Tangaliya Craft cluster documentation

CRAFTCLUSTER
TANGALIYA
SUBMITTED BY: DHARVI KHAROUD
MONIKA NARYANI
SARANDHA SHARMA
SHEFALI MITRA
SHWETA KATARIA

AboutTangaliya• 700 years old traditional hand weaving technique
practiced in Surendranagar District of Gujarat.
• Labour-intensive and tedious process.
• Every dot in is made by wrapping yarn around a number
of threads, which makes the design on both sides.
• Contrasts colour threads are twisted onto a group of four
to five threads of Warp, creating Daana, or bead work.
• The patterns on the fabric give the feeling of delicate
embroidery, but are in actuality woven on the fabric. 2

Historyof Tangaliya
• Centuries ago, in Saurashtra; a
Bharwad man married a woman from
the weaver Community with great
opposition from both sides.
• However, it was a marriage that will
forever influence the rich tapestry of
Indian craft.
• The children born to them were known
as Dangasia, born of shepherds and
weavers.
• The art of Tangaliya Weaving was
created by them.
3
Source: https://www.jaypore.com/shop-collection/riches-of-the-loom-by-rweaves-beautiful-tangaliya-woven-fabric-for-kurtas-5773

RegionofPractice
Surendranagar District in Gujarat is situated
between 22°00' to 23°05' North altitude and
69°45' to 72°15' East longitudes.
The District has ten Talukas including WadhWan,
Muli, Sayla, Limbdi, Chotila, Chuda, Lakhtar,
Dasada, Halwad and Dhangadhra.
4

CraftClusterCommunities
• Tangaliya is practiced in Surendranagar
district of Gujarat.
• The people belonging to Dangasia
community, residing in the villages of
Vastadi, Dedadra, Godavari and
wadhwan in Surendranagar district,
mainly practice this craft.
• Women of this community mostly
wear dotted wrapped skirts in black
with contrasting embellishments
created by woven dotted forms.
5
Source: www.amounee.com/wp-content/uploads/2018/04/tangaliya-saree-cotton-silk3.jpg

Purposeof
Study
• Tangaliya was given GI status in the 2008
to embrace the uniqueness of the craft.
• Despite this, Tangaliya is facing lot of
difficulties due to lack of awareness
amongst people and certain other gaps.
• The purpose of the study is to identify
such gaps and propose certain solutions in
order to popularise the craft amongst
people.
6

Problem Definition
Even after being a unique
craft, Tangaliya still does not
enjoy popularity amongst the
consumers. There is lack of
awareness about the craft
amongst people and one of
the contributors to it is the gap
in the “Marketing Mix”. The
craft is also restricted to a
limited area in terms of its
availability.
Objectives
• To study & understand the
origin, history & processes
of the Tangaliya craft.
• To identify the problems
faced by the practitioners
of Tangaliya craft in
Surendranagar & provide
effective solutions for the
same.
• To analyze the existing
business model of the craft
& suggesting business
strategies for the same.
8
Research Methodology
The research done was
ethnographic and exploratory
in nature. The research is
based on both primary as well
as secondary sources of
research. Thus the research is
also qualitative in nature.

SecondaryResearch
Brief history of Tangaliya and the
origin of the craft/communities,
the traditional woven textiles, and
myths/beliefs associated with
textiles and weaving.
Source:
Books, journals, articles, research
papers. Online Blogs and websites
9
Research on availability of
products on online portal and also
about their presence on various
online platforms.
Source:
E-commerce sites and Social Media
Platforms

Primary
Research
• A primary research was conducted
through a survey to know the
important factors affecting handicraft
goods, awareness of Tangaliya as a
craft, Perceptual Mapping etc.
• As the craft is sold majorly through
exhibitions and from the artisans’
home, the actual consumers were not
trackable.
• The respondents of this survey were
100 females with the age between 15
to 55 years.
10

RawMaterialsUsed
• Wool
Traditionally weaving was done by hand spun wool.
Evolution of machine made fibres has reduced its
usage.
• Cotton
Cotton is widely used and bought from Ahmedabad
and Surendranagar district.
• Acrylic
This yarn is mainly used for making the thread
beads or dots in the Tangaliya weaving. It is also
purchased from Ahmedabad.
• Silk
Eri and mulberry silks are the most commonly used
yarns. It is mainly purchased from Surendranagar
district.
12
Artisans

