10.63) 03 01 (6.38) (2.12) 01 03 02 (2.12) (6.38) (4.25) 07 02 04 (14.89) (4.25) (8.51) 03 03 01 (6.38) (6.38) (2.12)

1 24 (51.06) 10 (21.27) 17 (36.17) 13 (27.65) 09 (19.14) 16 (36.04) 12 (25.53) 16 (36.04) 09 (19.14) 09 (19.14) 12 (25.53) 17 (28.33) 10 (16.66) 13 (21.66)

2 05 (10.63) 04 (8.51) 05 (10.63) 05 (10.63) 03 (6.38) 04 (8.51) 02 (4.25) 07 (14.89) 03 (6.38) 05 (10.63) 04 (8.51) 05 (10.63) 03 (6.38) 01 (2.12)

3 02 (4.25) 04 (8.51) 01 (2.12) 09 (19.14) 01 (2.12) 05 (10.63) 02 (4.25) 01 (2.12) 02 (4.25) 05 (10.63) 03 (6.38) 05 (10.63) 03 (6.38) 02 (4.25)

4 03 (6.38) 01 (2.12) 04 (8.51) 02 (4.25) 01 (2.12) 04 (8.51) 03 (6.38) 05 (10.63) 01 (2.12) 02 (4.25) 03 (6.38) 05 (10.63) 02 (4.25) 03 (6.38)

5 04 (8.51) 03 (6.38) 03 (6.38) 05 (10.63) 03 (6.38) 04 (8.51) 03 (6.38) 08 (17.02) 02 (4.25) 03 (6.38) 01 (2.12) 02 (4.25)

6 07 (14.89) 02 (4.25) 03 (6.38) 02 (4.25) 05 (10.63) 01 (2.12) 01 (2.12) 05 (10.63) 01 (2.12) 01 (2.12) 02 (4.25) 01 (2.12) 04 (8.51)

10 01 07 (14.89) 02 (4.25) 05 (10.63) 02 (4.25) 03 (6.38) 02 (4.25) 03 (6.38) 01 (2.12) 04 (8.51) 01 (2.12)

11 03 (6.38) 01 (2.12) 02 (4.25) 04 (8.51) 01 (2.12) 04 (8.51) 01 (2.12) 02 (4.25) 06 (12.76) 05 (10.63)

12 02 (4.25) 01 (2.12) 01 (2.12) 03 (6.38) 03 (6.38) 02 (4.25) 01 (2.12) 03 (6.38) 02 (4.25) 01 (2.12) 04 (8.51) 04 (8.51)

13 02 (4.25) 06 (12.76) 02 (4.25) 05 (10.63) 01 (2.12) 05 (10.63) 02 (4.25) 02 (4.25)

14 02 (4.25) 02 (4.25) 06 (12.76) 01 (2.12) 06 (12.76) 04 (8.51) 01 (2.12) 01 (2.12) 02 (4.25)

WAR 3.1 5.8 4.4 3.8 7.9 4.3 6.0 4.0 7.5 5.3 6.2 4.2 6.5 6.3

Multiple responses possible WAR - Weighted Average Ranking

Figures in parenthesis indicate percentages R - Ranks

Table 16a. Reasons to prefer self patterned saris by working women (Ranking) Sl. No. 1. 2. 3. 4. 5. Reasons Contemporary/Modern look Elegant and classy in appearance Regular placement of motifs Possibility to create self designs Uniformity in design Working women (n = 21) 1 02 (09.52 08 (38.09) 03 (14.28) 01 (04.76) 08 (38.09) 2 04 (19.04) 05 (23.80) 05 (23.80) 05 (23.80) 03 (14.28) 3 06 (28.57) 01 (04.76) 03 (14.28) 03 (14.28) 05 (23.80) 4 02 (09.52) 05 (23.80) 07 (23.33) 02 (09.52) 04 (19.04) 5 06 (28.57) 01 (04.76) 02 (09.52) 07 (23.33) 02 (09.52) WAR 3.3 2.3 3.0 3.5 2.5 R IV I III V II

Multiple responses possible Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R - Ranks Table 16b. Reasons to prefer self patterned saris by housewives (Ranking) Sl. No. 1. 2. 3. 4. 5. Housewives (n = 24) 1 05 (20.83) 05 (20.83) 06 (25.00) 03 (12.50) 07 (23.33) 2 04 (16.66) 04 (16.66) 05 (20.83) 05 (20.83) 09 (37.50) 3 04 (16.66) 05 (20.83) 07 (29.16) 04 (16.66) 03 (12.50) 4 05 (20.83) 09 (37.50) 03 (12.50) 04 (16.66) 01 (03.33) 5 06 (25.00) 01 (4.16) 03 (12.50) 08 (26.66) 04 (16.66) WAR 3.1 2.9 2.6 3.4 2.4 R IV III II V I

Reasons Contemporary/Modern look Elegant and classy in appearance Regular placement of motifs Possibility to create self designs Uniformity in design

