The main motto of this topic is to study the knowledge society and its constraints and issues for Indian Craftspeople.
The objectives are as followed:
• To give them a platform for exhibitions and interactions with wholesalers/ retailers.
• To create some seminars for export knowledge.
• To study that why it is not neglected by society with due course of time.
• To explore new markets within the country.
• To increase export from the cluster.
• To develop High Fashion Garment Products with those artisans.
Artisan with careful hand, foot and eye coordination embarks on the journey of weaving each thread that binds elements of life into one golden fabric. The process is long, as sometimes only about 2-3” of border gets woven in a day depending on the complexity of the design. The whole family of the weaver is involved, sharing varied responsibilities pertaining to the weaving process... Not only their livelihood but it is their life & mode of self-expression.
This ppt will be helpful for gaining the basic knowledge of Indian traditional textile from various states and regions. I will definitely try to add more slides in it.
Artisan with careful hand, foot and eye coordination embarks on the journey of weaving each thread that binds elements of life into one golden fabric. The process is long, as sometimes only about 2-3” of border gets woven in a day depending on the complexity of the design. The whole family of the weaver is involved, sharing varied responsibilities pertaining to the weaving process... Not only their livelihood but it is their life & mode of self-expression.
This ppt will be helpful for gaining the basic knowledge of Indian traditional textile from various states and regions. I will definitely try to add more slides in it.
It is not just the romance of a Lucknow-i summer, dappled courtyards and the sheer luxury of gossamer yards but also its identity lies in the intricate chikankari work.
Read More - http://bit.ly/2BNzS6X
Kota Doria ; Legacy,problem and solution by Rohan and NishantRohan Sharma
Kota Doria originated from a village Kaithun near kota, Rajasthan (India).It is one of the most prominent handloom clusters in Rajasthan . In textile and Handloom industry it is considered equal to Banarsi sarees and kanjivaram sarees of south India but this industry is facing many problems . We tried to find that out and suggested a solution.
An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
This presentation highlights the glorious Mughal Era(1526-1748) costume,textile, ornament and it's impact on today's fashion.Detail description about of men's clothing ,women's clothings with accessories that affected the fashion world with it's richness and intricacy.
It is not just the romance of a Lucknow-i summer, dappled courtyards and the sheer luxury of gossamer yards but also its identity lies in the intricate chikankari work.
Read More - http://bit.ly/2BNzS6X
Kota Doria ; Legacy,problem and solution by Rohan and NishantRohan Sharma
Kota Doria originated from a village Kaithun near kota, Rajasthan (India).It is one of the most prominent handloom clusters in Rajasthan . In textile and Handloom industry it is considered equal to Banarsi sarees and kanjivaram sarees of south India but this industry is facing many problems . We tried to find that out and suggested a solution.
An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
This presentation highlights the glorious Mughal Era(1526-1748) costume,textile, ornament and it's impact on today's fashion.Detail description about of men's clothing ,women's clothings with accessories that affected the fashion world with it's richness and intricacy.
Zardozi 3D Jewel Wall Carpets & Decorations.
Rare | Hand woven | Art
Material Used: Original Semi-Precious Stones, Silk, Gold Polished Copper Wire, Silver Polished Copper Wire. Can be framed by buyer for decoration purpose.
Local Contact: Vinod Nair +971 56 633 4402
Check out Tennessee Tech University's Craft center. This program offers a Bachelors of Fine Arts. Interested students can mail us at info@intelligentgulf.com
Make in india - Indian handicraft Products onlinedrshn13
India's No.1 Upcoming Handicraft Seller, Which Sell Indian artist made prodcuts which are handcrafted. Buy wall hanging, kitchen accessories, dhokra arts, blue pottery,paintings etc.
This presentation explores the global impact of Indian Handloom cloth products, emphasizing their cultural heritage, economic importance, and sustainability. It outlines the handloom's history, its contribution to livelihoods, and the Indian economy, supported by over 4.3 million artisans. Initiatives like the National Handloom Development Programme and the Handloom Export Promotion Council aim to modernize the sector and boost the global market presence of handloom products. Despite challenges such as competition and the need for innovation, the future looks promising. For more info on Indian handloom products and manufacturers, visit https://www.ibef.org/exports/handloom-industry-india
Dear Members,
The 9th issue of “DNote Xpress” is here.