Tools
Warping frames and Bobbins
Pit Loom
13
Panas
Other tools:Heddle, shuttle
hook, scissors and blade

WeavingWarping
Process
14
The process of Tangaliya weaving needs accuracy and also high skill level. The whole process is be divided into two stages:
Preparation
of Bobbins
weaving of Tangaliya/formation of dot
Segregating threads
and making warps

Motifs
15
Motif of Tangaliya are made with the special arrangement of daanas and have a very geometric and graphic feel to it. They
mainly constitutes the elements present in the community’s environment in India. Traditionally the most basic motif of
Tangaliya is the Ladwa (an Indian Sweet) and chaklo.
Piyali nu Jaad
Mor ni Bhat
Ladwa Chaklo

Products
16
Other Products: Sarees, Blouse materials. Cushion cover. Chair covers
Unstitched suitsShawls
Men’s waistcoat
Stoles

GeneralStudy
Demographic study
• weavers here are indirectly linked to the market
through through wholesale buyers who give
looms and raw material to the weavers and the
weavers work for them, earning 150-200 rupees
per day.
• They can also have private shops.
• Master weaver can interact with the customers
directly through exhibitions
Psychographic study
• The Dangasia follow Hinduism and believe in a
number of gods and goddesses depending on the
region and the tradition they follow. They are the
followers of Jodhalpir, who is told to have lived
750 years back. His shrine is situated near Bawla
in Gujarat and is regularly visited by the Dangasia
all over Gujarat.
• In market, the cloth made on a power loom costs
approximately thirty rupees per meter.
Customers who are aware of this fact, tend to
compare the price of hand woven Tangaliya cloth
with the one made on a power loom. So,
weavers have a tough job in explaining them
about the technique and why each cloth is
unique in its own way
18

MarketingMix
19
Product
• Products are made at
Vastadi, near
Surendranagar.
• Products are showcased at
different exhibitions
mainly in Mumbai and
Ahmedabad.
• In the winter season, NRIs
and foreigners come and
buy the offerings from the
homes of the artisan.
• Online presence is
minimal on Amazon and
Etsy
Place
• Price of products is set on
the basis of the complexity
of design and the time
required to make it.
• Cotton saree- 8000/- , Silk
saree- 12500/- (8-10 days)
• Cotton stoles- 1200/- ,
woollen stoles- 3500/- (8
days)
• Dress material- 2000/- (4
days)
• Men’s waistcoat- 2200/- (7
days)
• Blouses- 800/-, Cushion
and Chair covers- 500/-
Product
• Sustainable products as
they are made up of
natural and organic fibers.
• It include cotton and silk
sarees, blouses, stoles,
Dress materials, cushion
cover, chair cover and
Men’s waistcoat
Price
• No formal way of
promoting the craft.
• Exhibitions at different
places are only medium
for promotion.
• One of a prominent way to
reach different segments
of consumers is word of
mouth.

PESTELAnalysis
20
Political
Economic
Social
Technological
Environmental
Legal
Formation of Tangaliya Hastkala Association in 2007 with the help of NIFT. The association include 226
Tangaliya weavers. With the help of NIFT, many workshops related to design development, quality control and
skill building have been conducted. Tangaliya received GI status in the year 2007. The central government
facilitated the weavers to about 90% of the total cost of the looms purchased.
Handicraft Industry has experienced a lot of growth with respect to exports.
Though there is still lack of knowledge about Tangaliya amongst people, but if take into consideration the
other handicraft products then, people have started associating handicraft with luxury.
There has been stark rise in use of social media and e-com can help to increase the market share however, it
is not being used to an optimum level
The raw materials used in this craft are all natural products, which are environment friendly which includes
cotton yarns, silk yarns and wool. the dyes used are chemical and there is use of certain fibres like acrylic
which are man-made.
There are lot trade barriers in terms of export which can lead to lot of problems to the craftsmen as they are
not well versed with these regulations and barriers.