Multiple responses possible Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R - Ranks Table 16c. Reasons to prefer self patterned saris by respondents (Ranking) Sl. No. 1. 2. 3. 4. 5. Respondents (N = 45) 1 Contemporary/Modern look Elegant and classy in appearance Regular placement of motifs Possibility to create self designs Uniformity in design 07 (15.55) 13 (28.88) 09 (20.00) 04 (08.88) 15 (33.33) 2 08 (17.77) 09 (20.00) 10 (22.22) 10 (22.22) 12 (26.66) 3 10 (16.66) 06 (13.33) 10 (22.22) 07 (15.55) 08 (17.77) 4 07 (15.55) 14 (31.11) 10 (22.22) 06 (13.33) 05 (08.33) 5 12 (26.66) 02 (04.44) 05 (11.11) 15 (33.33) 06 (13.33) WAR 3.2 2.6 2.8 3.4 2.5 R IV II III V I

Reasons

Multiple responses possible Figures in parenthesis indicate percentages WAR - Weighted Average Ranking

- Ranks

Plate.17. Evaluation of swivel pattern saris

Table 17a. Order of preference for swivel pattern saris by working women (Ranking) Sl. No. I. 1. II. 1. Control Hand embroidered sari Woven pattern saris Purple sari 11 (36.66) 06 (20.00) 05 (16.66) 08 (26.66) 09 (30.00) 02 (06.66) 12 (40.00) 06 (20.00) 05 (16.66) 05 (16.66) 02 (06.66) 03 (10.00) 3.2 2.6 3.0 2.8 V I III II 13 (43.33) 01 (03.33) 01 (03.33) 15 (50.00) 3.1 IV Working women (n = 30) 1 2 3 4 5 WAR R

Saris

03 02 (10.00) (6.66) 06 11 2. Yellow sari (20.00) (36.66) 04 07 3. Orange sari (13.33) (23.33) 04 09 4. Green sari (13.33) (30.00) Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R Ranks

Table 17b. Order of preference for swivel pattern saris by housewives (Ranking)

Sl. No. I. 1. II. 1. Control

Housewives (n = 30) Saris 1 2 3 4 5 WAR R

Hand embroidered sari Woven pattern saris Purple sari

06 (20.00)

01 (03.33)

06 (20.00)

04 (13.33)

13 (43.33)

3.6

03 05 (10.00) (16.66) 03 11 2. Yellow sari (10.00) (18.33) 09 04 3. Orange sari (30.00) (13.33) 09 09 4. Green sari (30.00) (30.00) Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R Ranks

04 (13.33) 05 (16.66) 08 (26.66) 07 (23.33)

11 (18.33) 06 (20.00) 06 (20.00) 03 (10.00)

07 (23.33) 05 (16.66) 03 (10.00) 02 (06.66)

3.5 3.0 2.7 2.3

IV III II I

Table 17c. Order of preference for swivel pattern saris by respondents (Ranking)

Sl. No. I. 1. II. 1. 2. 3. 4. Control

Respondents (n = 60) Saris 1 2 3 4 5 WAR R

Hand embroidered sari Woven pattern saris Purple sari Yellow sari Orange sari Green sari

19 (31.66)

02 (3.33)

06 (10.00)

05 (8.33)

28 (46.66)

3.4

IV

06 (10.00) 09 (15.00) 13 (21.66) 13 (21.66)

07 (11.66) 22 (36.66) 11 (18.33) 18 (30.00)

15 (25.00) 11 (18.33) 13 (21.66) 15 (25.00)

20 (33.33) 08 (13.33) 18 (30.00) 09 (15.00)

12 (20.00) 10 (16.66) 05 (08.33) 05 (08.33)

4.0 2.8 2.9 3.0

V I II III

Figures in parenthesis indicate percentages WAR - Weighted Average Ranking R Ranks

Fig.12. Order of preference for swivel pattern saris

Table 18. General opinion of respondents about swivel pattern saris N = 60 Sl. No. 1. 2. Opinion Fair Good Working women (n = 30) 10 (33.33) 20 (66.66) Housewives (n = 30) 08 (26.66) 22 (73.33) Total 18 (30.00) 42 (70.00)

3.

Excellent

Figures in parenthesis indicate percentages

Table 19. Cost of production of swivel pattern saris (Rs. /sari) Sl. No. I. 1. 2. Fixed costs Depreciation Repairs and maintenance 0.83 0.60 1.43 0.83 0.60 1.43 0.83 0.60 1.43 0.83 0.60 1.43 0.83 0.60 1.43 Control Particulars Hand embroidered sari Purple sari Swivel pattern Dharwad saris Yellow sari Orange sari Green sari

Total fixed costs (a) II. 1. 2. 3. 4. 5. 6. 7. i. ii. Variable costs Cotton yarn Polyester yarn (ground weft and extra weft) Rayon yarn (extra warp) Preparatory processes (warping, drawing in, denting, gaiting of the loom, bobbin winding and pirn winding) Punch cards Embroidery thread Wages Weaving Embroidering

80.10 52.35 15.25 31.66 25.00

80.10 52.35 15.25 31.66 0.24 -

80.10 52.35 15.25 31.66 0.43 -

80.10 52.35 15.25 31.66 0.47 -

80.10 52.35 15.25 31.66 0.50 -

100.00 400.00 704.36 705.79 882.24 176.45

300.00 479.60 481.03 601.29 120.26

300.00 479.79 481.22 601.53 120.31

300.00 479.83 481.26 601.58 120.32

300.00 479.86 481.29 601.61 120.32

Total variable costs (b) Total production cost (a + b = c) Selling price (d) Net profits (d c = e)

Fig.13. Cost of production of swivel pattern saris

The results revealed that yellow (2.6), green (2.8) and orange (3.0) saris were ranked in order of preference by the working women where as housewives preferred green (2.3), orange (2.7) and yellow (3.0) saris. It may be further stated that both purple and hand embroidered saris were given least preference by the respondents of both the categories.

