JULY 2016 ISSUE

4 July 2016www.textilevaluechain.com
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Textile is Low Grade or Luxury Industry???
Textile Industry got again new Textile Minister, Mrs. Smirti Zubin Irani ...!!! We welcome her warm
heartedly in our Industry. As a Female, I proud of Mrs. Smriti Irani personally respect her for achieve-
‡–• ‹ Ž‹ˆ‡Ǥ —– •‘‡ ‘ˆ –Š‡ ǡ ƒ‹Ž› ”‹– ‡†‹ƒ †‘™‰”ƒ†‹‰ ‘—” ‹†—•–”› „› •–ƒ–‹‰ ‘™ ’”‘ƤŽ‡
ǡ Ž‡•• ‰Žƒ‘”‘—• ’”‘ƤŽ‡ ‰‹˜‡ –‘ Š‡”Ǥ ‡ ‡‡† –‘ ƒ• –Š‹• ”‡’—–‡† ‡†‹ƒ ƒ„‘—– ™Š‡”‡ ƒ•Š‹‘

†—•-
try comes from ? From where Garments / clothing Comes from ?? Are you all wearing Plastic or Paper
Clothes??? Without Textile Raw material how Fashion Industry will exist ???? We individual as a Textile in-
dustry contributors, isn’t it our responsibility to make our industry proud and not take all this non sense
from other daily media. Media is a strong pillar of society..
This is not media fault..! We as a textile industry contributors taking it very light, accepting whatever
given to us, we always beg for subsidies, duty drawback, import subsidies etc. This industry actually ly-
ing on government money, government money lying on taxes, other industry, corporate etc.
Anyways, to boil down; in this issue, Fashion and retail given the priority. Fashion is dependent on
nature, climate which runs on streets, malls, ramps, Bollywood, Hollywood, etc. Lifestyle industry is de-
pending on Fashion category. Fashion is an Attitude, Art Science with research. Fashion Dynamics are
changing so fast by retail trends, market dynamics , art of display and many more.
Fashion and Retail is Front end of industry , Consumer see only art of each garment / fashion piece
but making behind one style is lot of hard work of researcher, stylist, quality controller, designer, mer-
chandiser, visual merchandiser , sales person, many more. So it’s not only Art its pure Science behind
it...!!! Respect each style of garment as new innovation..!!! Copy cat is not part of this industry, they are
just followers...!!
Wish you Happy Business Live towards your purpose of life..!!!
Ms. Jigna Shah
Editor Publisher

EDITORIAL TEAM
Editor Publisher
Ms. Jigna Shah
Editorial Advisor
Shri V.Y. Tamhane
Consulting Editor
Mr. Avinash Mayekar
Graphic Designer
Mr. Anant A. Jogale
INDUSTRY
”Ǥ ‡˜…Šƒ† ŠŠ‡†ƒ
City Editor - Vyapar ( Janmabhumi Group)
Mr. Manohar Samuel
President, Birla Cellulose, Grasim Industries
Dr. M. K. Talukdar
VP, Kusumgar Corporates
Mr. Shailendra Pandey
VP (Head – Sales and Marketing), Indian Rayon
Mr. Ajay Sharma
GM RSWM (LNJ Bhilwara Group)
EDUCATION / RESEARCH
”Ǥ ǤǤ ‘…–‘”
HOD knitting, SASMIRA
Dr. Ela Dedhia
Associate Professor, Nirmala Niketan College
Dr. Mangesh D. Teli
Professor, Dean ICT
Dr. S.K. Chattopadhyay
Principal Scientist Head MPD
”Ǥ ƒŒƒ ƒ…Šƒ‡
Retired Scientist, CIRCOT
CONSULTANT / ASSOCIATION
Mr. Shivram Krishnan
Senior Textile Advisor
Mr. G. Benerjee
Management Industrial Consultant
Mr. Uttam Jain
Director PDEXCIL; VP of Hindustan Chamber of Commerce
Mr. Shiv Kanodia
Sec General, Bharat Merchant Chamber
Mr. N.D. Mhatre
Dy. Director, ITAMMA
July 2016 ISSUE
CONTENT
Advertiser Index
NEWS
11- Government News
12- Association News
37- IIM Heat Stress Study
COVER STORY : FASHION RETAIL IS AN ART SCIENCE
13- Sell More And Sell To More by Mr. Vishnu Govind
15- Weaving Culture of Mishing Tribe of Assam by Dr. Anshu Sharma
19- Innovative Apparel Products Development from Khadi Fabrics
by PSG College Professors
21- Talent Acquisition of Trendy Textiles by Mr. Saurabh Agarwal
23- Retail Management in Textiles by Vishnavi College Professors
26- Interview with Ms. Harpreet Kaur, Young Fashion Designer
ARTICLES
32- Brand Strategy by Mr. Rushin Vadhani
34- Skilled HR, the need of India Textile Industry
by Mr. Avinash Mayekar
36- Innovation in Islamic Finance by Mr. Arvind Sinha
SHOW REPORT
31- HGH INDIA 2016 in Mumbai
42- ITTA Seminar in Delhi
44- Non Woven Tech Asia 2016 in Mumbai
48- Show Calendar
COMPANY/ BRAND FOCUS
38- Resil : Won National Award
39- ATE : Savio Customer Day
39- Textest AG : New Product Launch
40- Boalamo Textiles
41- Cadini / Siyƒ”ƒ ƒ—…Š‡• Ƥ”•– ‡–ƒ‹Ž —–Ž‡– ‹

†‹ƒ
MARKET REPORT
27- Trend Forecast by Premier Vision
31- Fashion Blogger Information
46- Fashion Retail Scenario in India : Trends Market Dynamics by
TECHNOPAK
Back Page: Raymond
Back Inside: Boalamo
Front Inside: Raysil
Page 3: Empitex
Page 5: SGS Innovation
Page 6 49: Klassic Fabrics
Page 7: Parekh Agencies
ƒ‰‡ ͝ǣ –ƒƪ‡š
Page 10: Premier Fabrics
Page 50: Sanjay Plastic
Page 51: Vora Associate
Amith Garments
Page 52: India ITME 2016
Page 53: Shreeram Textiles
Page 54: Tech Textile
Symposium
Page 55: RSWM

11July 2016 www.textilevaluechain.com
Smt. Smriti Zubin Irani took over as the
new Union Textiles Minister today. Smt.
Irani was serving as the Union Minister
for Human Resource Development before
taking over as the Union Textiles Minister.
Speaking to media persons on the occasion,
the new Minister thanked the Honourable
Prime Minister Shri Narendra Modi for plac-
ing her in charge of a sector that employs
the largest number of people, next only to
agriculture. She said that the sector has a
lot of unrealized potential in terms of skill-
ing and employment, and that it can play a
very important role in scaling up the ‘Make
In India’ vision of the Prime Minister. She
noted that the textiles sector provides
employment to a large number of women,
ƒ† –Šƒ– •Š‡ ™‹ŽŽ …‘–‹—‡ –Š‡ ‡ơ‘”–• „‡-
ing taken under the leadership of the Prime
Minister to engage with the industry and
help increase the exports of the sector. Cit-
ing that the weavers are the foundation of
the sector, Smt. Irani assured that the Gov-
ernment would strive to help them to the
maximum possible extent. Speaking of the
huge opportunity for skilling, the Minister
said that besides improving the skills of the
people already engaged in the sector, she
would also take steps to bring more young-
•–‡”• ‹–‘ –Š‡ Ƥ‡Ž†Ǥ Š‡ ‘…‡ ƒ‰ƒ‹ –Šƒ‡†
the Hon’ble Prime Minister for allocating
her a portfolio which is of great importance
to the rural economy of the nation.
She added that she has extended her
best wishes to the
new HRD Minister
Shri Prakash Ja-
vadekar, who she
said has assured
her that he will
take forward the
initiatives taken
by the HRD Min-
istry in the past
two years. She
said that she has
congratulated her
predecessor Shri
Santosh Kumar
Gangwar for his
contribution to the Ministry of Textiles, and
has thanked him for assuring his support for
her new assignment.
The Minister of State (Textiles), Shri
Ajay Tamta too, who took charge as Minis-
ter earlier today, greeted the Cabinet Minis-
ter in her chamber, on the occasion.
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Shri Ajay Tamta, the new Minister of
State, Textiles is a Lok Sabha MP from Al-
mora constituency, Uttarakhand, and a
member of the Bharatiya Janata Party. Prior
to his election to the 16th Lok Sabha, Shri
Tamta has served as a member of the Ut-
tarakhand Legislative Assembly, from 2007
to 2012 and again from 2012 to 2014. He has
also served as a Minister in the Government
of Uttarakhand, as Cabinet Minister during
2008 – 2009 and as MoS during 2007 – 2008.
As a parliamentarian, Shri Tamta has
been a member of the Committee on Wel-
fare of Scheduled Castes and Scheduled
Tribes since August 2014, and a member of
Standing Committee on Human Resource
Development and of Consultative Commit-
tee, Ministry of Water Resources, River De-
velopment and Ganga Rejuvenation since
September 2014.
The new Minister holds an Intermedi-
ƒ–‡ —ƒŽ‹Ƥ…ƒ–‹‘ ‹ …‹‡…‡Ǥ ‡ Šƒ• ƒ †‡‡’
interest in the rich variety of geographical
landscapes, with a particular fascination
for the mountainous region, which he be-
lieves has tremendous potential for mining,
growing medicinal plants and promoting
tourism. As such, he has been rendering his
contribution through social service for the
development of the region.
Shri Tamta will be turning 44 years of
age this month. He is married to Smt. Sonal
Tamta and has one daughter. He resides
in Dr. B.D. Marg, New Delhi, and can be
reached at the email address ajay.tamta@
sansad.nic.in. Shri Ajay Tamta took charge
as Minister of State, Ministry of Textiles
today. Shri Tamta is a Lok Sabha MP from
Almora constituency, Uttarakhand, and a
member of the Bharatiya Janata Party. Prior
to his election to the 16th Lok Sabha, Shri
Tamta has served as a member of the Ut-
tarakhand Legislative Assembly, from 2007
to 2012 and again from 2012 to 2014. He has
also served as a Minister in the Government
of Uttarakhand, as Cabinet Minister during
2008 – 2009 and as MoS during 2007 – 2008.
Later in the day, Smriti Zubin Irani took
charge as the Union Textiles Minister. The
two Ministers greeted each other in the
Cabinet Minister’s chamber, and also inter-
acted with members of the media frater-
nity.

In a statement issued by Mr R K Dalmia,
Chairman of The Cotton Textiles Export Pro-
motionCouncil (TEXPROCIL) has welcomed
the cabinet approval for a special package
for labour intensive Apparel sector envis-
aging higher growth in Export of Apparel
products and job creation over the next
three years. However, he expressed deep
concern for ignoring to consider Home Tex-
tile sector in the special package, which is
equally labour intensive industry at par with
Apparel sector. In particular, manufacturing
of bed-linen requires more number of work-
ers in making each piece of the product.
He emphasized that Home Textiles sector
is also equally labour intensive as Apparel
manufacturing. The process is the same i.e.
adding value after cutting the fabric and
—•‹‰ –”‹• ‡–…Ǥ ‹ –Š‡ ƒ—ˆƒ…–—”‡ ‘ˆ Ƥ-
ished products. Extending the present spe-
…‹ƒŽ ’ƒ…ƒ‰‡ „‡‡Ƥ– –‘ ‘‡ ‡š–‹Ž‡ •‡…–‘”
will not only lead to substantial increase
in employment in rural India but will also
augment export of Home Textile products.
This in turn will bring about higher fabric
consumption and capacity building in the
downstream industry resulting in inclusive
growth in the entire Textile and Apparel val-
ue chain. Mr Dalmia, while appreciating the
government’s decision in acknowledging
the need to support Apparel sector, stated
that the Fabric and Home Textile industry
are ignored in the special package in spite of
several representations and justifying pres-
entations made by TEXPROCIL. Considering
these facts, Mr Dalmia has appealed to the
government to kindly consider treating all
the ‘cut and sew’ products (including Home
Textiles and Made-ups) for granting ben-
‡Ƥ–• —†‡” –Š‡ •’‡…‹ƒŽ ’ƒ…ƒ‰‡ ˆ‘” ‡’Ž‘›-
ment generation and promotion of export,
at par with Apparel products.
$662,$7,21 1(:6
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ƒ”‡–

The Clothing Manufacturers Associa-
tion of India (CMAI), the Apex Chamber of
the Garment Industry of the Country, has
whole-heartedly Welcomed the Package an-
nounced by the Central Government today
for the Industry. In a Statement issued here
, Rahul Mehta, President of CMAI thanked
the Honorable Prime Minister and Shri
Santosh Kumar Gangwar, the Honorable
Minister of State for Textiles ( Independ-
ent Charge ) for removing some of the seri-
ous irritants that had been pulling back the
Country’s Garment Industry for a long time.
“ The Announcements made today have
Unshackled our Garment Industry and the
Results will be evident not only by way of
Additional Employment Generation but also
Additional Exports”, he said.
Shri Mehta said that the Inclusion of
State Level Taxes in the Computation of
Duty Drawback will address a long standing
Demand of the Industry, and will provide a
Major Relief to the Exporting Segment.
The EPF Reforms - Government bearing
the whole PF burden of the Industry and
making PF Optional for Employees earning
less than Rs.15000 per month - will help the
Industry as well as the Workers, he added.
Increasing the Overtime Cap is another
‡ƒ•—”‡ –Šƒ– ™‹ŽŽ „‡‡Ƥ– „‘–Š ’Ž‘›‡”•
and Employees.
Referring to the Provision introduced
for Fixed Time Employment, Shri Mehta
pointed out that this is another Suggestion
that the Industry has been making for a long
time, and the Provision will help in Seasonal
Adjustments in the Workforce required by
the Units.
Shri Mehta also Welcomed the Increase
in the TUFS Subsidy by 10% and the provision
for Drawback on Garment Exports from
Fabrics Imported Duty-free, to the extent of
Duty paid inputs used in such Exports.
Shri Mehta stated that in overall terms,
what the Government has Announced to-
day is a very Helpful Policy Package for
the Garment Industry, and the targets for
Employment Generation and Investments
envisaged in the Announcement are Achiev-
able.
“The Prime Minister and Textiles Minis-
ter deserve our Genuine Thanks and Compli-
ments for these New Initiatives” Mr. Mehta
Concluded.