Current Scenario
• The products are accessible
to a limited area
• Limited product range
• Limited promotional
activities
• Lack of technological know-
how by the craftsmen
Expected Scenario
• Accesibility of the product
both online and offline
• Wider range of products
• Basic technological know-
how by the artisans
22
GAPS Identified
• Product Accessibility
• Range of Products
• Promotional Activities
• Knowledge about Technology:
GAPAnalysis

• Primary research was conducted through a
survey.
• The respondents of this survey were 100
females with the age between 15 to 55 years.
• The level of interest to buy handicrafts
products for these respondents is as shown.
PrimaryResearch
23
0
5
10
15
20
25
30
35
40
Extremely Low Low Moderate High Extremely High
3
5
26
30
36
Level of interest to buy handicrafts

Factor Analysis was conducted on the collected
data using SPSS to gather insights about the
important factors that affect the buying decision
for handicraft products.
The KMO value that came out was 0.868 which is
greater than 0.5 and the bartlett’s test of
sphericity value came out to be 0.000 which is less
than 0.05.
Therefore, the result of Factor Analysis came out
to be valid.
PrimaryResearch
24
• Two major components were extracted:

The respondents were asked if they have heard of
Tangaliya as a craft.
The result that came out signified that Tangaliya is
not much known to people and work needs to be
done to increase the awareness about Tangaliya.
PrimaryResearch
25
78%
22%
Awareness about Tangaliya
No
Yes

• The respondents who were already aware of
Tangaliya were asked few more questions
about the craft based on a number of product
factors.
• The result is as shown below: (1 being lowest
level, 5 being the highest level)
PrimaryResearch
26
0
1
2
3
4
5
6
7
8
9
10
Creativity Uniqueness Attractiveness Product Range Utility
Factors affecting Tangaliya
1 2 3 4 5

• Tangaliya has also received GI (Geographical
Indication) Tag, but it has been found through
the survey that more than half of the
respondents were not aware of the GI Tag and
its importance.
• It can be one of the important factors
contributing to the less awareness of Tangaliya.
PrimaryResearch
27
53%
47%
Awareness about GI Tag
No
Yes

• To study the perceptions of the respondents
towards Tangaliya and other crafts, Images of 3
crafts were shown to the respondents.
• The other 2 crafts than Tangaliya chosen were
Double Ikat and Single Ikat.
• The respondents were made to choose one
craft based on the visual attributes of the
crafts. The result of this analysis is shown.
• It is observed that the respondents selected
Tangaliya over other crafts most of the time
which signifies that Tangaliya has the capability
to create a market position for itself if people
know about it.
PrimaryResearch
28
0
10
20
30
40
50
60
Aesthetics
Ethnicity
UniquenessCreativity
Design
Double Ikat Single Ikat Tangaliya

CURRENT
BUSINESS
SCENARIOAND
SUGGESTIONS
29

30
Branding
Current Scenario
Gurukrupa Tangaliya Weaving is an unorganized business.
It lacks the branding aspect. It does not have a logo at all.
Although, they use a business card which is very basic and
not designed properly.
Proposal
A logo has been designed in order to create a specific
image and distinctive identity of the business.
Business Card has also been revamped to create a
better picture of the business amongst the people

31
M-commerce,E-commerceandDigitalMarketing
Website Design
• Due to economic constraints and lack in the digital
knowledge, the artisans have not been able to create a
website for their business.
• Also there is minimal presence on online shopping
portals like Amazon and Etsy because of involvement
of middlemen.

32
Website Prototype
URL:
https://gurukrupa-Tangaliyaweaving.business.site/?m=true

33
Google Ads
PRESENT: Due to the unavailability of the website for business, Google ads couldn’t be created. This has led to the customers not knowing
about the craft even when they had seen it at some place or the other. Also due to this, these craftsmen are losing out to online retailers
because they can’t reach out to the customers.
PROPOSAL: So after designing a website, some Google adwords were created for all the display networks and search engines which
includes emails, YouTube and in-app promotions; both for mobiles and desktops.
• Responsive Display Ads
Mobile ads: Full screen in-app ads Open Email Ad
Closed Email Ad

34
Google Ads
Normal Website Ad YouTube Ad
• Responsive Display Ads

35
Google Ads
YouTube Ads
• Desktop Ads:
Open Email Ads

36
Google Ads
• Desktop Ads:
Closed Email Ads

37
Social Media Marketing
Present: The artisans don’t have any account on social media portals like instagram and facebook.
Proposal: Instagram and Facebook business profiles were created.
• Instagram

38
• Instagram

39
• Facebook

40
SupplyChain&ValuechainEnhancements
Current Scenario
Artisans in Tangaliya craft cluster don’t have an organized supply chain and logistics. They fulfil the demand of the products
through craft exhibitions. They don’t have a distribution system unlike companies. In the winter season particularly, NRIs and
foreigners come and buy the offerings from the homes or the workplaces of the artisans. Presence on portals like Amazon & Etsy.
SUVAS foundation for SHGs is there but there is involvement of Tangaliya.
Proposal
• Collaboration with different companies like Fabindia and Craftroots
• Involvement of Development Commissioners (Handlooms and Handicrafts)at district levels
• Formation of SGHs where they can pool in the money and whole burden wouldn’t be on just one artisan.
• Taking advantage of various governmental schemes for SMSEs