4.4.10. General opinion of the respondents about swivel pattern saris

Last but not the least, it was vital to collect the general opinion of respondents about the swivel pattern saris, summarized in short and presented in Table 18. Seventy per cent of the respondents expressed that the swivel patterned Dharwad saris were excellent and remaining 30.00 per cent mentioned as good in appearance. Many did express that this study needs appreciation since an effort was made to revive the Guajarati motifs and extending its application from ghagra choli to traditional saris is most accepted and which will go a long way in the fashion world and International market.

4.5 Cost of production of swivel pattern saris

Table 19 and Figure 13 reveals about the cost of production of the saris. Various factors like fixed cost (depreciation) and variable costs (repairs and maintenance, cost of yarns, preparatory processes, punch cards, embroidery thread; wages for weaving and embroidering) were taken into account while determining the cost of production It is clear form this Table that the fixed costs was same for all the five saris with variation in the variable cost. Similarly, the cost of raw materials and preparatory processes also remained same. The variation existed mainly with the wages paid towards embroidering and weaving, resulting into difference in the cost of production. Looking into the total cost of the hand embroidered sari that accounted to Rs. 705.79 it was found that greater amount was spent towards wages for embroidering (Rs. 400.00) and weaving (Rs. 100.00). Further the net profit earned from embroidered sari accounted to Rs. 176.45 that was about 32 per cent higher than the profit earned from swivel pattern saris. On the other hand, the total cost of swivel pattern saris was relatively lower than hand embroidered sari. Though the amount spent on fixed and variable costs of these saris was same, a slight variation was observed with respect to the amount spent on punch cards. Further, it is assumed that the weavers earned 25 per cent of net profit per sari on total production cost and accordingly total returns and net profit were calculated.

5. DISCUSSION
The results of the present study are discussed in detail under the following sub headings: 5.1 Digitizing the conventional motifs 5.2 Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique 5.2.1 Preparation of jacquard pattern chain 5.2.2 Loom employed for weaving swivel pattern saris 5.2.3 Raw materials 5.3 Description of swivel pattern saris

5.3.1 Fabric information 5.3.2 Weaving swivel patterns in Dharwad saris 5.4 Consumer acceptance for swivel pattern saris

5.4.1 Demographics of the respondents 5.4.2 Preference for casual and ceremonial wears 5.4.3 Preference for polycotton saris 5.4.4 Preference for type of embellishment on saris 5.4.5 Awareness of respondents about traditional embroideries of India 5.4.6 Respondents awareness about Gujarat embroidery 5.4.7 Resemblance of digitized Gujarat embroidery motifs with hand embroidered motifs and its preference 5.4.8 Preference for hand embroidered and self patterned saris 5.4.9 Order of preference for swivel pattern saris 5.4.10 General opinion of the respondents about swivel pattern saris 5.5 Cost of production of swivel pattern saris

5.1 Digitizing the conventional motifs

The process of digitizing the conventional motifs of Gujarat embroidery using Computer Aided Textile Designing software Paint Shop Pro (PSP) and GC Kala-2004 was quick, faster and user-friendly compared to manual designing that was laborious, time consuming and less flexible to change, modify and/or replicate the design. It was possible to digitize different dimensions of designs on this software retaining the traditional flavour. Similar results were observed by Vastrad (2003) in her study on Weaving computerized negi motifs in traditional Lakkundi sarees that digitizing the kasuti motifs on computer was more advantageous than manual designing since it saved time, money and labour. These results were also in line with the study conducted by Arun (2000) on Implementation of CAD/CAM in textile industry who concluded that through CAD application, designs could be created, modified and saved in respective archives to use as and when in demand resulting into low cost of production. Thus, the null hypothesis set for the study that the conventional hand embroidered motifs of Gujarat embroidery cannot be transformed into digitized patterns was rejected. Further, it is inferred from Table 1 that, of the digitized motifs, the main motifs were relatively large in size both warp way and weft way compared to buttas and borders. In other words, weaving the main motifs in the pallav region involved greater time because each motif repeated on greater number of picks ranging from 70 to 120. It is imperative to state here that, the loom stopped at every insertion of pick through jacquard shed.

5.2 Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique
5.2.1 Preparation of jacquard pattern chain
The punch card system adopted for weaving the swivel patterns of Gujarati motifs was the key process that endowed the loom with flexibility and also cut back the amount of human labour. It was possible to create intricate patterns by having many cards arranged sequentially in the form of a pattern chain and also allowed the patterns to be stored on these cards which can be utilized over and over again to create the same design in various styles as per the consumer demand.

5.2.2 Raw material details

Raw material plays a vital role in the production of any good/product that influences its production rate. It is learnt from Table 2 that the raw materials used for weaving swivel pattern saris was mercerized cotton as warp and untwisted polyester multi-filament yarn as weft. However, a slight variation was observed in the yarn count. Four folds of the same polyester multi-filament yarn was used for extra weft figuring resulting into increase in the thread density to produce bold and compact designs across the width of the sari. Subsequently, border was woven with relatively coarser warp yarns as compared to the body since border formed on either sides of the sari has to be compactly woven that adds weight resulting into good drapeability.