™‡Ž…‘‡• ƒ„‹‡– ƒ’’”‘˜ƒŽ ‘ˆ ƒ •Ž‡™ ‘ˆ ‡ƒ•—”‡• ‹ ’”‘‘–‹‰ ’’ƒ”‡Ž
•‡…–‘” „—– †‹•ƒ’’‘‹–‡† ‘˜‡” ‹‰‘”‹‰ ‘ˆ ‘‡ ‡š–‹Ž‡ ƒ† ƒ„”‹… ‹†—•–”›
ƒ„‹‡– ƒ’’”‘˜‡• ’‡…‹ƒŽ ƒ…ƒ‰‡ ˆ‘”
‘„ ”‡ƒ–‹‘ Ƭ š’‘”– ”‘‘–‹‘ ‹
‡š–‹Ž‡ Ƭ ’’ƒ”‡Ž ‡…–‘”
The special package for textile and ap-
parel sector was approved today by the
Union Cabinet under the Chairmanship of
Prime Minister Shri Narendra Modi. The
package is a strategic decision that would
strengthen and empower the Indian tex-
tile and apparel sector by improving its
cost competitiveness in the global market.
Š‡ ‡ƒ•—”‡• ƒŽ•‘ ƒ••—‡ •‹‰‹Ƥ…ƒ…‡ †—‡
to its potential for social transformation
through women empowerment; since 70%
of the workforce in the garment industry
are women, majority of the new jobs cre-
ated are likely to go to women.
An elated Ashok G Rajani, Chairman,
AEPC said, “The apparel industry thanks
the Hon’ble Prime Minister and the textile
minister, Shri Santosh Gangwar for a very
comprehensive package that has not only
addressed the industry’s needs, but also
the employment generation needs of the
country, that this industry can address.The
…‘•– †‹ơ‡”‡–‹ƒŽ –Šƒ–

†‹ƒ •—ơ‡”• ˜‹•ǦǦ˜‹•
our competing countries has been duly ad-
dressed. The refund of employers contri-
bution of EPF, Additional incentives under
ATUFS , enhanced duty drawback coverage
with drawback for domestic duty paid in-
puts even when fabrics are imported under
Advance Authorization Scheme, etc, are
support that will help the industry gain cost
competitiveness”.
He further added that, “the labor re-
forms will not only help the industry, but
also the workmen as it encourages new
employment, ensures better take home
salaries for lower income workers and puts
contractual workers at par with permanent
workman in terms of working hours, wages,
allowed and other statutory dues. The in-
dustry is gearing up the US$ 20 bn target set
for this year. With a decline in exports for
–Š‡ Žƒ•– Ƥ˜‡ ‘–Š• ‹ ƒ ”‘™ǡ ƒŒ‘” ‰Ž‘„ƒŽ
markets still recording negative growth
and the Brexit uncertainty looming large,
the package is timely and gives the industry
hope for revival.”
Mr. Lalit Thukral, M/s Twenty Second
Miles expressed gratitude towards the gov-
ernment for coming up with these changes,
he said, “I believe this is an excellent policy
overhaul by the government. The sector
is in dire need of such changes and would
appreciate if the government brings about
such changes on a regular basis. Trade will
grow unabated with such policies.”

LOYALTY AND FASHION RETAILING
What’s your favorite brand? This is a question many of us have
been asked multiple times in the past. Whether we are talking about
the clothing store we shop frequently from, or the car we own or
the one we would like to upgrade to, or the mobile phone that you
feel is just right for you, we all have some brands we love more
than others. Love for brands could manifest as aspiration or owner-
ship. Luxury brands, for instance, are desired by many and owned
by only a few. The prime intention of brand building initiatives from
businesses would involve driving awareness, or changing percep-
tions, or increase usage or influencing other such parameters or a
combination of some of these aspects. Whichever way we look at
it, they all correlate positively to the need to get more sales. For
fashion brands, such initiatives are around influencing how you are
positioned in the consumer’s mind, getting more walk-ins to your
stores and thereby increasing sales.
I have seen a tendency in many retail-oriented businesses to
delink their ‘brand’ initiatives from their ‘product’ initiatives. This
is a strategy that is fraught with danger since the coherence in
the brand offering will be compromised. In categories like FMCG,
where Brand Management practices are very evolved, there are
processes that control this. There is a product innovation pipeline
that is aligned with the brand objectives and it is the specific SKUs
that need to be sold in large quantities. In the business of fashion,
the situation is different. Here, the business runs by launching col-
lections what have a high number of garment styles in different cat-
egories like shirts, trousers and others.Therefore it is a challenge to
ensure that product development plans are in sync with the brand
identity. While there are products and looks that are typical to a
brand, it is challenging to carry a brand signature across large num-
ber of designs. Also, there are some designs that are so much in
trend that you might find similar products in different brand collec-
tions. Brands cannot escape from this reality since these styles are
in demand and they need to be catered to, else your customer can
go to other stores. So there are significant design management
challenges around balancing the typical looks of the brand and the
looks that are in trend. This, to me, is a major Brand Identity chal-
lenge in the fashion space and this is where the best of brands excel
by getting the perfect mix for their customers.
Loyalty- A Misnomer?
Strong fashion brands stand for some values and they build
their business around them. As customers, when do we say that
we are loyal to a brand? When we go again and again to that
brand’s store? If we ask the people in key management positions
in these businesses, this is the answer we will get- this is how we
use the word ‘loyalty’ in retail-oriented businesses. With organized
retail booming in India, we also witnessed increasing efforts on the
part of retailers to get maximum mileage out of their customers,
through organized as well as not-so-organized initiatives to reward
frequent customers. Loyalty Management is today, an important
part of fashion retail. Literally, the word loyalty indicates a strong
allegiance to a certain thing; the way many retailers treat their
loyalty programs, they are built around reward points that can be
redeemed which can be considered as an indirect form of discount-
ing. So when we lure a customer with rewards and freebies, can
we say that were are driving genuine loyalty? In this modern era
of online shopping where mobile apps bring high streets to your
finger tips, a lot of stores are within reach and we can search dif-
ferent stores for the same product and easily find out which one
of them offers the best deal. I am not judging whether this trend
is right or wrong, the consumer can decide what is best for him or
her, the point being made here is the fact that the term loyalty, can
be seen as a misnomer, maybe ‘Rewards’ or ‘Membership’ can be
better ways of describing such initiatives. While I thought it is inter-
esting to say this, let us not get lost in semantics and focus on what
fashion brands try to achieve through these programs.
The Changing Landscape
Let us take a look at how loyalty or rewards programs have
evolved. It is generally agreed that one of the earliest such organ-
ized initiatives was the SH Green Stamp Program that originated
around a century ago. As per this program, customers received
stamps as they made purchases from participating merchants; they
are then glued to pages in booklets and can be redeemed from
stores when they reach a certain value, just like alternate currency.
Another well-known initiative in the early days of loyalty programs
was General Mills’ Betty Crocker Points Program in which custom-
ers collected points and redeemed them against kitchenware from
a catalogue. In the early 1980s American Airlines made use of com-
puterized databases and created their Frequent Flyer Program.
Another program that is considered iconic is the one from Tesco
that uses data analysis very effectively to drive transactions, long
before such a practice became a hygiene factor. The membership
card used to be the signature element of rewards programs till a
few years back. With the impact of technology, such programs
started taking a paperless route and this phase saw a huge jump
in the practice of tracking the details of customers and their shop-
ping patterns, among retail brands. The mobile number is now your
unique identifier, from a retail-shopping context.
Key Success Factors
There are some aspects which I feel are golden rules as far as
rewards programs are concerned.
i) Loyalty program should be about data capture; the retail-
er need to capture as many customers in the system as possible,
higher the percentage of transactions that come from custom-
ers who have enrolled for the program, the better it is.
ii) However, rewards need not be as spread out as informa-
tion capture is, there has to be certain threshold of business be-
fore a customer avails rewards from the retailer.
iii) The higher the business from a customer, the more his
rewards should be. For instance, if a customer who makes an
annual purchase of Rs 30000 can get 3% of it as rewards, it is only
fair that a customer who buys Rs 100000 in the same period gets
5% as rewards.
iv) It is always easier to increase reward commitments to
customers, but it is tough to reduce the same. Therefore a cau-
tious start is advisable. Even in terms of number of tiers in the
structure, it is a good idea to start simple and increase as you get
SELL MORE AND SELL TO MORE
COVER STORY
Mr. Vishnu Govind
Brand Consultant Startup Mentor
Founder- Add Valorem Consulting

structure, it is a good idea to start simple and increase as you
get more idea on frequencies and transaction sizes.
v) The use of data for driving business growth is most im-
portant. From the purchase patterns that the program throws up,
we can develop schemes that drive frequency of purchase, compli-
mentary product sales, average transaction value etc.
vi) Be cautious in not making wrong conclusions on the im-
pact of schemes as part of the program, For instance, if customers
™Š‘ •ƒ–‹•ˆ› ƒ …‡”–ƒ‹ …”‹–‡”‹ƒ ƒ”‡ ‘ơ‡”‡† ƒ •…Š‡‡ ™Š‹…Š Ž‡ƒ†• –‘
some purchases from them, we also need to keep a control sample
‘ˆ …—•–‘‡”• ™Š‘ •ƒ–‹•ˆ› –Š‡ •ƒ‡ …”‹–‡”‹ƒǡ ƒ† ƒ”‡ ‘– ‘ơ‡”‡† –Š‡
•…Š‡‡ǡ –‘ ‘™ –Š‡ †‹ơ‡”‡–‹ƒŽ ’‡”ˆ‘”ƒ…‡Ǥ
Possibilities for Apparel
Apparel brands in India have leveraged rewards programs to
gratify customers, drive incremental sales and get customer in-
sights in a meaningful manner in recent years. Take for instance a
menswear brand, for illustrative purposes. If we track purchases
for a certain period of time, like a year, we can get information on
customers who purchase only shirts or only trousers, or only cot-
ton chinos, or only denims, for example. If there is a category that
logically seems to suit a customer’s needs but he is not purchasing
from you, it means that he is possibly buying them from another re-
–ƒ‹Ž‡”Ǥ —…Š …—•–‘‡”• …ƒ „‡ ‰‹˜‡ ‘ơ‡”• ‘ –Š‡•‡ …ƒ–‡‰‘”‹‡• ƒ†
we could track the success rate of such schemes. It is also a good
idea to know why they go to your competing stores, let’s not for-
get that youhave his contact details with you!Think of another pos-
sibility - if x% of customer shop thrice a year, and y% shop only twice
™‹–Š „‘–Š š ƒ† › „‡‹‰ •‹‰‹Ƥ…ƒ– —„‡”•ǡ ™‡ …‘—Ž† †‡˜‹•‡ ‘ơ‡”•
that trigger a third visit for those customers who shop only twice.
A customer who buys only linen clothing can be sent personalized
mailers whenever a new premium range of linen clothing hits the
stores. One genuine test of loyalty towards a brand is in whether
you are willing to use its products across categories including ac-
cessories like footwear, belts, wallets etc. As the category matures
in a market, there are the strong brands that should lead this way
and become truly iconic names that people like to associate them-
•‡Ž˜‡• ™‹–ŠǤ