41
WiderAssortment
Current Scenario The variety of products which is being offered is limited to sarees, suits, jackets, etc.
Proposal
An expansion to a wider range of products like Clutches, phone covers, laptop covers
etc can be helpful.
Venturetonewmarketplaces
Current Scenario
Proposal
Gurukrupa Tangaliya Design is selling a few of its products on Amazon however; it’s
limited to two to three units.
Venturing into more market places such as Craftsvilla and offering more products
can provide customers wider options to choose.

Craftroots
• an initiative to bridge the gap
between traditional artisans
with the global markets.
• National and International
exhibitions
• Collaborated with artisans in
Surendranagar in past, but
discontinued after few years
as craft roots increased the
commission charge from 10%
to 20%.
Saath
Non-governmental organization, registered as a
Public Charitable Trust (E-7257) with the Charity
Commissioner, Ahmadabad in February 1989.
RWeaves - A rural development initiative that
provides livelihoods, training and marketing
support to various artisans of Surendranagar
district specially Tangaliya, Patola, and Cotton and
Recycled products.
• Artisans Collaboration
RWeaves was operating in more than 10 villages
of Surendranagar district supporting 20+ artisans
and marketing 80% of their products.
An outlet has also been opened at the head office
of Ahmadabad for promotion and sale of
RWeaves products.
• Discontinuation with Saath
The reason for discontinuation was not
completely revealed. Due to some personal
differences and lack of mutual understanding
they ended the tie-up.
42
Weavers’ Service center
They have a site called
“indiahandmadebazar.com” wherein
Tangaliya products are available.
They have made their products
available on their online portal. Also,
they host a programme wherein
training is imparted to people about
the making of the craft and all other
related processes. Recently one of
the Jahabhai’s relative had
undertaken the training with WSC
for 45 days to learn the art of
Tangaliya. During our visit he was
practicing the art in Vastadi,
Surendranagar.
Collaborations

Ambedkar Hastshilp Vikas Yojna, Govt of India
• An initiative of DC, Handicrafts, Ministry of Textiles, Govt. of India to showcase different
products made by Cluster Artisans across India.
• Artisans are provided with technical / marketing know-how for making these products by
implementing agencies which are partnered by DC, Handicrafts for the upliftment of these
Artisans.
• Tangaliya has not been included in the list.
• So getting Tangaliya artisans registered for this yojna is an important step towards
encouragement of the craft.
43
Collaborations

References
• Pattanayak, B. (2017, January 20). Handicrafts exports rise 8.3% to $ 2.67 bn
overall textile & garment sector trend. Retrieved April 31, 2019, from
www.financialexpress.com:
https://www.financialexpress.com/market/commodities/handicrafts-exports-
rise-8-3-to-2-67-bn-overall-textile-garment-sector-trend/514842/
• Craft Trade. (n.d.). SWOT. Retrieved April 30, 2019, from crafttrade.in:
http://crafttrade.in/swot-analysis/
• Giveaway Service. (2016, June 13). Sharp Rise in Online Shopping. Retrieved
April 31, 2019, from www.giveawayservice.com:
https://www.giveawayservice.com/blog/sharp-rise-in-online-shopping
• Sawhney, S. (2016). ‘Make in India’ and its Economic Impact on. Retrieved
April 30,2019 from crafttrade.in : http://crafttrade.in/swot-analysis/
• Chhaya, V. M. (n.d.). Tangaliya. Retrieved May 4, 2019, from Craftmark.com:
http://www.craftmark.org/sites/default/files/Tangaliya%20Weaving.pdf
• Gupta, R. S. (2009, November 16). Tangaliya get GI tag. Times of India , p. 14.
• Kasturi Crafts. (2016, June). Retrieved May 4, 2019 , from kasturi crafts.com:
http://kasturicrafts.com/index.php/tangaliya-weaving/
• Tangaliya Weaving. (n.d.). Retrieved May 8, 2019, from craftsmark.com:
• textilesofindia. (2016). Retrieved May 4, 2019, from textilesofindia.in:
https://textilesofindia.in/tangaliya-weaving-textiles-of-india/
44