5.2.3 Loom employed for weaving swivel pattern Dharwad saris

The digitized motifs of Gujarat embroidery selected for the present study were relatively larger in size which was difficult to weave on simple handloom requiring large amount of human labour. Hence, handloom with jacquard shedding mechanism was employed for weaving swivel pattern saris thus increasing the rate of production. Further, it is imperative to state that the extra weft figuring was produced by inserting the picks through separate jacquard shed.

5.3 Description of swivel pattern saris

5.3.1 Fabric information
Fabric sett denotes the spacing of ends and picks in the fabric expressed as the number of threads per inch. The swivel pattern saris were woven with fabric sett of 72 X 64 ends and picks/inch in the body and 74 X 64 count in the border resulting into better fabric density thus making the sari more durable and comfortable to wear. The total width of the saris measured 112.5 cm with body 100 cm and border 6.25 cm on either sides of the sari because it is imperative to have larger width of fabric for sari since it covers the lower part of womans body. The length of all the five saris remained same i.e. 6.2 meters. However, there was variation in the length of the pallav because of which new styles were created (Table 3).

5.3.2 Weaving swivel patterns in Dharwad saris

It is revealed from Table 4 that the plain hand woven sari was embroidered with all the main motifs, buttas and borders in the body and pallav region retaining the traditionality and was considered as control sari. In total, four swivel pattern saris were hand woven, the colours being produced by shot effect i.e. woven in contrasting colours of warp and weft creating double shaded effect (Dhoop Chaun). The swivel pattern saris were unique and elegant in its own way since each sari was woven with a combination of main motifs, buttas and borders.

5.4 Consumer acceptance for swivel pattern saris

5.4.1 Demographics of the respondents
Table 5 depicts that majority of total respondents were postgraduates (41.66%) followed by higher secondary (23.33%) which may be because of interest towards education, interest to build up the career, better educational facilities awareness about the importance of education and encouragement received from family members. It is revealed from the Table that greater per cent of the housewives who had not taken up the career were also educated but up to secondary level only. Forty per cent of the working women belonged to middle income group (40.00%) followed by high (36.66%) and low (23.33%) which may be because of the better and double earnings of both husband and wife in the family; and probably employed in the services that fetched decent salary as per their qualifications. On the other hand, 53.33 per cent of the housewives fell in the low income group category that may be due to single earning in the family without any subsidiary income.

5.4.2 Preferences for casual and ceremonial wears

It is imperative from Table 6 that on the whole, majority of the respondents preferred salwar kameez (61.66%) followed by saris (48.33%) as casual wear probably it is comfortable, easy to manage, simple to handle, light in construction, not as elaborate as sari, quick to done and doff, minimum time to manipulate and needs less care to maintain. Very meager (1.66%) per cent of the respondents preferred trousers for casual wear may be because they felt that it depicts more of western culture and blend least with Indian traditions and customs. They also opined that the trousers are most suitable for adolescent girls rather than women of their age groups. Further, irrespective of the respondents occupation, cent per cent of the respondents preferred saris as ceremonial wear which may be due to its elegance, glamorous look, versatility, traditionality, feminine grace, tremendous scope for personal grooming with variety of accessories and jewellery that gives a sensuous and caring touch as well as aids the wearer with special sparkle and charm. None of the respondents preferred ghagra choli for ceremonies probably because of its heavy ornamentation that requires special care and maintenance.

5.4.3 Preference for polycotton saris

Table 7 depicts that 76.66 per cent of working women and 33.33 per cent of housewives did have polycotton saris in their wardrobe which clearly indicates their personal interest and liking. About 38.33 per cent of the respondents wished to wear these polycot saris during special occasions probably because of its unique rich appearance, elegant look and exquisite patterns that in turn enhanced the beauty and charm of the wearer. Further, it is evident from Table 8c that majority of the respondents mentioned easy care-maintenance (3.1) and good drapeability (4.2) as main reasons for the preference. Other reasons quoted were wide range of colours, light weight that increased the utility value of these saris making them most suitable for all seasons and occasions.

5.4.4 Preference for type of embellishments on saris

It is inferred from Table 9c that majority of the respondents irrespective of their occupation, preferred hand embroidery (2.0), woven patterns (2.8) and zardosi (3.5) may be because these techniques of decorating the saris is prevailing since ancient time. Infact hand embroidery and woven patterns are the pioneer techniques of beautifying both traditional and contemporary textiles. These are evergreen techniques, accepted and enjoyed universally. It is also evident from the opinion of the respondents that careful, intelligent and skillful use and application of various colourways, combined with textures and patterns, contributed to the beautiful and exquisite appearance on the Indian saris. These results are in line with the study conducted by Patil et. al., (2001) on Decoratives on salwar suits and sarees where about 81 percent of the respondents preferred hand embroidery for its

elegance and durability. These results are also on par with the study conducted by Namrata (2006) on Revival of relic khana material as contemporary designers bed linen who concluded that equal preference was given to hand and machine embroideries because of its elegance and charm. Cut work, painted patterns, appliqu, dyeing and printed patterns were least preferred by the respondents probably it was felt by them that these techniques blend least with traditionality and look better on garments and furnishings other than made-ups (Table 9c).