In this issue “Revival of Crafts through CSR”
• Fiinovation & CII help Bridge the Gap
• Dastkar – Safeguarding Heritage
• Revival of Crafts through CSR
• Indian Craft Villages
• Fiinobservation of International Days
Find out what's new on the 9th edition of our newsletter
Fiinovation | www.fiinovation.co.in
Unleash Your Inner Demon with the "Let's Summon Demons" T-Shirt. Calling all fans of dark humor and edgy fashion! The "Let's Summon Demons" t-shirt is a unique way to express yourself and turn heads.
https://dribbble.com/shots/24253051-Let-s-Summon-Demons-Shirt
Transforming Brand Perception and Boosting Profitabilityaaryangarg12
In today's digital era, the dynamics of brand perception, consumer behavior, and profitability have been profoundly reshaped by the synergy of branding, social media, and website design. This research paper investigates the transformative power of these elements in influencing how individuals perceive brands and products and how this transformation can be harnessed to drive sales and profitability for businesses.
Through an exploration of brand psychology and consumer behavior, this study sheds light on the intricate ways in which effective branding strategies, strategic social media engagement, and user-centric website design contribute to altering consumers' perceptions. We delve into the principles that underlie successful brand transformations, examining how visual identity, messaging, and storytelling can captivate and resonate with target audiences.
Methodologically, this research employs a comprehensive approach, combining qualitative and quantitative analyses. Real-world case studies illustrate the impact of branding, social media campaigns, and website redesigns on consumer perception, sales figures, and profitability. We assess the various metrics, including brand awareness, customer engagement, conversion rates, and revenue growth, to measure the effectiveness of these strategies.
The results underscore the pivotal role of cohesive branding, social media influence, and website usability in shaping positive brand perceptions, influencing consumer decisions, and ultimately bolstering sales and profitability. This paper provides actionable insights and strategic recommendations for businesses seeking to leverage branding, social media, and website design as potent tools to enhance their market position and financial success.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Book Formatting: Quality Control Checks for DesignersConfidence Ago
This presentation was made to help designers who work in publishing houses or format books for printing ensure quality.
Quality control is vital to every industry. This is why every department in a company need create a method they use in ensuring quality. This, perhaps, will not only improve the quality of products and bring errors to the barest minimum, but take it to a near perfect finish.
It is beyond a moot point that a good book will somewhat be judged by its cover, but the content of the book remains king. No matter how beautiful the cover, if the quality of writing or presentation is off, that will be a reason for readers not to come back to the book or recommend it.
So, this presentation points designers to some important things that may be missed by an editor that they could eventually discover and call the attention of the editor.
2. INTRODUCTION
• Chinkankari is an art, which results in the transformation of the plainest cotton and organdie into
flowing yards of magic.
• Bengali work was mainly for the European market.
• In Lucknow embroiderers worked under the trade of local courts. When these declined in the mid
nineteenth century chikan changed from a professional activity of men to a cottage industry for women.
• With the passage of time, Indian embroidery has brought out professionalism in the art with
preserving its domestic affiliation, professional work normally being done by men and made either for
someone who supports local trade or export.
• Domestic work is much localised, families generally remaining in one place, with designs handed down
through generations practice such an art both for preserving their generational legacy and earning their
livelihood.
3. HISTORY OF LUCKNOW CHIKANKARI
Origin of Chikan
• The word chikan is Persian, kari being hindi for ‘work’.
• Persian was the court language of India, during the time of Mughals.
• The usual Persian word for embroidery is naksh.
Journey of Chikan
Persia
Straight lines rather than curves.
Patterns tend to be geometric and not floral.
Persian white work of the nineteenth century is of crosses, squares and diagonals.
Bengal
There is some confusion over what chikan was made in Calcutta and what traded there from Dacca.
By the mid of nineteenth century intricately worked handkerchiefs attributed to Calcutta.
They show a strong European influence both in technique and in use of Pictorial motifs.