TheProblem
Declining Market
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Financial
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Margins
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46

Solution
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• Prioritize
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• Authorize
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• Monetize
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47

Product
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Unique
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First to Market
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Tested
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Authentic
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48

Emphasizeyour
mainbenefit
Other benefits include
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49

SECTIONDIVIDER
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SECTIONDIVIDER1
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BusinessModel
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Research
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Finance
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Invest
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52

MarketOpportunityOption1
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$1B
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$2B
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53

CompetitionOption1
Contoso Pharmaceuticals
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Competitor
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54

CompetitionOption2
Convenience
Inconvenient
Expensive Affordable
ContosoPharmaceuticals
55

GrowthStrategy
How will we scale in the future
Phase 1
Month, Year
varius.
Phase 2
Month, Year
varius.
Phase 3
Month, Year
varius.
56

Traction
Forecasting for success
Vendors Users Gross
Revenue
Company
Revenue
20YY 0 0 $0 $0
20YY 10 100 $6,750 $1,013
20YY 50 500 $33,750 $5,063
20YY 200 2000 $135,000 $20,250
20YY 400 4000 $270,000 $40,500
3
5
26
30
36
1 2 3 4 5
Level
57

Timeline
Our two-year action plan
20YY
AUG SEP OCT NOV
20YY
DEC JAN FEB MAYMAR APR JUN JUL AUG SEP OCT NOV DEC JAN FEB MAYMAR APR
Trials
Month, 20YY
58
Legislation
Month, 20YY
Marketing
Month, 20YY
Investment
Month, 20YY
Procurement
Month, 20YY
Launch
Month, 20YY

Financials
Year 1 Year 2 Year 3
Detailers 5,000 40,000 160,000
Users 50,000 400,000 1 600,000
Sales 500,000 4 000,000 16 000,000
Average Price per Sale 75 80 90
Revenue @ 15% 5 625,000 48 000,000 216 000,000
• Cost of Revenue 0 0 0
Gross Profit 5 625,000 48 000,000 216 000,000
Expenses
• Sales & Marketing 5 062,500 38 400,000 151 200,000 70%
• Customer Service 1 687,500 9 600,000 21 600,000 10%
• Product Development 562,500 2 400,000 10 800,000 5%
• Research 281,250 2 400,000 4 320,000 2%
Total Expenses 7 593,750 52 800,000 187 920,000
EBIT -1 968,750 -4 800,000 28 080,000 13%
59

Team
Mirjam Nils
• COO
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• Victoria Lindqvist
• COB
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• Angelica Astrom
• CFO
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Team
Mirjam Nils
• COO
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• Victoria Lindqvist
• COB
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• Angelica Astrom
• CFO
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Funding
Fund Category
Fund Category
$82,000$32,000
$14,000 $12,000
Fund Category
Fund Category
62

CustomizethisTemplate
Template Editing
Instructions and Feedback

CRAFT CLUSTER COMMUNITIES
• Tangaliya is practiced in Surendranagar district
of Gujarat.
• The people belonging to Dangasia community,
residing in the villages of Vastadi, Dedadra,
Godavari and wadhwan in Surendranagar
district, solely practice this craft.
• Women of this community mostly wear dotted
wrapped skirts in black with contrasting
embellishments created by woven dotted forms.
https://www.amounee.com/wp-content/uploads/2018/04/tangaliya-saree-cotton-silk3.jpg

PURPOSE OF THE STUDY
• Tangaliya was given GI status in the 2008 to embrace the uniqueness
of the craft.
• Despite this, Tangaliya is facing lot of difficulties due to lack of
awareness amongst people and certain other gaps.
• The purpose of the study is to identify such gaps and propose certain
solutions in order to popularise the craft amongst people.

PROBLEM DEFINITION
RESEARCH METHODOLOGY
OBJECTIVES
Even after being a unique craft, Tangaliya still does not
enjoy popularity amongst the consumers. There is lack of
awareness about the craft amongst people and one of
the contributors to it is the gap in the “Marketing Mix”.
The craft is also restricted to a limited area in terms of its
availability.
To study & understand the origin, history & processes
of the Tangaliya craft.
To identify the problems faced by the practitioners of
Tangaliya craft in Surendranagar & provide effective
solutions for the same.
To analyze the existing business model of the craft &
suggesting business strategies for the same.
The research done was ethnographic and exploratory in
nature. The research is based on both primary as well as
secondary sources of research. Thus the research is also
qualitative in nature.