5.4.5 Respondents awareness about traditional embroideries of India

Majority of the respondents (86.66%) irrespective of the occupation were not only aware of kasuti embroidery but also embellished their attires with it probably because kasuti is the traditional embroidery of this state practiced all over Karnataka and is also famous in other states. Further, 66.66 per cent of the respondents expressed their awareness about kutch and kathiawar embroidery followed by zardosi (63.33%) which clearly indicates the passion towards embellishing their costumes and growing interest towards ethnic fashion (Table 10).

5.4.6 Awareness of respondents about Gujarat embroidery

It is clear from Table 11 that working women have better knowledge, information and awareness about Gujarat embroidery than their counter part. This is probably due to better exposure, interest, dearth of educational background and acquired knowledge, zeal to gather information by the working women. However, irrespective of the occupation, the respondents of both the categories had awareness about the articles embellished with Guajarati embroidery ghagra choli (78.33%), bags and purses (73.33%) and bed linen (61.66%) probably because these attires/articles are not only famous locally but have demand in international market too.

5.4.7 Resemblance of digitized patterns with hand embroidered motifs and its preference a. Resemblance of digitized patterns with hand embroidered motifs
Table 12 (Figure 11) revealed that more than 33.33 per cent of the working women mentioned that most of the digitized patterns of Gujarat embroidery wholly resemble with the respective hand embroidered motifs where as more than 50.00 per cent of the housewives mentioned that all the digitized patterns resembled wholly with the respective hand embroidered motifs. Further the chi-square values were found to be significant for geometrical flower (5.41), effronte peacocks (4.80), affronte parrots (4.44), four petal flower and stylized star (each 4.29) and prancing deer (4.02), implying better resemblance with hand embroidered motifs. Similar results were observed by Vastrad (2003) in her study on Weaving computerized negi motifs in traditional Lakkundi sarees where cent percent of the respondents agreed that the computerized negi motifs resembled with the traditional hand embroidered motifs. Thus the null hypothesis set for the study that the digitized woven patterns do not resemble the hand embroidered motifs was rejected.

b. Preference for digitized patterns

It is clear from Table 13 (Figure 11) that more than 54.28 per cent of the working women and 33.33 per cent of the housewives preferred digitized patterns compared to the respective hand embroidered motifs which may be because of the compactness and uniformity of the digitized patterns that appeared elegant and unique by themselves and also probably due to the greater affinity of respondents towards traditional and ethnic designs. Further these results are also justified with the fact that the chi-square values for these digitized patterns were highly significant at 1 and 5 per cent level making them more acceptable. However, among the 17 digitized motifs, prancing deer, saddled horse, chrysanthemum, concentric flower, flower shoot, four petal flower and geometrical flower were not found to be significant thus making them least acceptable. These results are in line with the study conducted by Vastrad (2003) on Weaving computerized negi motifs in

traditional Lakkundi sarees where cent percent of the rural and urban respondents preferred computerized negi motifs because of their uniformity, compactness, elegant and unique appearance.

5.4.8 Preference for hand embroidered and self patterned saris

Considering the preference of respondents for saris with hand embroidery and self patterns, it is evident from Table 14 that 53.33 per cent of them preferred both hand embroidered and self pattered saris may be because both have their own unique beauty, elegance and charm along with pros and cons, which make people to prefer or deny it. However, the preference for hand embroidered and self patterned saris entirely depended on colour combination, texture, purchasing power and behaviour that ultimately depict ones tastes and likings. It is learnt from Table 15c that on the whole, the respondents stated that elegant/unique appearance (3.1), expression of skill and creativity (3.8) and opportunities for employment (4.0) were the main reasons for preference of hand embroidered saris may be because decorating saris with rich hand embroidery is prevailing since ancient times which involves a lot of careful planning, systematic arrangement of motifs and patience. In fact it also provides scope to improve ones abilities and express their love and respect for culture. Irrespective of the occupation, both working women and housewives opined that uniformity in design (2.5) and elegance and classy appearance (2.6) were the main reasons for the preference of self patterned saris which is true (Table 16) because it is possible to produce woven patterns of uniform size on jacquard shedding mechanism and these patterns invariably add beauty to saris making it look pleasant and attractive.

5.4.9 Order of preference for swivel pattern saris

In total, majority (36.66%) of the respondents highly preferred yellow sari (2.8) may be because of the contrast colour combination of yellow with maroon pattern and probably the digitized motifs viz., chrysanthemum, affronte parrots and effronte peacocks appeared bold against the background and resembled hand embroidered motifs. Orange (2.9) and green (3.0) saris were moderately preferred may be because of the uniquely stylized motifs with bright colour combination that gave more of contemporary look. However, hand embroidered (3.4) and purple (4.0) saris were least preferred may be because the motifs were not bold enough against the sari background due to sober colour combination (Table 17 and Figure 12).

5.4.10 General opinion of the respondents about the swivel pattern saris
It is depicted from Table 18 that 70.00 per cent of the respondents opined that these saris are excellent because the swivel patterns are very unique and probably incorporated in hand woven saris for the first time. The appreciation is towards its uniqueness and the new concept to incorporate the traditional Guajarati motifs in hand woven saris to create new styles and designs. The respondents opined that the researcher had made real effort with keen interest to revive these traditional motifs by way of digitization which were very attractive and eye catching. This is one of the challenging thrust areas of research, which has been attempted. However, there exists some difference in the perception and acceptance of new styles since it all depends upon consumer behaviour. Thus, 30.00 per cent of them mentioned the swivel pattern saris to be good.