– ‹• –Š‡ …—•–‘‡”• ™‹–Š Š‹‰Š‡” ƒƥ‹–› ˆ‘” –Š‡ „”ƒ†ǯ•
core categories that should be positively predisposed to trying out
‡™ …ƒ–‡‰‘”› ‘ơ‡”‹‰• ˆ”‘ –Š‡Ǣ –Š‹• ‹• •‘‡–Š‹‰ –Šƒ– …ƒ „‡
‹ƪ—‡…‡† –Š”‘—‰Š •–”—…–—”‡† ”‡™ƒ”†• ‡…Šƒ‹•• ˆ‘” …—•–‘‡”•Ǥ
Mobile Platforms
Today the world of mobile apps is bringing in a lot of new possi-
bilities for consumers and retailers alike. The new buzzword today
is ‘platform’! If we look at the startup eco- system in the Asian mar-
kets, there are very exciting initiatives in their early stages, many
of which are retail platforms which bring customers and retailers
together. In terms of their USPs they vary from one another- some
are unique payment solutions, some facilitate easy checkout, while
•‘‡ ‘ơ‡” —‹“—‡ ”‡™ƒ”†• ˆ‘” …—•–‘‡”• Ž‹‡ ‰‹˜‹‰ ’‘‹–• ˆ‘” –‹‡
spent in the store, there are loyalty aggregators who help you man-
age all your membership programs in a single app- a far cry from
the days when it was a matter of prestige to carry aspirational
membership cards that make your wallet bulky. The common thing
here is the information that is getting captured at the back end,
including the behavior of your customers outside your retail net-
™‘”ǡ ‹ †‹ơ‡”‡– ’”‘†—…– …ƒ–‡‰‘”‹‡•Ǥ Š‹• Ž‡ƒ†• –‘ ƒ ƒŒ‘” ’Žƒ› ˆ‘”
big data oriented business models.
The true strength of a retail membership program today is data.
It always was, just that its application has moved to an altogether
†‹ơ‡”‡– Ž‡˜‡Ž ‘™Ǥ ‹–Š –Š‡ ‹† ‘ˆ †ƒ–ƒ ƒƒ‰‡‡– ƒ† ƒƒŽ›–-
ics tools at our disposal now, brands are raising the bar in terms or
customer engagement. Today when you say you know your cus-
tomers, the expectations are much higher that it used to be a few
years back.
ƒ•Š‹‘ ‡–ƒ‹Ž …‡ƒ”‹‘ ‹

†‹ƒǣ ”‡†• ƒ† ƒ”‡– ›ƒ‹…•
29(5 6725

Weaving Culture of Mishing Tribe of Assam
ėǤ ēĘčĚ čĆėĒĆ
Head and Associate Professor
Department of Textile Science and Apparel Design
SNDT Women’s University, Mumbai

–”‘†—…–‹‘
Assam is a land of various tribes and communities located over
the entire span of the state. These tribes bear huge cultural and lin-
‰—‹•–‹… †‹ơ‡”‡…‡• ƒ† ƒ– –Š‡ •ƒ‡ –‹‡ •‹‹Žƒ”‹–‹‡• –‘‘Ǥ ‡ ‘ˆ –Š‡
prominent tribes in the upper Assam is the Mising tribe.
Mising (or formerly Miris) tribe comprises of ethnic people in-
habiting mainly the Dhemaji, North Lakhimpur, Tinsukhia, Dibru-
garh, Sibsagar, Jorhat and Golaghat districts of Assam. Also many
of the tribe are settled in various districts of Arunachal Pradesh.
One of the biggest river islands in the world ‘Majuli’ is mainly inhab-
ited by the Mishing people.
Mishing tribe of Assam
The Mishings is one of the major sections of the plain tribes of
Assam. Originally the Mishings were hill tribe like Akkas, Dapha-
Ž—•ǡ „‘”•Ǥ Š‡ Ǯ‹•Š‹‰ǯ ‘ƥ…‹ƒŽŽ› ”‡…‘”†‡† ƒ• Ǯ‹”‹ǯ ™ƒ• ‰‹˜‡ –‘
them evidently by the plain people. The mishing, extract form and
’”‘—…‹ƒ–‹‘ Šƒ˜‡ †‹ơ‡”‡– ‡ƒ‹‰ ƒ† –Š‡ ˆ‘”‡” ‹• –Š‡ ”‹‰Š–
applicable word to the community. Mishing itself explain Mi = Yas-
vng or Mi + Ansvng = Misvng. Mi represents human being. Yasvng
represent good, white and Ansvng represent good, calm and peace
loving. Therefore, peace loving people on the other hand the ‘Miri’
which is an Assamese word signifying a ‘go between’ from circum-
stances. The colourful ethnic group is now plain tribe of Assam.
ƒ†Ž‘‘ ƒ† ‡ƒ˜‹‰ …—Ž–—”‡
Weaving is the exclusive preserve of the Mising women who
start their training in this craft before they reach their teens. They
also have a good knowledge of natural dyes. They weave cotton
jackets, towels, endi (shawls), thick loincloths and sometimes
shirts for their men folk. They also weave ege (skirt-like garments),
ri:bi(rectangular cloth with narrow stripes wrapped over the lower
garment from bodice to knees), seleng gasor (fabric occasionally
worn instead of a ri:bi), riya (a long scarf) and níseg (a cloth tied
over the shoulder for carrying babies). They also weave the gamo-
cha, the traditional cotton scarf and Assamese cultural symbol that
are bestowed on honoured guests visiting the village.
Cotton thread was readily available the Mising used to grow
their own cotton and spun the yarn themselves.
They also use some silk yarns, but sparingly. They used to use
endi yarn obtained from silk worms fed on the leaves of castor-oil
plants however they later learned the use of the golden muga (silk
obtained from worms fed on the som tree) and the white paat
(from worms fed on mulberry leaves) from neighbouring commu-
nities.
Š‡ ‹•‹‰ ™‘‡ ‘ˆ ƒŒ—Ž‹ ƒ”‡ •’‡…‹Ƥ…ƒŽŽ› ”‡‘™‡† ˆ‘” –Š‡‹”
exquisite handlooms, especially their mirizen shawls and blankets,
and they reinvent their traditional diamond pattern in countless
weaves using their favourite colours orange, yellow, green, black
and red.
The Mishing also make a very special textile called gadu, a blan-
‡– –Šƒ– ‹• ƪ—ơ› ‘ ‘‡ •‹†‡ ƒ† ™‘˜‡ ‘ ƒ –”ƒ†‹–‹‘ƒŽ Ž‘‹ Ž‘‘Ǥ

–
is extremely intricate and time-consuming work. The warp is cotton
spun into thick and strong yarn and the weft is spun into soft yarn,
…—– ƒ† ‹•‡”–‡† ’‹‡…‡ „› ’‹‡…‡ –‘ ˆ‘” –Š‡ ƪ—ơǤ ƒ†Ž› –Š‹• ’ƒ”–‹…—-
lar form of weaving is fast disappearing due to the ready availability
of inexpensive blankets in the market.
Handloom is the most popular traditional industry of Mish-
ing tribe. Handloom, an ancient art is a constant source of mental
peace, equilibrium and revelation to both one who perceives it. The
handlooms in our country were in a manner reverenced as an im-
portant part of our rich cultural heritage. In India almost all hand-
loom have a history which relates them to certain religious rituals
and social customs, making them an inherent part of its culture.
There are clear indications of cultural awareness about handloom
products.
The North East of India is like a Variegated patch work quilt. A
multiplicity of tribes and tribal groups each with its own distinct
culture in habitat this region. Every tribe has three or more distinc-
tive clothes of its own. An important aspect of the weaving is that
the designers are a result of a process of evolution. They are not
just something created individualistically by the weavers but have
ƒ …—Ž–—”ƒŽ •‹‰‹Ƥ…ƒ…‡Ǥ ‡š–‹Ž‡ ™‡ƒ˜‹‰ •‡‡• –‘ Šƒ˜‡ ’Žƒ›‡† ƒ ’‹˜-
otal role in social and economic life of the Indian people through
out the age. The art of weaving made the village society a self con-
tained one, which is characteristic of Assam society too. The social
functioning of Mishing is based on the code of personnel relation
and duties handed down from generation to generation. The peo-
ple of this land do not take execution of this craft as a compulsion
but a sacred duty. The Mishing loves weaving of textiles appears as
29(5 6725

a replica of the cosmic process.
The art of weaving has much more developed in Assam as com-
pared to other parts of India. In Assam weaving is a entirely the
work of women. Weaving is a part of their domestic duties. In fact
‹– ‹• ‘‡ ‘ˆ –Š‡ ’”‹ƒ”› ‘ˆ “—ƒŽ‹Ƥ…ƒ–‹‘ ‘ˆ ƒ ‹•Š‹‰ ™‘ƒǤ Š‡
handloom weaving is practically monopolized by women not from
the idea of economic necessity but also from the sense of social
customs.
Weaving is an indispensable part of Mishing women. Most of
the Mishing of the rural area are expert in spinning and weaving
is practiced by both unmarried and married women. Costumes
whatever might be its origin serve as a symbol of role and status
of the individuals in society and it obtain for the wearer a reward
‘ˆ ”‡…‘‰‹–‹‘ ƒ† ‹†‡–‹Ƥ…ƒ–‹‘Ǥ ‘•–—‡• ‘„˜‹‘—• –‘ ƒ› ‹–‡”‡•–
in humanity are a marked characteristic of any culture. Culture is an
important adjunct of ones personality. Costumes of a community
or a nation are inherent aspect of its cultural heritage, a mirror of
the time and the people of that community. The tribal costumes
bring up a picture of life of the community. The Mishing tribe of
Assam plains has a very colourful textile tradition. The textiles are
produced mainly to meet the requirement of the household. The
mishing girls produced almost all the clothes required by them af-
ter marriage before they get married and continue to do so.
Traditional Costumes
The Mishing costumes are very beautiful and embellished with
intricate motifs and designs as well as very colourful too. The dress
of the Mishing can be divided into two distinct types: (i) general
dress and (ii) special dress for festivals and ceremonial functions.
The costumes used by Mishing for daily use are simple. The dresses
of the men are similar to non tribal Assamese. A simple white dho-
ti (ugon) or sometimes a long colored dumer (towel) and a shirt
(galuk) are the costumes of the men for daily use. The costumes
of the women are also simple but divided into two pieces of gar-
ment. They generally wear a skirt (mesanam age) covering the part
from waist to the knee. The upper piece (gasong or gero) fastened
above the breast falling along with the skirt. Occasionally, a blouse
is seen to cover the upper part of the body.
Traditional Mishing costumes
Front view of Mibu Galuk | Back view of Mibu Galuk
The costumes for particular occasion are the special product of
their loom. In this dresses, they are the mixture of various colours,
e.g. Red, black, green, yellow are common. On the special occasion,
a man wear a shirt (Mibu galuk) over his usual dress and a dumer
(towel) is a must along with a turban (paguri). The dresses on spe-
cial occasion are used in such a way, so that, it looks like a Gam
or leader. The dress of women is same as they used daily but the
dresses for festival and function are more coloured and decorated.
The plain dress without colour and decoration are generally not
used in festivals and rituals. Women are fond of various types of
ornaments. Ear and neck ornaments (kentumaduli), chains (tadok),
†‹ơ‡”‡– –›’‡ ‘ˆ „”ƒ…‡Ž‡–• ȋ‘‰‡Ȍǡ ‰‘Ž’ƒ–ƒ ȋ‡…Žƒ…‡Ȍǡ ‘•ƒŽ‘”ƒ
(necklace ), kardoni (bangles ), sondrong (locket ), lv:tog (necklace
) turiang (ear ring) etc.
Fibres and yarns used
Š‡ Ƥ„”‡ ƒ† ›ƒ” ™Š‹…Š ‹• –”ƒ†‹–‹‘ƒŽŽ› —•‡† „› ‹•Š‹‰
tribes of Assam are cotton and silk. Cotton is also grown in rural
areas of Mishing’s villages. However, the amount of cotton produc-
–‹‘ ‹• ‘– •—ƥ…‹‡– ˆ‘” ’”‘†—…‹‰ Žƒ”‰‡ ƒ‘—– ‘ˆ ˆƒ„”‹…•Ǥ Š‡”‡-
fore they used to purchase cotton yarns from markets. The silk
produced in Assam, generally Muga silk (Antheracea assama ww),
mulberry (Bombyx linnacus) and eri (Philosamia recini B) are com-
monly produced. Sericulture has been practiced for a long time. As-
sam enjoys the world monopoly over production of muga silk and
eri silk. The eri culture is mostly practiced among Mishing tribe of
Assam. Silk weaving is a special feature of Assam. It plays an im-
portant part in the socio-economic life of the people in specialized
weaver’s villages of Assam.
”‘…‡••‹‰ ‘ˆ Ƥ„”‡• ƒ† ›ƒ”•
Š‡ ‹•Š‹‰ ™‘‡ ‘•–Ž› —•‡† ƒ–—”ƒŽ Ƥ„”‡• ˜‹œǤ …‘––‘
and silk. To ptoduced good quality yarns for weaving they follow
the following processes.
I. Cotton
‘ ’”‘†—…‡† …‘––‘ ›ƒ” ˆ”‘ …‘––‘ ’‘†•ǡ –Š‡› Ƥ”•– †‘Ȅ
1. Ginning- it is the process of removing the seeds from cotton
pods. This is carried out by using a craft which is made up of
wood.
͖Ǥ ƒ”†‹‰ Ȃ Š‡ …ƒ”†‹‰ ‡ƒ• …Ž‡ƒ‹‰ ‘ˆ …‘––‘ „› ƪ‹…‹‰ ‡–Š-
od where a bow is used which is made up of bamboo tied with
a strong rope.
3. Spinning- Spinning means giving twist to the yarn by using a
spinning craft which is also made up of wood and bamboo.
II. Silk
To produced silk yarn the following process are involved –
1. Cooking: - It is process of removing sericin from eri cocoon
by boiling in water along with alkali for a period of 5- 10 min-
utes.
2. Spinning- Spinning means giving twist to the yarns by using
primitive spinning craft. Spinning and weaving are also undertaken
by the rearers generally for their own use. Spinning of eri is done
in spindles-Whorl (letai), which is made up of wooden or bamboo
stick below which a circular disc is inserted by making a hole in mid-
dle of the wooden circular disc. Spinning is only done by women
folk, including young girls, even while they are in walk around and
•‹‰‹Ƥ‡• –Š‡‹” ‹–‡”‡•– ˆ‘” ™‡ƒ˜‹‰ ‹• ƒ”‡† ƒ• ƒ ‹–‡”‡•–‹‰ ƒ†
unique feature in Assam. Eri silk is used mainly to weave shawls,
used in winter. It is also used to weave a few other items for day
to day dressing.
Dyeing
The use of wealth of colours in handloom products
29(5 6725