SECONDARY RESEARCH
Brief history of Tangaliya and the
origin of the craft/communities,
the traditional woven textiles, and
myths/beliefs associated with
textiles and weaving.
Source: Books, e-books,
journals, articles and research
papers. Online Blogs and
websites for additional
information.
Research on availability of
products on online portal and also
about their presence on various
online platforms.
Source: Shopping sites: Amazon,
Flipkart. Social Media Platforms:
Instagram, Facebook etc.
PART B
PART A

ARTISANS
RAW MATERIALS USED
Wool : Traditionally weaving was done by
hand spun wool. Evolution of machine made
fibres has reduced its usage.
Cotton: . Cotton is bought from Ahmedabad
and Surendranagar district.
Acrylic: . This yarn is mainly used for making
the thread beads or dots in the Tangaliya
weaving. It is purchased from Ahmedabad also.
Silk: . Eri and mulberry silks are the most
commonly used yarns. It is mainly purchased
from Surendranagar district.

TOOLS USED
• Pit loom
Warping frame and bobbins:
Pit loom
Panas
Other tools:
Heddle
Shuttle hook
Scissors and blade

Process
The process of Tangaliya weaving needs accuracy and
also high skill level. The whole process is be divided
into two stages:
• Warping
• Weaving:
preparation of BOBBINS (Warping
[SOURCE:
https://www.swadesi.com/news/2016/06/18/tangaliyaweaving
ordaanaweaving/]
6 Segregating threads and making warp
[SOURCE: https://www.swadesi.com/news/2016/06/18/tangaliyaweavingordaanaweaving/]
WARPING
weaving of tangaliya/formation of dot

MOTIFS
• The motif vocabulary of Daana weaving mainly constitutes of the elements present in the community’s
environment in India. Motif of Tangaliya made with the special arrangement of daanas. Tangaliya motifs also have a
very geometric and graphic feel to it. Traditionally the most basic motif of Tangaliya is the Laadwa (an Indian Sweet)
and chaklo.
CHAKLO
LADWA
Fig.10 Piyali nu jaad
Mor Ni Bhat

PRODUCTS
shawl
stoles
Unstitched
suits
Mens waistcoat
Other Products
•Sarees
•Blouse materials
•Cushion covers
•Chair Covers
Sustainability Aspects of Tangaliya Craft:
Tangaliya Weavers Association established under the Societies
Registration Act 1860 is responsible for the production and
marketing of Tangaliya. The craft was basically produced for the
use of the community, which also created self-sufficiency and
sustainability in supporting the entire community with clothing.
Eco friendly material and reusable garments

DEMOGRAPHIC STUDY
• weavers here are indirectly
linked to the market through
through wholesale buyers
who give looms and raw
material to the weavers and
the weavers work for them,
earning 150-200 rupees per
day.
• They can also have private
shops.
• Master weaver can interact
with the customers directly
through exhibitions
CHALLENGE
Religion
• The Dangasia follow Hinduism
and believe in a number of gods
and goddesses depending on
the region and the tradition
they follow. They are the
followers of Jodhalpir, who is
told to have lived 750 years
back. His shrine is situated near
Bawla in Gujarat and is regularly
visited by the Dangasia all over
Gujarat.
PSYCHOGRAPHIC STUDY
In market, the cloth made on a power
loom costs approximately thirty rupees per
meter. Customers who are aware of this
fact, tend to compare the price of hand
woven Tangaliya cloth with the one made
on a power loom. So, weavers have a
tough job in explaining them about the
technique and why each cloth is unique in
its own way

MARKETINGMIX
• PRODUCT:Their products are sustainable as they are made up of natural and organic fibers and they can be put in more use. Tangaliya have different varieties which are as follows:
• Sarees (cotton and silk)
• Blouses (cotton and silk)
• Stoles (cotton and silk)
• Dress material (cotton and silk)
• Cushion covers
• Chair covers
• Men’s waist coat
• PRICE: Price of different products is set on the basis of the complexity of design and the time required to make it. Saree – Cotton- 8000/-
• Silk- 12500/- (8-10days)
• Blouses - 800/-
• Stoles - Cotton- 1200/- (8 days)
• Woollen- 3500/-(8 days)
• Dress Material- 2000/- (4 days)
• Cushion and Chair Cover- 500/-
• Men’s Waist Coat- 2200/- (7days)
• PLACE: Their products are made at Vastadi, near Surendranagar. They go to places for showcasing their products at different exhibitions which include
Mumbai and Ahmedabad mainly. In the winter season particularly, NRIs and foreigners come and buy the offerings from the homes or the workplaces of
the artisan. Online presence is minimal on Amazon and Etsy
• PROMOTION:There is no formal way of promoting the craft. Exhibitions at different places are only medium for promotion. One of a prominent way to
reach different segments of consumers is word of mouth.