5.5 Cost of production of swivel pattern saris

The cost of production of swivel pattern saris is presented in Table 19 (Figure 13). It required two days to weave simple plain polycotton sari on handloom and another ten days to embellish the sari with hand embroidery totaling to twelve days. On the other hand, the entire swivel pattern sari was woven in five and a half days. It is clear from this Table that hand embroidered sari was reasonably expensive compared to swivel pattern saris since hand embroidery is very delicate, elaborate, time consuming and not only labour intensive but also expresses skill and creativity of individual. Further, the embroidery threads were also

relatively expensive that added to the production cost. On the other hand, the total cost of swivel pattern saris was relatively less because jacquard shedding mechanism adopted for producing these patterns not only assisted in creating new designs but also saved time, money and labour. Thus, the handloom weavers can take up the production of these newly designed saris to earn better wages. These results are contrary with results of the study conducted by Vastrad on Weaving computerized negi motifs in traditional Lakkundi sarees who concluded that though the production cost of hand embroidered sari was less compared to saris with computerized negi motifs, the net profit earned from newly designed saris war higher than the hand embroidered sari.

6. SUMMARY AND CONCLUSIONS

The present study on Digitizing Conventional Patterns of Gujarat Embroidery and Product Development was conducted to investigate the possibility of modifying and digitizing conventional patterns of Gujarat embroidery motifs, to incorporate these digitized conventional patterns on hand woven Dharwad saris, to assess the consumer acceptance and to estimate the cost of these saris. The study was carried out in Dharwad during the year 2007-09. In total, 17 conventional motifs of Gujarat embroidery were sourced and selected for digitizing. The process of digitizing the selected motifs was carried out by using GC Kala 2004 with interface Paint Shop Pro (PSP) software. In total, five Dharwad saris were woven on semiautomatic handloom of which one was control sari, embellished with Guajarati embroidery where as other four saris were produced with swivel woven patterns by swivel weave using jacquard shedding mechanism. Consumer acceptance for these saris was assessed by administering a self-structured questionnaire by arranging exhibitions, where the sample size comprised of 30 each working women and housewives. Finally, the cost of production of these saris was calculated. The results of the present study are hereby summarized as follows:

Digitizing the conventional motifs

The conventional motifs of Gujarat embroidery were digitized by using GC Kala-2004 with interface Paint Shop Pro (PSP) software. The process of digitization involved three stages design input, design processing and design plan. The design input involved creation of motifs by transferring them onto the system through scanner. Design processing was carried out by using Paint Shop Pro (PSP) software where in the motifs were resized with respect to width and height and saved as bmp file with output as simulation. In design plan, the created bmp file was further refined in GC Kala-2004 software with respect to colour of the point paper, design and grouping of squares. Of the 17 digitized motifs, the main motifs were grouped into three categories large, medium and small size, as these motifs were relatively larger in size repeating on greater number of picks ranging from 70 to 120.

Product development - Weaving handloom Dharwad saris with digitized conventional motifs by swivel technique
GC Punch, the card punch software interfaced with computerized card punching machine assisted in punching jacquard cards. The punched cards were numbered and laced sequentially to form a pattern chain. In total, 17 pattern chains were prepared of which eight were for the main motifs, six for buttas and three for border designs. The swivel patterned saris were composed of mercerized cotton of 100s as warp and polyester yarn of 110d as weft while four folds of the same polyester yarn used to produce extra weft designs. The border warp constituted of mercerized cotton of 64s and the extra warp figuring was produced by dobby shedding mechanism using rayon of 80s. Handloom of 172 jacquard was employed to weave extra weft figures using tiny swivel shuttles.

Description of swivel pattern saris

The saris were woven with fabric sett of 72 ends and 64 picks per inch in the body. However, border was woven with 74 ends/inch. The total width of the saris measured 112.5 cm of which body was 100 cm and border 6.25 cm on either sides of the sari; total length being 6.2 meters. The hand embroidered sari comprised of all the eight main motifs, six buttas and three border designs selected for the present study, formed the control sari. The swivel pattern saris were woven with a combination of main motifs, buttas and borders to create eye catching and attractive designs.

Consumer acceptance for swivel pattern saris

About 42 per cent of the respondents, irrespective of their occupation were postgraduates and belonged to middle income group. About 62 per cent of the respondents preferred salwar kameez for casual wear and cent percent of the respondents wished to wear saris as ceremonial wear. Irrespective of the occupation, 55.00 per cent of the respondents did have polycotton saris in their collection and wished to wear these saris for special occasions because they are simple to care and maintain (3.1), have good drapeability (4.2) and available in wide beautiful colours (4.3). Majority of the respondents mentioned hand embroidery (2.0) is the most suitable embellishment for saris because of its elegance, attractive appearance and traditionality. Majority of the respondents had knowledge about the traditional Indian embroideries like Kasuti (86.66%) of Karnataka and Kutch - Kathiawar (66.66%) of Gujarat. More than 48 per cent of the respondents were aware about the features of Gujarat embroidery as well as attires/articles embellished with it. Though more than 33 per cent of the working women and 50.00 per cent of the housewives opined that the digitized patterns wholly resemble with the respective hand embroidered motifs, but preferred digitized patterns (> 60.00%). About 53 per cent of the respondents opted for saris with both hand embroidery and woven patterns for, they being unique, elegant and pleasant appearance. The respondents, irrespective of the occupation ranked yellow (2.8), orange (2.9), green (3.0), hand embroidered (3.4) and purple (4.0) saris in the order of preference. About 70per cent of the respondents opined that the swivel pattern Dharwad saris were excellent. However, 30.00 per cent of them mentioned as good.