is a unique feature of the textile tradition of Assam. The dyeing is
‘•–Ž› †‘‡ ™‹–Š ‹†‹‰‡‘—• †›‡ •–—ơ•ǡ ‘•–Ž› ˆ”‘ „ƒ”•ǡ Ž‡ƒ˜‡•ǡ
roots etc. The common types of natural mordants like common
salt, silica (Terminalina citrine) were used The natural dyes like Lac
(Cocus lacca), Achugach (Morinda augustifolia), Halodhi (Cucurma
longa), tepor (Garcinia Xanthocymus) etc are also used. But now,
the Mishing women also use vat or synthetic dyes for dyeing. Prior
–‘ †›‡‹‰ǡ Ƥ”•– –Š‡› †‡•‹œ‡† –Š‡ ›ƒ”• ƒ† ”‡‘˜‡ ‡š…‡•• †›‡• „›
boiling them in water or by immersing them in for water whole
night and then dry sunlight. The dyed yarns then undergoes for the
other process like winding and bobbining i.e, preparation for warp-
ing in loom. This is done with the help of a winding machine called
Cheriki and ugha by using jotor (Charkha).
Types of Loom used
The Mishing community uses two types of looms. The Loin
loom and Throw shuttle loom. Now they use Fly Shuttle loom, Jac-
cquard loom, Dobby loom and in some industries among Mishing
community the power loom is also found to be in used.
Gadoos a type of blanket are woven in loin loom. Loin loom is
also mused to weave bags pillow covers etc. This looms is very sim-
ple, portable and convenient to erect and dismantle. The compact
texture of the cloth woven and its intricate design are the most im-
portant factors for which the loin loom has still not lost its popular-
ity. It is a part and parcel of the tribal textile tradition. The loom has
no frame or upper structure, but it consists of two vertical bamboo
poles kept horizontally. A few pieces of stout bamboo and wooden
rods of varying thickness with a wooden beating sword is used as
accessories of the loom.
The throw shuttle loom is the most common and traditional
loom used by all communities in Assam. A crude type throw shut-
tle loom has been found among Mishing tribe, four wooden posts
”‡“—‹”‡† ˆ‘” –Š‡ Ž‘‘ ƒ”‡ Ƥš‡† Ƥ”Ž› ‘ –Š‡ ‰”‘—†Ǥ Š‡ „‡ƒ ƒ†
wrap are set to the frame just above the ground level. The weaver
sits on the bench attached towards the wrap-beam to operate the
treadles, but no weaving belt is used as in case of loin loom. This
loom is found comfortable compared to contemporary loin loom.
However, being a traditional loom, it is highly valued by the Mish-
‹‰ǯ• ƒ† –Š‡› •–‹ŽŽ —•‡ ‹–Ǥ ‡‡’ …—Ž–—”ƒŽ •‹‰‹Ƥ…ƒ…‡ ‹• ƒ––ƒ…Š‡† –‘
this loom and its inheritance passes to her daughter. The accesso-
ries required for the existing throw shuttle loom are very simple
and can easily be made out of indigenous materials, mostly bam-
boo and wood. As such, it is easily accessible to the rural folk of
Assam. The other parts of the loom are the wrap and cloth beams,
reed, treadles, temple, shuttle, etc.
Adoption of new technology and use of improved looms in
household weaving is still rare in Assam especially among Mishing
tribe. The archaic type of loom cannot be the basis for commercial
production.
Motifs and designs
Nature played a vital role in inspiring the folk and tribal arti-
sans to reproduce its many beauties in their crafts. The handloom
fabrics of Assam are noted for their various indigenous artistic de-
signs. The ornamentation is done on the loom itself. The designs
are brought out by means of employing an additional layer of dyed
yarns based on the ground materials. These extra yarns for design
‘”ƒŽŽ› ƪ‘ƒ– ‘˜‡” –Š‡ ƒ‹ ‹–‡”Ž‘…‹‰ ‘ˆ ™ƒ”’ ƒ† ™‡ˆ–Ǥ Š‹•
traditional technique is called the extra weft technique. Not only
the motifs and designs, colours too play a vital role in the textile
tradition of Mishing tribe of Assam.
The indigenous design of the Mishings is called Ghai- yamik
designs. These depict the excellent capability of Mishing weavers
–‘ ƒ””ƒ‰‡ †‹ơ‡”‡– ‰‡‘‡–”‹… ˆ‘”• ‹ ƒ ”‹…Š „‘”†‡”• †‡•‹‰Ǥ Š‡
Tapum Ege (Eri Shawl) and Pe-Charpi-pekok are good example of
traditional items which is very intricate designs are used. These are
highly cherished item in the respective tribal communities. Ege is
another costume worn by women to cover the lower part of the
body from waist to the ankle. The most common colour used is
black. On the black base ornamentation are done yellow, red, and
white. The traditional designs is named as Ghai yamik small buties
ƒ‡† ’—Œ‡” •›„‘Ž‹œ‹‰ •–ƒ”ǡ †‡‡”ǡ Š‘”•‡ „—––‡”ƪ› ‡–…Ǥ ƒ”‡ ƒ”-
ranged in geometrical order above the main border design. This d
Yapapacha traditional motif designed on a particular costume
known as Ribi Gacheng. It is an indispensable part of unmarried girl.
It is always woven out of cotton yarns and designed with stripes
of red, black, and white. The stripes are widely distributed though
out the body at regular interval. A cross border design with zig-zag
lines and diamond is woven in the pallau and is spread all over of
the cloth.
Gasor of Mishing | tribe Ribi Gacheng
Another important costume of Mishings is ‘gero’, which is used
ony by married women only. Based on design used it is named as
kem- nam gero or ki- nam gero. It is woven in white with bold de-
sign of about 40 to 50 cm width is red, black and redin centre of the
cloth. Another gero named Charuchamang gero is also a continuing
example of traditional textile of Mishing. It is woven specially to
carry baby, tied at back by women while working or traveling.
epicts the excellent capability of Mishings
™‡ƒ˜‡”• –‘ ƒ””ƒ‰‡ †‹ơ‡”‡– ‰‡‘‡–”‹…
forms in a rich border design. Mishing Ege
and Gasor
Ege Gasor with ghai yamik
design
29(5 6725

kem- nam gero | Charuchamang gero
These gero were woven with care and kept ready by a girl be-
fore her marriage. But this rich and traditional textile item is being
gradually getting replaced by plain cloths. The plain version is called
nichek. Another highly priced textile items woven out of eri silk is
Tapum gachor ( eri shawl), used in winter. The border of the shawl
‹• †‡•‹‰ ™‹–Š –Š‡ ‘–‹ˆ• Ž‹‡ ƪ‘™‡”•ǡ †‹ƒ‘†ǡ ”‹†‰‡• ‘ˆ Š‹ŽŽ• ƒ†
lines are woven in side borders and cross borders in brown and ma-
roon colours in the shawl. The designs used are worked by weavers
from the old scraps of designs or from a separate design catalogue.
In olden days designs were worked on banana leaves. Since banana
leaf is not durable the design was subsequently worked on the
thick sheath of areca plam tree. The designs are woven on a warp
‘ˆ …‘ƒ”•‡ ›ƒ” ™‹–Š Ƥ‡ „ƒ„‘‘ •–‹…• ‘” –Šƒ–…Š‹‰ ‰”ƒ•• ƒ• –Š‡
pick of the designs.
Geometrical design | Floral motif arranged on geometrical order
—––‡”ƪ› †‡•‹‰• ȁ
Šƒ‹Ǧ ›ƒ‹ †‡•‹‰•
‘„‹ƒ–‹‘ ‘ˆ ƪ‘”ƒŽ ƒ† Ž‹‡• ȁ ‹‡• ƒ”‡ †‡•‹‰‡† ™‹–Š †‹ơ‡”‡–
for creating designs colour combination
Changes in the motifs and designs from traditional geometric
to recently adopted innovative and vivid patterns is noted in some
cases since the innovative category of motifs does not contain
symbolic meaning as in the case with traditional motifs, the motifs
combination also become non symbolic in nature. It is of interest
to note that, among the study communities only the Mishing have
retained the traditional motifs and designs. A harmonious blend-
ing of traditional designs and colours are still being maintained and
—•‡† ‹ –Š‡ †‹ơ‡”‡– ‹•Š‹‰ –‡š–‹Ž‡• ‹–‡•Ǥ Š‹Ž‡ ‘–Š‡” Šƒ˜‡ „›
and large switch over to the contemporary designs of more vivid
and symbolic nature, the Mishing have been more conservative and
they still use their traditional geometric designs having symbolic
meaning.
‹–Š –Š‡ ‹ƪ—‡…‡ ‘ˆ ‘†‡” •‘…‹‡–› –Š‡ ˜ƒ”‹‘—• ‹–‡• Šƒ˜‡
„‡‡ ’”‡’ƒ”‡† ‘” ƒ†‡ „› —•‹‰ †‹ơ‡”‡– –”ƒ†‹–‹‘ƒŽ ƒ† …‘–‡-
porary textile items which include the Mekhela-chaddar, shirt,
wrapper, shawl, sari, pillow cover, napkin, table cloth, salwar-ka-
meez, jacket ,rug, bed cover, drapery materials etc. The instinct in
human being since earliest time is to study his surroundings and as
such has consciously and unconsciously absorbed a great deal in
–Š‡ ’”‘…‡••Ǥ Š‡•‡ Šƒ˜‡ …”‡ƒ–‡† ƒ› ‘”‹‰‹ƒŽ ‹†‡ƒ• ƒ† •ƒ–‹•Ƥ‡†
his inner yearning to express it in visual form.
A gradual disappearance of handloom weaving as a household
craft has been marked in recent years. But the craft of weaving in
Assam still continues, albeit with the changes incorporated in it, as
a living craft and as an integral part of tribal and non tribal cultures.
Moreover, it provides an important prop to the rural economy.
The practice of producing one’s future post marital requirements
in cloths is still in existence as an element of Mishing culture. This
helped keeping textile tradition alive. The growing cultural aware-
‡•• ƒ„‘—– …—Ž–—”‡ •’‡…‹Ƥ… ‹†‹‰‡‘—• –‡š–‹Ž‡ ‹–‡• ’Žƒ›• ƒ ‹-
portant role for symbolic elements in the projection of respective
cultural identities. Use of certain textile item called Ribi Gacheng as
…‡”‡‘‹ƒŽ ƪƒ‰ ˆ‘” ’”‘Œ‡…–‹‰ ‡–Š‹…•Ǧ …—Ž–—”ƒŽ ‹†‡–‹–› ‹• ‘–‡™‘”-
thy. Thus the handloom textiles have played an important role in
the upliftment of socio-economic scenario of rural Assam in great
extent.
Geometrical design used only in Shawl | Geometrical design used only in
Gero
29(5 6725

‘˜ƒ–‹˜‡ ’’ƒ”‡Ž ”‘†—…–• ‡˜‡Ž‘’‡–
ˆ”‘ Šƒ†‹ ƒ„”‹… ǤǤĆĎ ėĎĘčēĆē
Ǥ čĆēĉėĆĘĊĐĆėĆē
ǦĒĆĎđǣ ěĎďĆĞĞĘĆĎ̷ČĒĆĎđǤĈĔĒ
ĊĕĆėęĒĊēę Ĕċ ĕĕĆėĊđ ĊĈčēĔđĔČĞǡ

ĔđĞęĊĈčēĎĈ ĔđđĊČĊǡ ĔĎĒćĆęĔėĊ ͚͕͘ ͔͔͘ǡ

ēĉĎĆ
„•–”ƒ…–
Innovations in apparel and fashion product play a vital role in
ˆ—ŽƤŽŽ‹‰ –Š‡ ‡š’‡…–ƒ–‹‘ ‘ˆ –Š‡ …—•–‘‡”•Ǥ ”‡•‡–Ž› ‹‘˜ƒ–‹‘• ‹
apparel and fashion products are happening in many ways such as
changes of styles, value addition by using with new textile materials
ƒ† Ƥ‹•Š‡•Ǥ