PESTEL
• POLITICAL: Government Support:
• Formation of Tangaliya Hastkala Association in 2007 with the help of National Institute of Fashion Technology. The association included 226 Tangaliya weavers.
• With the help of NIFT, many workshops related to design development, quality control and skill building have been conducted.
• Tangaliya received GI status in the year 2007.
• The central government facilitated the weavers to about 90% of the total cost of the looms purchased.
ECONOMICAL: Handicraft Industry has experienced a lot of growth with respect to exports.
SOCIAL: Though there is still lack of knowledge about Tangaliya amongst people, but if take into consideration the other handicraft products then, people have started
associating handicraft with luxury
TECHNOLOGICAL:There has been stark rise in use of social media and e-com can help to increase the market share however, it is not being used to an optimum level
ENVIRONMENTAL: The raw materials used in this craft are all natural products, which
are environment friendly which includes cotton yarns, silk yarns and wool. the dyes
used are chemical and there is use of certain fibres like acrylic which are man-made.
LEGAL: There are lot trade barriers in terms of export which can lead to lot of
problems to the craftsmen as they are not well versed with these regulations and
barriers.

GAPANALYSIS
CURRENT SCENARIO
The products are accessible
to a limited area
Limited product range
Limited promotional
activities
Lack of technological know-
how by the craftsmen
EXPECTED SCENARIO
Accesibility of the product
both online and offline
Wider range of products
Basic technological know-
how by the artisans
GAP
Product Accessibility
Range of Products
Promotional Activities
Knowledge about
Technology:

CURRENT BUSINESS SCENARIO AND
SUGGESTIONS

BRANDING
• PRESENT:
Gurukrupa Tangaliya Weaving is a much unorganized business. It does not have any set processes and ways of working. Also
it lacks the branding aspect. It does not have a logo at all. Although, they use a business card, it is very basic and not
designed properly.
PROPOSAL:
A logo has been designed in order to create a specific
image and distinctive identity of the business.
Business Card has also been revamped to create a
better picture of the business amongst the people

WIDER ASSORTMENT
• The variety of products which is being
offered is limited to sarees, suits, jackets, etc.
An expansion to a wider range of products
like Clutches, phone covers, laptop covers etc
can be helpful.
Venture to new market places
Gurukrupa Tangaliya Design is selling a few of
its products on Amazon however; it’s limited
to two to three units. Venturing into more
market places like Craftsvilla and offering
more products can provide customers wider
options to choose.

SUPPLYCHAINANDVALUECHAINSTUDY
• PRESENT: Artisans in Tangaliya craft cluster don’t have an organized supply chain and logistics. They fulfil the demand of
the products through craft exhibitions. They don’t have a distribution system unlike companies. In the winter season
particularly, NRIs and foreigners come and buy the offerings from the homes or the workplaces of the artisans. Presence
on portals like Amazon & Etsy.
SUVAS foundation for SHGs is there but there is involvement of Tangaliya.
• PROPOSAL: Collaboration with different companies like Fabindia and Craftroots
• Involvement of Development Commissioners (Handlooms and Handicrafts)at district levels
• Formation of SGHs where they can pool in the money and whole burden wouldn’t be on just one artisan.
• Taking advantage of various governmental schemes for SMSEs

M-commerce,E-commerce&DigitalMarketing
• Website Design
• : Due to economic constraints and lack in the digital knowledge, the
artisans have not been able to create a website for their business.
Earlier, companies like Craftroots and NGOs like SAATH supported
them to appear digitally. But the artisans withdrew from the
collaboration when these organizations increased the commission
from 10% to 20%.
• Also there is minimal presence on online shopping potals like
Amazon and Etsy because of involvement of middlemen.