Cost of production of swivel pattern saris

It required two days to weave simple plain polycot sari on handloom and to embellish the sari with hand embroidery, additional ten days were required, totaling to twelve days. On the other hand the entire swivel pattern sari was woven in five and a half days. Though the raw materials used in all the five saris was same, the mode of embellishment varied; the control sari was hand embroidered where as the other four saris were ornamented with swivel patterns. The cost of production of hand embroidered sari was about Rs. 705.79 remarkably higher than swivel pattern saris because of being labour intensive, time consuming and application of expensive accessories. The total cost of swivel pattern saris was about Rs. 481.29 relatively low because of jacquard shedding mechanism the time required to produce extra weft swivel patterns was lesser than hand embroidery.

IMPLICATIONS AND RECOMMENDATIONS

Gujarat is famous for creating tremendous wealth and variety of embroideries than any other Indian state and boasts some of the most colourful and exquisite embroideries such as Kutch and Kathiawar. Though there is an increasing demand for these traditional hand embroideries in international market, their utility value is decreasing due to advent of quick and time saving machine embroideries capturing the markets. The present study concentrates on revival of traditional Gujarat embroidery by way of digitization and its application on made-ups. The findings of the present study give a clear picture of the process of digitizing the conventional Gujarat embroidery motifs, product development with swivel patterns, consumer acceptance for swivel pattern saris and cost of production of the same. The implications and recommendations of present study are as follows: The fashion world is never static but keeps revolving from time to time. With the advent of fashion fista, modern textile designers can adopt these digitized patterns in their products to create new styles. Beside made-ups, these swivel patterns can be incorporated in household textiles, furnishings, floor coverings and wallpapers that go a long way in fashion world as well as international market. Handloom weavers can manufacture exclusive swivel pattern made-ups that fetch better earnings and in turn uplift their livelihood. Jacquard swivel weaving opens new horizon for handloom weavers to design and produce exquisite home textiles and bed linen.

SUGGESTIONS FOR FURTHER STUDIES 1. Development of swivel patterns from tribal art.
2. Product development of floor coverings with digitized patterns of Gujarat embroidery. [ 3. Digitizing the traditional motifs of other Indian embroideries and documentation. 4. Market potential of swivel pattern saris in Indian fashion world. 5. Documentation of historically famous saris and motifs of India.

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APPENDIX-I
Digitizing Conventional Patterns of Gujarat Embroidery and Product Development Consumer Acceptance for Swivel Pattern Saris

I.

General Information

1. Name of the respondent : 2. Age 3. Education 4. Occupation 5. Annual family income : II. Specific Information A. 1. Which type of dresses/garments you prefer for casual wear? Sl. No. 1. 2. 3. 4. Dresses/Garments Chudidar kurta Salwar kameez Saris Tousers Tick mark ( ) : : :

2. Which are the ceremonial wears you have in your collection? Sl. No. 1. 2. 3. 4. Ceremonial wears Chudidar kurta Ghagra choli Salwar kameez Saris Tick mark ( )

3. Do you like to wear saris as: 1. 2. Casual wear Ceremonial wear

4.

Mention about the collection of different types of saris in your wardrobe and give ranking for your preference. Saris Cotton saris Embroidered saris Hand painted saris Printed saris Polycotton saris No. of saris Rank

Sl. No. 1. 2. 3. 4. 5.

6. 7. 8. 9.

Silk saris Synthetic saris Tie-dyed saris Traditional/Ethnic saris

5. Mention about the number of traditional saris you have in your collection.

Sl. No.

Traditional saris Hand embroidered saris

No. of saris

1. 2. 3. 4. 5.

Chikankari work saris Kantha work saris Kasuti work saris Kutch work saris Kashida work saris Woven saris

1. 2. 3. 4.

Banarasi silk saris Dharwad saris Ilkal saris Pochampalli saris Other saris

1. 2. 3. 4. 5. 6.

Appliqu work saris Cut work saris Madhubani painted saris Kalamkari saris Worli painted saris Zardosi saris

6. Does your collection has polycotton/Dharwad saris?

Yes / No

If yes, during which occasion do you wish to wear these saris? Sl. No. 1. 2. 3. 4. 5. 6. Occasions Ceremonial wear Daily wear Occasional wear Party wear Professional wear Ritual wear Tick mark ( )

7. Mention about the special facets of polycotton saris and give ranking.

Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Special facets of polycotton saris Available in wide colour range Available with blouse piece Contrast body and border Does not require sari fall Elegant / Unique Good drapeability Light in weight Simple ease care and maintenance Sufficiently large (length and width) Suitable for all seasons and occasions

Ranks

8. Which of the following embellishment techniques do you prefer on the saris?

Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. 9.