–Š‹• ™‘” ™‡ Šƒ˜‡ †‡˜‡Ž‘’‡† ƒ ‹‘˜ƒ–‹˜‡ ƒ’’ƒ”-
el products by using khadi cotton fabric. Since khadi is having a rich
tradition and unique texture due to hand spun yarn. The value add-
ed apparel product were developed by analyzing the existing styles
of men’s ,women’s and children’s wear and new styles is developed
based on current trends. Value addition is given by hand painting,
printing, and surface ornamentation techniques. Fusion kind of de-
sign is also developed by placing khadi fabric in selective panels in
‹––‡† ‰ƒ”‡–•Ǥ ‘ˆ‘”– ’”‘’‡”–‹‡•ǡ Ƥ– ƒƒŽ›•‹• ƒ† ™‡ƒ” •–—†›
is investigated and reported. The results of comfort properties
shows better from khadi fabric due to low fabric yield and inherent
nature of hand spun cotton yarn . The results of subjective evalu-
ƒ–‹‘ ‹ …‘ˆ‘”– ƒ† Ƥ– ƒƒŽ›•‹• •Š‘™• ˜‡”› ‰‘‘† ”ƒ–‹‰ •…ƒŽ‡ ˆ‘”
ƒŽŽ –Š‡ •–›Ž‡•Ǥ —” Ƥ†‹‰• ‹ ƒ”‡– ˆ‡ƒ•‹„‹Ž‹–› ˆ”‘ …—•–‘‡” ƒ†
retailer perspective show good potential by developing innova-
tion in khadi fabrics.
Keywords : Khadi ,casuals, Warli, Madhubani Printing and Em-
broidery
͕Ǥ

–”‘†—…–‹‘
Khadi or khaddar is the term conventionally used in North and
Central India to refer the varieties of coarse cotton cloth hand wo-
ven using hand spun yarn. This was the cloth commonly worn by
peasant and artisan groups in pre-industrial India. It was made from
locally grown cotton which would be harvested by peasants and
laborers, spun by local women and woven into cloth by men from
various specialist weavers. The precise technology involved in the
production of khadi would vary from region to region, as would the
techniques used for its decoration (dyeing, embroidery, printing
etc.) Although hand spun hand woven cotton cloth of this kind was
common throughout India, khadi entered nationalist vocabulary
and the cloth became a key visual symbol of india‘s struggle from
colonial rule. Characteristics of khadi fabric are cool in summer and
warm in winter due to soft feel and tactile property of the fabric. It
is the only fabric where the texture is so unique that no two fabrics
will be absolutely identical. Khadi is also an eco- friendly fabric as
such the process involves no environmental pollution.. Since Inno-
vation plays critical important in the apparel and fashion industry
–‘ ˆ—ŽƤŽŽ –Š‡ ‹…Š‡ ƒ”‡–Ǥ

–Š‹• ™‘” ™‡ Šƒ˜‡ ƒ†‡ ƒ ƒ––‡’– ‹
developing innovative fashion products by using khadi fabric. The
Ƥ– ƒƒŽ›•‹• ƒ† …‘ˆ‘”– ”‡Žƒ–‡† –‡•– ˆ‘” Šƒ†‹ ˆƒ„”‹… ƒ† ƒ’’ƒ”‡Ž• ‹•
investigated and reported
2. Materials and Methodology
To verify the prevalence of innovation in khadi garments a sur-
vey has been carried out by visiting in leading apparel retail show
rooms. The percentage of value addition given for khadi fabric
found on the garment was only 34%.. in our study conducted . To-
tally we have developed 10 garments styles each garment we have
…Š‘•‡ †‹ơ‡”‡– –”ƒ†‹–‹‘ƒŽ †‡•‹‰• ƒ† ‘–‹ˆ• ‘ˆ ™ƒ”Ž‹ǡ ƒ•—–‹ ‡-
broidery and kantha embroidery, application of this method is car-
ried out by using screen printing, block printing, hand embroidery,
machine embroidery and painting, the details of apparel styles
developed were mentioned in the table 1.Important fabric test like
Ž‘‰‹–—†‹ƒŽ ™‹…‹‰ǡ †‹ơ—•‹‘ ǡ™ƒ–‡” ƒ„•‘”’–‹‘ ǡ ƒ‹” ’‡”‡ƒ„‹Ž‹–›
and water vapour permeability were tested based on international
standard testing procedure.
These garments were constructed by using single needle, over
Ž‘… ƒ† ƪƒ– Ž‘… •‡™‹‰ ƒ…Š‹‡Ǥ › …‘•‹†‡”‹‰ …—””‡– –”‡†
ƒ† Ƥ–ǡ –Š‡ ‘†‹Ƥ…ƒ–‹‘ ‘ˆ ’ƒ––‡” •Šƒ’‡ ‹• …ƒ””‹‡† ‹ …”‹–‹…ƒŽ œ‘‡•
Ž‹‡ …Š‡•–ǡ Ž‡‰–Šǡ ƒ” Š‘Ž‡ •Šƒ’‡•Ǥ
ƒ”‡– Ƥ– ‹• ƒŽ•‘ ƒƒŽ›œ‡† „›
putting the garment in the standardized dress forms. The subjec-
tive evaluation is also carried out by taking the opinion from the
wearer’s perspective. The rating scale is also developed by choos-
ing the ranking (Ranking: 1- Poor, 2 - Average, 3-Good, 4-Very Good,
5-Excellent).The opinion is taken by considering aesthetic look of
–Š‡ ‰ƒ”‡–ǡ •—‹–ƒ„‹Ž‹–› ˆ‘” …—””‡– ˆƒ•Š‹‘ ƒ† Ƥ– Ǥ
ƒ”‡–• ƒ”‡
taken photo prints by displaying in the dress forms and manne-
quin’s.
Table 1 Garment Style details
͗ǤǤ‡•—Ž–• † ‹•…—••‹‘
͗ǤǤ͕ ƒ„”‹… ’”‘’‡”–‹‡• ƒƒŽ›•‹•
The khadi fabric were tested for various fabric proper-
ties the results were mentioned in the table 2. The comfort prop-
erty test results shows that wetability time takes longer due to
the presence of starch content in the fabric , however the water
ƒ„•‘”’–‹‘ǡ Ž‘‰‹–—†‹ƒŽ ™‹…ƒ„‹Ž‹–› ƒ† †‹ơ—•‹‘ ‹• „‡––‡”Ǥ Š‡ Ž‘-
gitudinal wicking height is increased gradually form 3min to 5 min
–‹‡ ˆ‘” ƒŽŽ –Š‡ †‹ơ‡”‡– –›’‡• ‘ˆ ˆƒ„”‹…•Ǥ Š‡ ™ƒ–‡” ˜ƒ’‘—” ’‡”‡-
ability results calculated for one day shows better for all the fabric
29(5 6725

and there is good correlation in wicking height and water vapour
permeability rate.
ƒ„Ž‡ ͖Ǥ ‘––‘ Šƒ†‹ ƒ„”‹… ”‘’‡”–‹‡• –‡•– ”‡•—Ž–
͗Ǥ͖ Šƒ†‹ ‰ƒ”‡– Ƥ– ƒƒŽ›•‹•
Š‡ Šƒ†‹ ‰ƒ”‡– Ƥ– Šƒ• „‡‡ …Šƒ‰‡† „› ”‡†—…‹‰ –Š‡ ‡ƒ•-
urement in critical measurement zones. Overall the measurements
were reduced by 2cm , the yoke width is reduced by 1 cm. From the
™‡ƒ”‡”• ’‡”•’‡…–‹˜‡ –Š‡ ‡”‰‘‘‹… ™‡ƒ” …‘ˆ‘”– ‹• •‹‰‹Ƥ…ƒ–Ž›
improved by modifying the measurement.
ƒ„Ž‡ ͗ ‹– ‘†‹Ƥ…ƒ–‹‘ ‘ˆ Š‹”–
͗Ǥ͗ ˜‡”ƒŽŽ •—„Œ‡…–‹˜‡ ˜ƒŽ—ƒ–‹‘ ”ƒ–‹‰
The overall subjective evaluation rating scale for all the 10 gar-
ments shows very good excellent rating scale from the customers
perspective.
Fig 5.3.11 Over-
ƒŽŽ •—„Œ‡…–‹˜‡ ˜ƒŽ—ƒ–‹‘ ˆ‘” ͕͔
ƒ”‡–•
‘…Ž—•‹‘
We have successfully completed our work by developing in-
novative apparel and fashion products by using khadi fabric. The
conclusion of our work is summarized below.
• In our initial market survey carried out in the leading apparel
show room, the value addition given to the khadi fabric is very
Ž‡•• ‹ ‘—” Ƥ†‹‰•Ǥ
Ȉ Š‡ ˆƒ„”‹… ”‡•—Ž–• ‘ˆ Šƒ†‹ ƒ–‡”‹ƒŽ• •Š‘™• –Šƒ– †”ƒ’‡ …‘‡ƥ-
…‹‡– ‹• ‘”ƒŽ ƒ† ƪ‡š—”ƒŽ ”‹‰‹†Ž› ‹• Š‹‰Š‡” †—‡ –‘ ’”‡•‡…‡ ‘ˆ
•–ƒ”…Š …‘–‡–Ǣ ‹– …‘—Ž† „‡ ”‡†—…‡† „› •’‡…‹ƒŽ •—”ˆƒ…‡ Ƥ‹•ŠǤ
Ȉ Ž–Š‘—‰Š –Š‡ ™ƒ–‡” ƒ„•‘”’–‹‘ ‹ƪ—‡…‡ „› ˆƒ„”‹… …‘ˆ‘”– ”‡-
sults. The comfort properties like longitudinal and water vapor
permeability shows good results due to presence of cotton ma-
terial and the feel of fabric is gritty it could be improved by sur-
ˆƒ…‡ Ƥ‹•Š‡•Ǥ
• Fit of the khadi apparel is phenomenally improve by slight modi-
Ƥ…ƒ–‹‘ ‹ …”‹–‹…ƒŽ ‡ƒ•—”‡‡– œ‘‡• Ž‹‡ …Š‡•– ǡ „ƒ… ™‹†–Š
and armhole.
• Overall subjective rating scale for all the 10 garments developed
shows Very good to Excellent rating scale from the wearer’s
perspective.
• The opinion from retailers and customers perspective about
khadi innovative apparel and fashion product we developed
gives overwhelming positive feedback.
• The total cost of developing the design for the ten garments is
•Ǥ ͕͙͔͔Ǥ Š‡ †‡˜‡Ž‘’‡– …‘•– ‘ˆ –Š‡ †‡•‹‰ ‹• ƒơ‘”†ƒ„Ž‡Ǥ Š‡
machine embroidery cost is little higher due to investment cost
of the machine. When we produce in the mass production the
rate could be reduced.
Ȉ Š‡”‡ ‹• ƒ Š—‰‡ ‰ƒ’ –‘ „‡ ƤŽŽ‡† ‹ ˜ƒŽ—‡ ƒ††‹–‹‘ ‘ Šƒ†‹ ƒ’’ƒ”-
‡Žǡ ˆ—ŽƤŽŽ‹‰ –Š‡ ƒ”‡– •’ƒ…‡ „› †‡˜‡Ž‘’‹‰ ‹‘˜ƒ–‹˜‡ ƒ’’ƒ”‡Ž
ƒ† ˆƒ•Š‹‘ ’”‘†—…– ™‹ŽŽ „”‹‰ „‡‡Ƥ– –‘ ƒŽŽ –Š‡ •–ƒ‡ Š‘Ž†‡”•
in khadi allied industries .
…‘™Ž‡†‰‡‡–
The authors acknowledge the support given by the Manage-
ment, the Principal and Head of the Department of Apparel Tech-
nology, PSG Polytechnic College for their encouragement and
support in completion of this work. Also we thank our students of
Apparel Technology S. Nivetha S.Sowmiya ,D.J.Sri Aishwarya,and
S.Varatha Alwar who contributed for this work.
‡ˆ‡”‡…‡•
1.Marian L Davis, “Visual Design in Dress”, Third edition Prentice hall, 1996.
2. Elaine Stone, “The Dynamics of fashion”, Fairchild publication, 2001.
3. Jay Diamond and Ellen Diamond, “The Word of Fashion “,Second edition,
Fairchild publication,1999.
4.www.Khadi And Village Industries
5. Prakash,”Inspirational Textile Design”, Textra Design Book, January,1997,
p.42
6. Dr.Shailaja D.Naik,”Traditional Embroideries Of India”, A.P.H Publishing
Corporation, 1996, pp 15-142
7. Terry Brackenbury, “Knitted Clothing Technology”, Blackwell Science Ltd,
1992, pp 1-63
8. Dr.Shailaja D.Naik and Jyothi V.Vastrad ,“ Protection and revival of tradi-
tional hand embroidery kasuti by automation”, Indian Journal of Tradi-
tional Knowledge, Vol 7(1), January 2008, pp197-203.
9 .Amita D Pandya and Kruthi L Dholakia “, Historical Overview of Kutch
Embroideries”, Indian Journal of Traditional Knowledge, Vol 12(3), July
2013, pp 524-529.
10. Namrata M and Shailaja D Naik”, Contemporized traditional textile
made-ups- A mode for rural and urban linkage”, Indian Journal of Tradi-
29(5 6725

tional Knowledge, Vol 7(1), January 2008, pp 208-211.
11. Marian L Davis,”Visual Design in Dress”, Third edition Prentice Hall, 1996.
12. Elaine Stone,” The Dynamics of fashion”, Fairchild publication, 2001.
13. Jay Diamond and Ellen Diamond,” The World of Fashion”, Second edi-
tion, Fairchild publication, 1999.
Ž‹ Ƥ– Šƒ†‹ •Š‹”– ȁ ƒ†ƒ”‹ …‘ŽŽƒ” –‘’
Ž‹ Ƥ– ƒ•—–‹ ‡„”‘‹†‡”› ȁ Ž‡ƒ–‡† Ž‘‰ –‘’ ™‹–Š ™ƒ”Ž‹
screen and hand block printing
—”–Šƒ ™‹–Š ’Ž‡ƒ–• ™‹–Š ƒ–Šƒ ȁ ‹– –‘’ Ȃ Šƒ†‹ ƒ–‡”‹ƒŽ ‹ ‘ŽŽƒ”
embroidery
ƒŽ‡– …“—‹•‹–‹‘ ˆ ”‡†› ‡š–‹Ž‡•