WEBSITEPROTOTYPE
URL: https://gurukrupa-Tangaliya-weaving.business.site/?m=true

GOOGLEADS
• PRESENT: Due to the unavailability of the website for business, Google ads couldn’t be created. This has led to the customers not
knowing about the craft even when they had seen it at some place or the other. Also due to this, these craftsmen are losing out to online
retailers because they can’t reach out to the customers.
• PROPOSAL: So after designing a website, we tried to create some Google adwords for all the display networks and search engines which
includes emails, YouTube and in-app promotions; both for mobiles and desktops.
• Responsive display ads:
Mobile ads: Full screen in-app ads Open Email Ad Closed Email Ad

• Normal Website Ad: YouTube Ad:

• DESKTOP ADS:
• Youtube ads: Open Email Ads

• Closed Email Ads:
• Search Ads:
•

SocialMediaMarketing
• Present: The artisans don’t have any account on social media portals like instagram and facebook.
• Proposal: Instagram business profile was created.

• Facebook: A facebook account has been created for the artisans

ROADAHEAD
• COLLABORATIONS:
• Craftroots: • Craftroots is an initiative of Gramshree to bridge the gap between traditional artisans with the global
markets.
• National and International exhibitions
• They had collaborated with artisans of Surendranagar in past
• After few years, they discontinued the collaboration as craft roots increased the commission charge from 10% to
20%.This was because it affected their margins
• Saath: • SAATH is a non-governmental organization, registered as a Public Charitable Trust (E-7257) with the
Charity Commissioner, Ahmadabad in February 1989.
• • RWeaves - A rural development initiative that provides livelihoods, training and marketing support to various
artisans of Surendranagar district specially Tangaliya, Patola, and Cotton and Recycled products.
• RWeaves was operating in more than 10 villages of Surendranagar district supporting 20+ artisans and marketing
80% of their products.
• • An outlet has also been opened at the head office of Ahmadabad for promotion and sale of RWeaves products.
• Discontinuation with Saath
• The reason for discontinuation with Saath was not completely revealed. Due to some personal differences and lack
of mutual understanding they ended the tie-up.

• Weaver’s Service Centre
• • They have a site called “indiahandmadebazar.com” wherein Tangaliya products are available.
• They have made their products available on their online portal. Also, they host a programme wherein training is
imparted to people about the making of the craft and all other related processes. Recently one of the Jahabhai’s
relative had undertaken the training with WSC for 45 days to learn the art of Tangaliya. During our visit he was
practicing the art in Vastadi, Surendranagar.
• These past and present collaborations show that artisans are open for such collaborations with corporates and
NGOs but only when there are favourable conditions.

• Ambedkar Hastshilp Vikas Yojna, Govt of India: An initiative of DC, Handicarfts, Ministry of Textiles, Govt. of
India to showcase different products made by Cluster Artisans across India. . Artisans are provided with technical
/ marketing know-how for making these products by implementing agencies which are partnered by DC,
Handicrafts for the upliftment of these Artisans.Tangaliya has not been included in the list.
• So getting Tanagliya artisans registered for the yojna is an important step towards encouragement of the craft.

• References
•
• Pattanayak, B. (2017, January 20). Handicrafts exports rise 8.3% to $ 2.67 bn overall textile & garment sector trend. Retrieved April 31,
2019, from www.financialexpress.com: https://www.financialexpress.com/market/commodities/handicrafts-exports-rise-8-3-to-2-67-
bn-overall-textile-garment-sector-trend/514842/
• Craft Trade. (n.d.). SWOT. Retrieved April 30, 2019, from crafttrade.in: http://crafttrade.in/swot-analysis/
• Giveaway Service. (2016, June 13). Sharp Rise in Online Shopping. Retrieved April 31, 2019, from www.giveawayservice.com:
https://www.giveawayservice.com/blog/sharp-rise-in-online-shopping
• Sawhney, S. (2016). ‘Make in India’ and its Economic Impact on. Retrieved April 30,2019 from crafttrade.in : http://crafttrade.in/swot-
analysis/
• Chhaya, V. M. (n.d.). Tangaliya. Retrieved May 4, 2019, from Craftmark.com:
• Gupta, R. S. (2009, November 16). Tangaliya get GI tag. Times of India , p. 14.
• Kasturi Crafts. (2016, June). Retrieved May 4, 2019 , from kasturi crafts.com: http://kasturicrafts.com/index.php/tangaliya-weaving/
• Tangaliya Weaving. (n.d.). Retrieved May 8, 2019, from craftsmark.com:
• textilesofindia. (2016). Retrieved May 4, 2019, from textilesofindia.in: https://textilesofindia.in/tangaliya-weaving-textiles-of-india/
•
•

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