Embellishment techniques Appliqu work Cut work Dyeing Hand embroidery Machine embroidery Painting Printing Woven designs (weaving) Zardosi

Ranks

9. Are you aware of the following traditional embroideries of India? Sl. No. 1. 2. 3. 4. 5. 6. 7. 8. Traditional embroideries Chamba Rumal of Himachal Pradesh Chikankari of Uttar Pradesh Gold and silver embroidery (zardosi) Kantha of Bengal Kashida of Kashmir Kasuti of Karnataka Kutch and Kathiawar of Gujarat Phulkari of Punjab Tick mark ( )

B. The research scholar has made an attempt to digitize the traditional motifs of Gujarat embroidery into woven designs and incorporated in the hand woven polycotton/Dharwad saris for the first time and request you to kindly give your opinion about the newly designed swivel pattern saris.

1. Do you know about the following features of Gujarat embroidery?

Sl. No. 1. 2. 3. 4. 5. 6.

Features Background material i.e. Khadi Motifs: birds, animals, floral, borders and geometrical Stitches: chain, stem, darning, herringbone and Sindhi taropa Thread colours for embroidery: yellow, orange, green, purple and white Type of thread for embroidery: cotton Other embellishments used in Gujarat embroidery: mirrors, beads

Yes

No

2. Are you aware about the attires/articles embellished with Gujarat embroidery? Sl. No. 1. 2. 3. 4. 5. 6. Attires/Articles Bags and purses Bed linen Chaklas (square wall hangings) Chandrawas (rectangular wall hangings) Ghagra choli Toran (door decoration) Yes No

3. Do the digitized Gujarat embroidery motifs resemble with the hand embroidered motifs? Give your opinion and preference.

Sl. No.

Name of the motifs

Resemblance Wholly resemble Partially resemble

Preferences Hand embroidered Digitized/Swivel motifs

Main motifs 1. 2. 3. Affronte parrots (face to face parrots) Confronted parrots (facing parrots) Stylized parrots (parrots

facing each other) 4. Reflective peacocks (peacocks facing each other) Saddled horse (horse adorned with saddle) Festooned elephant (adorned elephant) Prancing deer (dancing deer) Mirrored fish (fish facing each other) Floral motifs 9. 10. 11. 12. 13. 14. Concentric flower Flower shoot Four petal flower Chrysanthemum Stylized star Geometrical flower Borders 15. Effronte peacocks (peacocks facing opposite sides) Four petal floral border Freehand floral border

5. 6. 7. 8.

16. 17.

4. Which type of traditional saris do you prefer?

1. Sari with traditional hand embroidery 2. Sari with woven patterns 3. Both

(a) If you prefer hand embroidery, state the reasons for your preference

Sl. No. 1. 2. 3. 4.

Reasons Elegance / Unique in appearance Embroidered in multi colours Expression of rich culture Expresses skill and creativity

Ranks

5. 6. 7. 8. 9. 10. 11. 12. 13. 14.

Fashion in vogue Protects and preserves folklore Is a colourful medium for sensitive and individual expression Opportunities for employment Passion for collecting traditional saris Provides a mode of creative expression Specialty of geographical region Traditional look / Exquisite pattern Varied arrangement of motifs possible Variety of stitches used that is not possible in woven patterns

(b) State the reasons to prefer sari with woven patterns

Sl. No. 1. 2. 3. 4. 5.

Reasons Contemporary/Modern look Elegant and classy in appearance Regular placement of motifs Possible to create self designs Uniformity in design

Tick mark ( )

5. Which of the five saris do you prefer the most? (Give the ranking)

Sl. No. 1. 2. 3. 4. 5.

Saris Traditional hand embroidered sari Purple sari with four petal floral border, mirrored fish, confronted parrots and four petal flower butta Yellow sari with effronte peacocks, festooned elephant, affronte parrots and chrysanthemum butta Orange sari with freehand floral border, saddled horse, reflective peacocks and concentric flower butta Green sari with multi colour pallav, prancing deer, stylized parrots, stylized star, geometrical flower and flower shoot buttas

Ranks

6. Give your overall opinion about the newly designed swivel pattern saris.

Fair / Good / Excellent

DIGITIZING CONVENTIONAL PATTERNS OF GUJARAT EMBROIDERY AND PRODUCT DEVELOPMENT

SHAMEEMBANU A. BYADGI
2009

Dr. SHAILAJA D. NAIK Major Advisor

ABSTRACT
The present investigation on Digitizing Conventional Patterns of Gujarat Embroidery and Product Development was conducted during 2007-09 with the main objective of modifying and digitizing conventional Gujarat embroidery motifs and incorporating in hand woven Dharwad saris. The selected seventeen conventional motifs comprised of six buttas for the body, three borders for the pallav and eight main motifs above the pallav were planned and digitized using GC Kala 2004 with interface Paint Shop Pro (PSP) software. In total five Dharwad polycotton saris were woven of which one was the hand embroidered (control) and another four were swivel patterned saris produced on handloom with Jacquard shedding mechanism. Later, consumer acceptance for these saris was assessed and the cost of production was estimated. Thirty each working women and housewives of Dharwad town were interviewed to assess the extent of acceptance for the swivel pattern saris. More than fifty per cent of the housewives mentioned that most of the digitized patterns of Gujarat embroidery resembled wholly with the respective hand embroidered motifs, however, they preferred digitized patterns. The respondents in general opined that the swivel pattern saris were excellent since the designs were very attractive, pleasant, eye catching, unique and first of its kind. The cost of production of saris was relatively lesser than hand embroidered, where the weaver could earn 25 per cent of net profit per sari.