–”‘†—…–‹‘
The India Retail Industry is the largest among all the industries,
accounting for over 10 per cent of the country GDP and around 8
per cent of the employment. The Retail Industry in India has come
forth as one of the most dynamic and fast paced industries with
several players entering the market. But all of them have not yet
tasted success because of the heavy initial investments that are
required to break even with other companies and compete with
them. The India Retail Industry is gradually inching its way towards
becoming the next boom industry. With respect to retail in textile
in India it is growing at more rapid pace as compared to other in-
dustry products though the margins are lesser than the other in-
dustry products in textile.
The Indian retail market is expected to demonstrate a promis-
ing year-on-year growth of 6% to reach USD 865 billion, by 2023,
from the current USD 490 billion. The share of apparel in India’s
retail market is 8%, corresponding to a value of USD 40 billion. In
addition to fashion apparel, the growing demand for fashion ac-
cessories makes the Indian fashion market both interesting and
lucrative.
The Indian fashion retail market has witnessed several fascinat-
ing changes and challenges in recent years, which are indicators of
the country’s evolving fashion retail market. The challenges associ-
ƒ–‡† ™‹–Š –Š‡•‡ …Šƒ‰‡• ‡‡† –‘ „‡ ƒ††”‡••‡† ‹ –Š‡ ‘•– ‡ƥ…‹‡–
ƒ† ’”—†‡– ƒ‡” ‹ ‘”†‡” –‘ Šƒ”‡•• –Š‡ …‘…‘‹–ƒ– „‡‡Ƥ–•Ǥ
The Challenges
—ƒ ‡•‘—”…‡
Human Resource Management is the most important aspect
in any Industry. To provide best quality and providing the best
•‡”˜‹…‡• Š—ƒ …ƒ’‹–ƒŽ ‡‡† –‘ ƒƒ‰‡† “—‹–‡ ‡ƥ…‹‡–Ž›Ǥ ‘•–Ž›
Organised Retail Textile Industry have upper hand in acquiring the
right talent. Whereas unorganised sector face issues in acquisition
‘ˆ ”‹‰Š– –ƒŽ‡– †—‡ –‘ Ƥƒ…‹ƒŽ …‘•–”ƒ‹• ‘” –Š‡ ‘”‰ƒ‹œƒ–‹‘ •–”—…-
ture followed by them.
Aligning organizational structures to consumer needs, design-
ing employee compensation policies keeping in mind their roles,
‹’Ž‡‡–‹‰ ‡ơ‡…–‹˜‡ –”ƒ‹‹‰ ƒ† †‡˜‡Ž‘’‡– ’”‘‰”ƒ•ǡ ”‡-
cruiting and retaining talent, etc. are some of the key challenges
that fashion retail players have to address.
One of the critical aspects of human resource management will
be the development of an organizational culture as this will have a
direct impact on employee morale and their attitude towards cus-
tomers.
Forgotten Four Pillars
Integrity: Interiority is a state of being where the person is com-
mitted to its word what has been given. If you complete your com-
mitment with integrity then people around will pay respect which
lead to raising your value in the community.
Relationship: People around you are the real resource of the
life. It is very important to build strong relationship and keep that
relationship intact with integrity. The relationship makes any per-
son powerful. Without power in life none of tasks can be complet-
ed with integrity.
čėĎ ĆĚėĆćč ČĆėĜĆđ
ĔĎĈĊǣ ͕͝Ǧ͖͖Ǧ͖͖͖͚͚͜͝͝ Ȁ ͖͖͖͛͛͜͝͝
ĔćĎđĊǣ Ϊ͕͖͙͗͗͛͛͜͝͝͝͝
ĊĒĆĎđǣ ĘĆĚėĆćč̷ēĊęĎęćǤĎē
Ċćǣ ĜĜĜǤęčĊęĆđĊēęĒĆėęǤĈĔĒ
29(5 6725

š‹•–‡…‡ǣ By existence it does not mean that we exist but it
really means that we are in this world where there are many oppor-
tunities are there and we need to explore them and move forward.
Any entity is there because people are there.
Enrolment: Enrolment is creating new possibilities to be pre-
sent for another such that they are touched and inspired. On can
have right result once you have done enrolment with integrity.
Evolving Customer Needs
Evolving customer needs are a challenge for Indian retailer as
these require rediscovering the customer within a short time span
and then rearrange the organization’s structure, retail formats, and
product portfolios accordingly. Unlike a mature retail market, the
retail market in India has to continuously focus on the process of
learning, unlearning, and relearning. Again, this alone is not suf-
Ƥ…‹‡–Ǣ –Š‡ ‹•‹‰Š–• ‰ƒ‹‡† ‹ –Š‡ ’”‘…‡•• —•– „‡ –”ƒ•Žƒ–‡† ‹–‘
actionable business decisions.
Rising Real Estate Rentals
Though overall there is slump in Real Estate but when it comes
to setting up retail outlet it constitute the major cost to the busi-
‡••Ǥ ‡ ‘ˆ –Š‡ †‹ƥ…—Ž–› ˆƒ…‡† „› –Š‡ –‡š–‹Ž‡ ”‡–ƒ‹Ž ‹• –Šƒ– –Š‡›
‡‡† –‘ Ƥ† –Š‡ ”‹‰Š– ƒ”‡– ™Š‡”‡ –Š‡”‡ ƒ”‡ ’Žƒ›‡”• ‘ˆ –Š‡ •ƒ‡
product but also they have look for players who are into trading
other accessories in the particular market before setting up outlet
in that market. If textile retailer identify the right market then due
to high demand in that area the rentals in that area so high it be-
comes very competitive to sustain itself.
Online Aggregators
In recent years many online and other start-ups have estab-
lished themselves in the textile retail and fashion providing custom-
er larger choices at high discounted rates. They are able to provide
at high discounted rates as they do not have to maintain inventory
themselves. But the down side for them is the Indian customer like
to feel and touch the product before making any decision for pur-
chase.
But new generation of Indian market are moving towards the
online stores as they behaviour is lazy and want the products at
their doorsteps. Few of online aggregators provide services like
easy returns and trial at home services which makes lucrative for
business for online aggregators.
There are many other challenges faced by Textile Retail and
Fashion Industry which is endless and one can list end number of
challenges but most importantly is how the entrepreneur is able to
deal with the challenges.
ƒŽ‡– …“—‹•‹–‹‘
As retail and Fashion Industry is fast pace growing Industry it is
important to create right talent pool and that also keeping with the
‰”‘™–Š ’ƒ…‡ ‘ˆ –Š‡ ‹†—•–”›Ǥ ƒ–…Š‹‰ ”‡•—‡ ™‹–Š Œ‘„ ’”‘ƤŽ‡• ™‹ŽŽ
not really help as stated earlier Human Resource is the key factor
in any industry. Unlike the traditional textile industry the process of
recruitment need to be quicker as the retail market most comple-
tive market. If you not quick in the providing right services then it
may happen you will miss out on the right opportunity.
There are few important factors one must look into while ac-
quiring right talent in Textile Retail Fashion Industry.
”‘†—…– ‘™Ž‡†‰‡
Every Textile Retail or Fashion House before they acquire tal-
ent they must draft down what kind of talent they want. It is really
important that the entrepreneur should have good product knowl-
edge about his product and what it’s USP. Hence while enrolling
any talent in his retail outlet the entrepreneur should make sure
the candidate has full product knowledge what he or she is mer-
chandizing. A garment merchandiser has to analyse customers and
consumers as well as to follow their behaviour to sell the garments
merchandise.

†—•–”› š’‡”‹‡…‡
As the Retail Textile Fashion deals with B2B and B2C kind of
customers where customers can be end user or trader or business
user hence a candidates need to have variable experience which
should be mix of technical operations etc. Apart from the mix pro-
ƤŽ‡• ™Š‹Ž‡ •‡––‹‰ —’ –‡š–‹Ž‡ ‘—–Ž‡– •‘‡ •’‡…‹ƒŽ‹œ‡† ’”‘ƤŽ‡• ƒ”‡
also required. Which are listed as follows:-
‡™
‘„ ”‘ƤŽ‡• —•– ƒ˜‡
• Associate Designer
• Designer
• Design Director
• Technical Designer
• CAD Designer
• Production Manager
• Textile Buyer
• Fashion Forecaster
• Assistant Merchandiser
• Associate Merchandiser
• Product Specialist
• Visual Merchandiser/ Display Director
There are scarcity of specialized professional in Retail Textile
industry this is due there are only very few textile institutes which
…ƒ”–‡” –‘ •’‡…‹ƒŽ‹œ‡† …‘—”•‡•Ǥ Š‘—‰Š –Š‡•‡ …‘—”•‡• ƒ”‡ ƒơ‘”†ƒ„Ž‡
but very few candidate prefer to take up as their career as it is not
very rewarding but in Industry demand for these candidates are
quite high. Due to scarce specialized manpower the cost of man-
power is quite high which adds up to the cost of manufacturer and
making the end product quite expensive for end user.
Personal Behaviour
This is the most important aspect while selecting right talent
for the Fashion and Retail Textile Industry. Personal Behaviour
plays a very important role more than the product knowledge and
Industry Experience. As the candidate has to not only have to deal
within the organization but also external entities outside the or-
ganization.
For example: If a trader want 100 Slim Fit Blue jeans the mer-
chandiser or the marketing personnel should have good patience
in listening and understanding the trader needs. He should able ex-
plain politely and educate the trader about trends and demand and
supply of market. If the merchandiser fails to do so no matter he
ƒ› „‡ “—ƒŽ‹Ƥ‡† –Š‡ ‘”†‡” ƒ› ‘– ‰‘ –Š”‘—‰ŠǤ
Hence from the above example we understand the importance
of personal Behaviour. A candidate has to remember four pillar of
life which mentioned earlier in this article. Which help the candi-
†ƒ–‡ –‘ ƪ‘—”‹•Š Š‹• ‘” Š‡” …ƒ”‡‡” ‹ –Š‹• ‹†—•–”›Ǥ
‘…Ž—•‹‘
We can conclude that Retail Textile Fashion industry is grow-
ing at a rapid pace this is due to increase in per capita income
among the young generation and people are more more con-
scious about fashion and brand. Most of Indian population specially
the rural India are more brand conscious and spend more than the
urban area people. But recruitment in this industry is not a child’s
play. As there are very few specialist available in this Industry. A
specialized consultant in this Industry can be wise option for acquir-
ing these kind of talent.
29(5 6725

RETAIL MANAGEMENT IN TEXTILES
ėǤ ĆēěĊĊė ĆđĎĐǡ ĘǤ ĆđĔēĎ čĆėĒĆ
Email ID- Saloni.1990jan@gmail.com
Department of Textile Technology
Shri Vaishnav Institute of Technology and Science , Indore(M.P)
ABSTRACT
Retail management is most important in the business. Dynamic
young people as well as blue-chip companies are suddenly taking
pride in calling themselves shopkeepers. This profession is able to
attract the cream of talent from management institutes. The amaz-
‹‰ ‹”‘› ƒ„‘—– –Š‡ ”‡–ƒ‹Ž ‹†—•–”› ‹• –Šƒ– ‹– ‡š‹•–•ǡ ‹ ˆƒ…–ǡ ƪ‘—”‹•Š‡•ǡ
in spite of an industrial slump. As far as the western world is con-
cerned the retailing market operates virtually at saturation point.
In retail management, it is extremely important to keep a track
‘ˆ …‘•—‡” †‡ƒ†•ǡ †‡•‹”‡• Ƭ ƒŽŽ –Š‡ ˆƒ…–‘”• –Šƒ– ‹ƪ—‡…‡ –Š‡‹”
buying behavior. Success in retailing comes from how the value
chain is linked to each retail function aiming at the watchword
while attempting to orchestrate the value driving forces to accom-
plish success in retailing. Innovations constant value additions to
the key enables in entire value chain will give a clear competitive
advantage help the retail store emerge as a winner.
In this paper we are going to discuss, retail management in the
business that has the most rapid, most visible deepest impact on
economic development growth. Developments changes in re-
tail management are bound to get noticed because they intimately
directly touch each one of us, regardless of our age, class or pro-
fession.
INTRODUCTION
The sale of textile goods or merchandise usually for personal or
Š‘—•‡Š‘Ž† —•ƒ‰‡ ‡‹–Š‡” ˆ”‘ ƒ Ƥš‡† Ž‘…ƒ–‹‘ ‘” ˆ”‘ ƒ••‘…‹ƒ–‹‰
subordinated services is known as textile retailing. Textile retailers
usually refer to those groups of who purchases huge quantities of
textile products from manufacturers or importers either directly or
through a wholesaler and ultimately sells individual product item or
small quantities to the general customers in shops or stores.
Figure No.01
Textile whole sale and retail are terms closely associated with
the commercial aspect of textile industry. The practice of selling of
textile goods or merchandise to retailers, commercial, institutional,
or other professional business users or to other textile wholesalers
is known as textile wholesaling. Wholesaler often physically assem-
ble, sort and grade products in huge quantities, then break the bulk
and repack and redistribute them in smaller quantities.
Without a doubt, the most important factor which makes a re-
tailer successful is the appeal quality of the range of products
that it stocks. Certainly there are other factors that contribute to
the success; the design of the store, the attentiveness knowl-
‡†‰‡ ƒ„‹Ž‹–› ‘ˆ –Š‡ •–ƒơǡ –Š‡ ‹˜‡–‹˜‡‡•• ‘ˆ –Š‡ ƒ”‡–‹‰ Ƭ’”‘-
motions appeal of the visual merchandising. These are the things
which although enhance the shopping experience for the custom-
ers perhaps ensure that they visit your store more than others,
they do not directly lead to a sale. The only thing that will make a
customer part with his cash is, in the end, the product.
The process which supports the planning buying of a range is
therefore central to any retailers operations. This process involves
‘– Œ—•– –Š‡ …Š‘‹…‡ ‘ˆ –Š‡ ’”‘†—…– ‹–•‡Žˆǡ „—– ƒŽ•‘ –Š‡ ‹†‡–‹Ƥ…ƒ–‹‘
‘ˆ –Š‡ …”‹–‡”‹ƒ –Šƒ– ™‹ŽŽ ‹ƪ—‡…‡ Ƭ …‘•–”ƒ‹ –Š‹• …Š‘‹…‡ Ƭ –Š‡ ˆƒ…-
tors to consider ensuring that we do get it right.
ADDING VALUE IN-STORE
The moment one things of value in retailing, what comes to
mind are some dominant success indicators like the location of the
•–‘”‡ǡ –Š‡ Ž‘‘ ‘ˆ •–‘”‡ Ƭ …—•–‘‡” –”ƒƥ… –Šƒ– –Š”‘‰• –Š‡ •–‘”‡Ǩ
LOCATION
Successful retailing depends on the three most important fac-
tors: Location, location location. And hence perhaps many retail
organizations think that having got the right location, they would
start churning out sales. It is right that location is important but if
one does not look at the robustness of the other value drivers too
besides location factors or any dominant factors that the organi-
zations may think is right for achieving the desired results, sales
would not happen.
We see large crowds of people visiting retail stores shopping
malls. We even know that an up-market shopping mall had huge
…”‘™†• ˜‹•‹–‹‰ –Š‡ Ƭˆ‘” ”‡ƒ•‘• ‘ˆ ‡ơ‡…–‹˜‡ …”‘™† ƒƒ‰‡‡–ǡ
they introduced especially on weekends certain entry enablers for
customers like the mobile phones, credit cards, identity cards, an
entry fee, etc! So, these are all factors that evince the successful
establishment of a store or mall.
On the other hand, there are other retailers, primarily in the life
style retail sector, whose merchandise is targeted towards psyche
of rich mega cities. Driving on this perception of a higher willing-
ness to spend on life style luxury products, this segment is ex-
pected to maintain focus on the large base of the richest consum-
ing class in the larger cities.
PLANNING AND BUYING A SUCCESSFUL RANGE
Success in retailing is when any one who walks into your store
Ƥ†• ƒ ’”‘†—…– –Šƒ– Š‡ ‘” •Š‡ ™ƒ–• –‘ „—› ‹ –Š‡ †‡•‹”‡† •‹œ‡Ǥ —…-
29(5 6725

cess is when nearly everything you buy sells at full price. Success is
when the customer keeps coming back to your store because you
ƒŽ™ƒ›• ‡‡– Š‹• ‘” Š‡” ‡‡†•Ǥ —……‡•• ƤƒŽŽ› ‹• ’”‘Ƥ–ƒ„‹Ž‹–›Ǥ
Figure- 02
INFLUENCES AND CONSTRAINTS
Š‡ …‘–‡– Ƭ •‹œ‡ ‘ˆ ƒ ”ƒ‰‡ ƒ”‡ ‹ƪ—‡…‡† „› ˆ‘—” –Š‹‰•ǣ
Who is your customer what does he or she want?
What space do you have available?
Šƒ– Ž‡˜‡Ž ‘ˆ –”ƒ†‹‰ ’”‘Ƥ– †‘ ›‘— ‡‡†ǫ
What is happening in the market?
THE CUSTOMER
The potential consumer is anyone who walks into your store
„—– ‘— …ƒ ‹ƪ—‡…‡ ™Š‘ ™ƒŽ• ‹–‘ ›‘—” •–‘”‡ –Š”‘—‰Š ƒ†˜‡”–‹•-
ing, through store environment through garment product that
›‘— •‡ŽŽ Ƭ –Š‡ ’”‹…‡ ›‘— •‡ŽŽ ‹– ƒ–Ǥ ‘•– …—•–‘‡”• ƒ”‡ Ƥ…Ž‡Ǣ ‡˜‡ ‹ˆ
they walk into your store with a particular purchase in mind, they
will often walk out with something else.
At the same time, research for apparels can only be accurate.
Asking Will you wear this garment doesnt always reveal what will
really happen when the customer is actually presented with that
garment. Even customer feedback can be misleading. If one very
loud customer asks regularly for a product it doesnt mean that eve-
ry customer wants or needs it. That one customer will be remem-
bered can lead to false demand.
SPACE
Walls are not elastic. You will need to decide how to allocate
the space you have available to the garment products the custom-
er expects you to stock, in a way that delivers the best returns. This
macro level planning of the product mix is critical to achieving prof-
‹–ƒ„‹Ž‹–›Ǥ ƒ‰‹‰Ȁ •–ƒ…‡†Ȁ…‘—–‡”•Ǧ ƒŽŽ Šƒ˜‡ †‹ơ‡”‡– …ƒ’ƒ…‹–‹‡•
Ƭ †‹ơ‡”‡– ƒ†˜ƒ–ƒ‰‡• Ƭ †‹•ƒ†˜ƒ–ƒ‰‡•Ǥ ‘— ™‹ŽŽ ‡‡† –‘ †‡…‹†‡
what stock density you want to achieve. The more options/units
you can hold for a given amount of space, the higher the poten-
tial returns. However, the customer may not approve. He/she may
wish to shop in a store that is less cluttered. The range size for any
product area is not constant. It is no use giving space to a product
if there are not enough options to display.
PROFITABILITY
—› Ž‘™ǡ •‡ŽŽ Š‹‰ŠǤ —› ‘ …”‡†‹–ǡ •‡ŽŽ ‘ …ƒ•ŠǤ ‡–ƒ‹Ž ’”‘Ƥ–ƒ„‹Ž-
‹–› ‘ˆ •‡‡• Ž‹‡ ƒ ‘Ǧ„”ƒ‹‡”Ǥ ƒ”‰‹ ‘ •ƒŽ‡•ǡ ‹Ǥ‡Ǥ –Š‡ †‹ơ‡”‡…‡
between the sales at actual selling price the cost of textile prod-
uct sold, is the number one deliverable for buying merchandis-
ing team. This will impact on the cost price you need to negotiate,
–Š‡ ’”‹…‡ –Šƒ– ›‘— ™‹ŽŽ •‡ŽŽ ƒ– Ƭ –Š‡ ƒ”Ǧ†‘™ ›‘— …ƒ ƒơ‘”†Ǥ ‡
should remember that, stock is money-every product you have
‘ ›‘—” ƪ‘‘” ‹• ‘– ƒ •ƒŽ‡ —–‹Ž –Š‡ …—•–‘‡” „—›• ‹–ǡ „—– ‹• ƒ …‘•–
as soon as you pay for it. Keeping up with fashion- Styles change
every week. So catching fashion while it is hot is a clear recipe for
better margins with more sales happening at full prices fewer
discounts.
Three winning formulae to get fresh fashions-
• Short lead time =More fashionable clothes
• Lower quantities=Scarce supply
• More styles=More choice more chances of hitting it
right
We should also consider market factors such as-
• New product developments
• New lifestyles
• Fashion trends
• Economic factors
• Competition
• Supply base
RIGHT PRODUCT
Make sure the customer is given the best possible choice of
product at all times with respect to the following:
PRICE
‡Ƥ‡ ›‘—” ’”‹…‡ ƒ”…Š‹–‡…–—”‡ ™‹–Š ”‡•’‡…– –‘ ›‘—” Ž‡ƒ† ‹ǡ ‹†
Premium price points. Be customer-led, not cost-driven.Set the
price according to what the customer wants to pay, so that you
…ƒ ƒ‹–ƒ‹ …Ž‡ƒ” ’”‹…‡ ‡••ƒ‰‡ Ƭ „‡ ƪ‡š‹„Ž‡ ™‹–Š ›‘—” ƒ”‰‹
rate. Dont set the selling price according to the cost price for the
‰ƒ”‡– ™‹–Š ƒ Ƥš‡† ƒ”‰‹ ”ƒ–‡Ǥ —•–‘‡”• †‘– —†‡”•–ƒ† ™Š›
–™‘ •‹‹Žƒ” ’”‘†—…–• ˆ”‘ –Š‡ •ƒ‡ „”ƒ† ƒ”‡ †‹ơ‡”‡– ’”‹…‡•ǡ ‘”
™Š› –Š‡› Šƒ˜‡ –‘ ’ƒ› ‘”‡ ˆ‘” ƒ „‹‰‰‡” •‹œ‡ ‘” †‹ơ‡”‡– …‘Ž‘”• ‘ˆ
the same item. At the time, clear pricing delivers a stronger mes-
sage. Colour, style, fabric innovation of a garment are the most
important binding elements in a range. Dont let one colour domi-
nate but, at the same time dont become a rainbow. Also, aim to
keep the range fresh at all times.
TEXTILE COMPANIES TO INTEGRATE AND COLLABORATE TO COM-
PETE IN A GLOBAL INDUSTRY
Textile companies face increasing globalization in many areas
of the textile industries- competition, markets sources of mate-
rial production. That increasing globalization demands new ap-
proaches. To succeed today, you need access to work forces, raw
materials other resources from around the globe. You need to
deliver products to customers worldwide to purchase prelimi-
nary intermediate textile products on a global basis. You need
to manage complex products with various product, dimension, and
quality process attributes; deal with asset- and energy- intensive
production; and cope with complex, ever- changing environmental
regulations. And you need to build stronger relationships with cus-
tomers to keep competitors from luring them away.
All of those requirements make the textile industry a place
where simply having the best product is no longer enough. You also
have to excel at logistics provide quality service. To respond to
29(5 6725

customer needs to successfully compete you have to constantly
‹…”‡ƒ•‡ ‡ƥ…‹‡…›ǡ …‘ŽŽƒ„‘”ƒ–‡ ™‹–Š ƒ ‰Ž‘„ƒŽ ‡–™‘” ‘ˆ ’ƒ”–‡”• Ƭ
reach beyond your corporate boundaries.
RETAILERS RUSH TO TEMPERATE ZONE
If temping pass, weekend temping is a new passport for re-
tailers to tide over footfall pressure during weekends. As families
make a beeline for high streets malls during the weekends the
normal looks helpless. So retailers are increasingly training their
eyes on droves of under grades who are willing to work for money,
recognition or just the fun of hanging out. Heavy weight retailers
see spike in footfalls over the weekends, are roping in agencies for
out sourcing man power for that one to two day duration.
The retailers face real manpower issues during the weekends
this is bound to go up. For people shopping is more of an entertain-
ment than just a plain utilitarian activity that explains the chaos
‹ ƒŽŽ• †—”‹‰ ™‡‡‡†•Ǥ ‘ ”‡–ƒ‹Ž‡”• ‡‡† •–ƒơ ”‡‹ˆ‘”…‡‡– ˆ‘”
basic functions such as attending to customers, restocking, etc.
E-SHOPES
E-commerce shopping is one important factor in retailing and
gaining immense popularity in metros. Changing shopping hab-
its turning for convenience large number of people merchants
becoming internet savvy are primary reasons for pushing up e-
…‘‡”…‡ –”ƒ•ƒ…–‹‘•Ǥ Š‹• „—•‹‡•• ‘†—Ž‡ ‹• …‘•– ‡ơ‡…–‹˜‡ǡ ‡ƒ•-
‹Ž› ƒ……‡••‹„Ž‡ Ƭ ’”‘Ƥ–ƒ„Ž‡ ‹ ƒ› ˆ—…–‹‘ƒŽ ƒ”‡ƒ•Ǥ ‘•—‡”• Ƭ
retailers both desire simple comprehensive online shopping that
will truly realize the range of power of internet.
The online system is advantageous to vendors because rapid
solicitations can be viewed 24 hours/day using a one-stop shop-
’‹‰ ˆ‘”ƒ– –Šƒ– ‡Ž‹‹ƒ–‡• –Š‡ ‡‡† –‘ ˜‹•‹– ’”‘…—”‡‡– ‘ƥ…‡•Ǥ
Many local entities also use the system to describe their minority
…‘–”ƒ…–‹‰ ’”‘…‡†—”‡ Ƭ ™ƒŽ ƒ’’Ž‹…ƒ–• –Š”‘—‰Š –Š‡ …‡”–‹Ƥ…ƒ–‹‘
process. Home delivery saves the time 24*7 hours shopping with
ease availability factors for product comparisons. E-shopping
taking place in electronic gadgets, apparel design purchases, rail-
ways, air tickets, accessories jewellery, online book sale.
FASHION INDUSTRY
Boutique its importance:- The role of a designer in a boutique
is crucial to its success. The task is one of the interpreting society’s
current anticipated mood into desirable, wearable garments for
‡˜‡”› –›’‡ Ƭ Ž‡˜‡Ž ‘ˆ ƒ”‡–Ǥ ‘ †‘ –Š‹• ‡ơ‡…–‹˜‡Ž›ǡ †‡•‹‰‡”• —•–
be in tuned with wider social, cultural, economic political environ-
ment within which people conduct their daily lives. Only their ideas
–”—Ž› ”‡ƪ‡…– …—””‡– ’”‡˜ƒ‹Ž‹‰ …‘†‹–‹‘• Ƭ –Š‡ ‹’ƒ…– –Š‡› ƒ”‡
likely to have on future consumer needs. It is better for a designer
who works for a boutique to understand a sequence of events in
–Š‡ ˆƒ•Š‹‘ ™‘”Ž†Ǥ Š‡”‡ ƒ”‡ ˆ‘—” •–ƒ‰‡• ‘ˆ ‹ƪ—‡…‡ ‹ ƒ ‡™ ’”‘†-
—…– †‡˜‡Ž‘’‡– Ƭ ˆƒ•Š‹‘ †‹ơ—•‹‘ Ƭ ƒ†‘’–‹‘ ’”‘…‡••Ǥ
Š‡•‡ ƒ”‡ …Š”‘‘Ž‘‰‹…ƒŽŽ› ƒ•ǣ
• The color meeting.
• The biannual yarn fabric fairs.
• The biannual international fashion fairs in Paris.
• Reportage in the trade commercial press.
THE PRESENT STRUCTURE OF FASHION INDUSTRY
The manufacture sale of cloths today is one of the worlds
most important industries. The fashion industry has changed as
‹– Šƒ• ‡š’ƒ†‡† Ƭ †‹˜‡”•‹Ƥ‡†Ǥ ‹––Ž‡ Šƒ• …Šƒ‰‡†ǡ –Š‘—‰Šǡ ™‹–Š
regards to the creative aspects of fashion design. The head of a
collection is surrounded by the team of designers dress makers
.He is responsible for choosing the seasons line fabrics select-
ing which models will be made on the premises in his workroom.
Finally he chooses the establishments model, on whom the collec-
tion will be presented to the public.
WHO DARES, WINS!
It is clear that the Indian market is going through a phase that
is unprecedented in its recent history, and the opportunity exists
for existing producers of garments (including exporters), Indian
companies from other sectors, international brands, as well as in-
dividual entrepreneurs, to create a brand presence from scratch or
grow their existing business. The qualifying factors for entry into
the contest are the desire to create new brands, and deep pockets
to sustain investment in branding and market-building. However,
the success factors to win in the contest are higher drive and en-
thusiasm to take the hits that will invariably come, an ability to tap
–Š‡ …‘•—‡”ǯ• •‡•‡ ‘ˆ ƒ†˜‡–—”‡ ƒ† †‹ơ‡”‡–‹ƒ–‹‘ǡ –Š‡ –ƒŽ‡–
–‘ †‡˜‡Ž‘’ ƒ ’”‘†—…–Ǧ•‡”˜‹…‡ ‘ơ‡” –Šƒ– ‹• †‹•–‹…–‹˜‡ǡ ƒ† ƒ ’‘‘Ž ‘ˆ
common sense to minimize the losses during the initial period of
investment, which may be months or years. With all the challenges
–Šƒ– ”‡–ƒ‹Ž ‘ơ‡”•ǡ –‘ –Š‘•‡ ™Š‘ Šƒ˜‡ –Š‡ …‘—”ƒ‰‡ –‘ ˜‡–—”‡ ‹ǡ Ž‡–ǯ•
say, “Happy Retailing!”
FUTURE SENTIMENTS
Over all retailing will see a combination of large format retail
outlets, representing a combination of malls and high street re-
tailing. This trend will spread beyond the metropolitan cities to
the large towns. A super retailer can actually, drive expectations
by developing need based retail formats. Many new formats will
emerge, as there will be rapid roll-outs. In the coming years Store
size and scale will increase and niche players will co-exist. There will
be integration of retailing and wholesaling.
The only way in which the big retail formats can hope to com-
’‡–‡ ™‹–Š Ž‘™ …‘•– ‘’‡”ƒ–‹‘• ‹• „› …”‡ƒ–‹‰ ƒ ‡ƥ…‹‡– •—’’Ž›
chain. The hyper marts will play a large part in this :Any organized
retail chain requires a critical mass before it can integrate auto-
mate the supply chain. However, the success of hyper marts once a
month stock up on groceries the like.
The main retail formats
Ȉ ƒŽŽ •–‘”‡•ǡ ™‹–Š …‘’Ž‡š „—– ‡ƥ…‹‡– •—’’Ž› …Šƒ‹•Ǥ
• Small supermarkets running on brand variety tight inventory
control.
• Mix of food general merchandise stores.
• Out of-town/on the outskirts of the city shopper tainment com-
plexes.
• Mid sized retail propositions within town limits.
• Small corner outlets with integrated home delivery for tele-
phonic orders.
• Awareness of factors such as trade mix positioning for suc-
cessful retailing has increased.
29(5 6725

S •–ƒ†• ˆ‘” •ƒ…”‹Ƥ…‡ǡ •‡•‡ ‘ˆ •‡”˜‹…‡ ƒ† ”‡…‘‰‹–‹‘ ‘ˆ ƒ—
thority
I stands for passionate impulse that brings out charm
K stands for being the knight who served his master as an ar
mour mounted soldier
H stands for being helpful and humble, it brings out a unique
altruism
N stands for strong negotiable skills and communication
I •–ƒ†• ˆ‘” ‹†‡’‡†‡…‡ ƒ† •‡ŽˆǦ•—ƥ…‹‡–
This all brings out a true SIHKNI!
Without futher adue lets talk with that young designer and the
…”‡ƒ–‘” ‘ˆ Ǯ

ǯ Š‡”•‡Žˆ ǡ ‹•• ƒ”’”‡‡– ƒ—” ƒ”ƒŠǤ
TVC : When did you have interest in Fashion?
HK : I was 13 when i decided to be a designer, since then i started
dreaming and reading about Fashion Designers, Stylists, Illustra-
tors, Fashion Choreographers etc. According to my Parents i had
already chosen my Career at the age of 2, as since then i have been
choosing my own clothes to wear.
TVC : What does fashion mean to you?
HK : Fashion to me is Everywhere, its in Nature, Streets, Cities, Vil-
lages, its everywhere.
TVC : Who would you say is your fashion inspiration?
HK : My Parents
TVC : What inspired you to start up with SIKHNISTYLES?
HK : was in College when i saw Singh Street Style, i loved it and
thought why isn’t there anything for Turbaned Women, so thought
of starting it myself. And not necessarily one has to wear short
clothes, wear a lot of makeup, colour your hair to look Fashionable,
one can look absolutely beautiful by having your body covered up
and look Fashionable at the same time, as its said ‘SIMPLICITY IS
BEAUTY’.
ǣ Šƒ– ™ƒ• –Š‡ ”‡ƒ…–‹‘ ‘ˆ –Š‡ ƒ—†‹‡…‡ ƒˆ–‡” •‡‡‹‰ ›‘—” ’‹…-
–—”‡• ‘ ›‘—” ƒ…‡„‘‘ ƒ†

•–ƒ‰”ƒ Ž‘‰ǫ
HK : Well, some liked it some did not, it was 50-50, our goal is to be
Fashionable while staying grounded.
ǣ‘™ †‘ ›‘— †‡ƒŽ ™‹–Š ”‹–‹…‹•ǫ
HK : In my opinion criticism is important in life it helps you to grow
and most importantly understand people’s perspective and choice.
ǣ ‘™ †‹† ›‘—” ”‹‡†• ƒ† ƒ‹Ž› ”‡ƒ…– ƒ† ™Š‘ ‡…‘—”ƒ‰‡†
you the most?
HK : My Family and Friends Appreciated the SIKHNI look and my
siblings were the ones to encourage me the most, in fact i never
wanted myself to get photographed i wanted to style up for Tur-
„ƒ‡† ‘‡ ƒ† ’Š‘–‘‰”ƒ’Š –Š‡ǡ ƒ† •‹…‡ ‹ …‘—Ž†ǯ– Ƥ† ƒ›-
one, my brother suggested me to start with myself, and both my
siblings love photography.
ǣ Šƒ– ƒ†‡ ›‘— †‡…‹†‡ –‘ •–ƒ”– „Ž‘‰‰‹‰ǫ
HK : As i said there was nothing for Turbaned Women, this idea and
Curiosity made me to start up with SIKHNISTYLES and i Love Tur-
bans, since childhood i have been seeing people in my family with
Turbans.
ǣ ‘™ ™‘—Ž† ›‘— †‡•…”‹„‡ ›‘—” „Ž‘‰‰‹‰ •–›Ž‡ǫ
HK : I don’t really know much about Fashion Blogging, but i know
one thing that pictures give a very Big impact, therefore let your
Pictures Speak about your blog.
TVC : What is your Favourite Fashion magazine?
HK : Vogue, Cosmopolitian
TVC : Favourite Celebrity style?
HK : Sonam Kapoor , Beyonce
TVC : Heels? or Flats?
HK : Heels
ǣ Š‹…Š „”ƒ†• ‘” †‡•‹‰‡”• ™‘—Ž† ›‘— Ž‹‡ –‘ …‘ŽŽƒ„‘”ƒ–‡ǫ
HK : Sabyasachi Mukherjee, Arpita Mehta, Wendell Rodricks and
many more.
ǣ Šƒ– ™‘—Ž† ›‘— •ƒ› –Šƒ– ‹• –Š‡ „‹‰‰‡•– …ŠƒŽŽ‡‰‡ ƒ„‘—– ˆƒ•Š-
ion blogging?
HK : Fashion Blogging is something that excites me the most, and
that is something i enjoy doing it, the challenging part that i think
about Fashion Blogging is reaching it to the right audience.
ǣ ‘™ ™‘—Ž† ›‘— †‡•…”‹„‡ ›‘—” ’‡”•‘ƒŽ •–›Ž‡
HK : I love printed turbans, pop colour blazer, a white shirt, black
™‡ŽŽ Ƥ––‡† –”‘—•‡”ǡ •–ƒ–‡‡– ‡…’‹‡…‡ ƒ† …‘–”ƒ•– …‘Ž‘—” Š‡‡Ž•
and you are good to go.
TVC : Any style tips for Sikh Turbaned Women?
HK : Fashion is endless and one can do a lot with it, play with col-
ours go colourful, colour contrast with turban and garments or tur-
ban and dupattas, go with prints and prints , printed turbans with
printed garments. Go simple wear heels , they make you look glam-
orous. Accessories too enhance and pop a look. Not necessary to
follow Trends all the time, just be comfortable and carry yourself
…‘Ƥ†‡–Ž›Ǥ
Profession- Fashion Designer, Stylist and Sikhni Fashion Blogger at SIKH-
NISTYLES
29(5 6725
Interview with Ms. Harpreet Kaur Young Designer

3267 6+2: 5(3257
With its 5th edition, HGH India the annual trade show for Home
Textiles, Home Décor, Gifts Houseware in India. More than 450
brands, manufacturers and importers are presenting their range
and innovations this year.
The function opened with the lamp lighting ceremony at 10:30
am with Mrs. Rashmi Verma, Textile Secretary and Guest of Honour
Dr. Kavita Gupta, Textiles Commissioner, was also present there
with many other prominent industry leaders and dignitaries. The
function also witnessed the unveiling of the Trend Book 2016-2017.
On this occasion, Mrs. Rashmi Verma, Textile Secretary said,
ǲ

JULY 2016 ISSUE

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