Lucknow
By 1904, it was one of the most important industries of Lucknow.
One, established in 1890 and still active today, offered in 1901 over one thousand different designs
of Chikan.
6. STRUCTURE OF THE ENTERPRISES IN THE CLUSTER
Turnover Rs. Per
annum
Number of
Enterprises
2-5 Crores 5
1-3 Crores 10
50-100 Lacs 300
20-50 Lacs 750
5-20 Lacs 2000
Total 5065
Source: SSI, Diagnostic Study of the Chikan Embroidery Cluster, Lucknow, U.P
5 Manufacturers Turnover Rs. 22 Crores
10 Manufacturers Turnover Rs. 25 Crores
300 Manufacturers Turnover Rs. 225
Crores
750 Manufacturers Turnover
Rs. 250 Crores
2000 Manufacturers
Turnover Rs. 300
Cores
2000 Small
Manufacturers
Turnover Rs. 80
Crores
7. KEY ROLE PLAYERS OF THE CLUSTER
There are many civil society organisations working for welfare of artisans in the cluster. And the main
aim is to uplift the economic & social conditions of the handicraft artisans.
Civil Society Organizations
Transporters and Cargo Service Providers
District Industries Center (DIC), Lucknow
Export Promotion Bureau, U.P., Lucknow
U.P. Trade Promotion Authorities, Kanpur
Handicrafts Marketing and Service Extension Center, Barabanki
Small Industries Development Bank Of India (SIDBI)
Export Promotion Council for Handicrafts (EPCH), New Delhi
Apparel Export Promotion Council (AEPC)
Handloom & Handicraft Export Promotion Corporation, New Delhi
Indian Trade Promotion Organisation (ITPO),New Delhi
Financial Institutions
9. SOCIO – ECONOMIC STATUS OF THE STAKEHOLDERS
• Most of the Chikan workers are Muslim woman doing this magnificent artistic work by living in the
purdah in Chikan craft the large producers are called Mahajans.
• They procure the raw materials from the market, designs from the designers and allocate the work
among the home-based workers out of which most of them are woman to complete the work at a
predetermined wage or piece rate.
• Hence the artisans completely depends upon the mahajans as for financial aspects are concerned for
carrying out the craft making which ultimately brings about the same problem of low wage as happened
in other crafts and handloom clusters.
• Even the most skilled artisans insist that it was impossible to earn over a certain amount in a given
week or month however hard of worked.
• The exact wage of the product depends upon the magnitude of the embroidery work undertaken on
the product.
• However the payment structure for this type of work varies from rural area to urban area. While in
rural area the payment made to the professionals is less, in urban area like Lucknow the payment
structure is some how high than rural area.
• The system of middleman gives rise to the exploitation of the real artisans.
10. The working conditions are primitive and congested, where there is neither any scope of learning and
nor innovating designs or product range. Hence the socio-economic condition of the artisans seems to
be not different than the other artisans of other products.
Productivity of the artisans
Average person in a family engaged in the craft
Average educational level of the artisans
Average earnings of an artisan
Average working hours in the centre
11. CONSTRAINTS AND SUGGESTIVE MEASURES
Availability of Raw Material
Subcontracting Of Production Process
No Designer Input
Lengthy Production Time
No Regular Work to Artisans
Very Less Wages to Artisans
Bad Workplace Conditions of Artisans
Abundance of Artisans of Only 4-5 Styles of Stitches
Specialisation in Product Manufacturing
Undercutting Practice among Manufacturers
Establishment of Embroidery Centres by Manufacturers
Assessment of Organisational Linkages in the Cluster
No Association or Forum of SMES in the Cluster
No Proper Linkage among Manufacturers
No Direct Relation Between Artisans and Manufacturers
12. ISSUES FOR INDIAN CRAFTSPEOPLE
• Copying is a way of life in India, and exploitation is pervasive at every level.
• Craftspeople themselves often leak unique designs belonging to their clients to the highest bidder.
• Many aspects of crafts production in India, as well as the very nature of the crafts traditions
themselves, present unique problems in developing and implementing intellectual property rights (IPR)
mechanisms for their protection. There are three primary areas of difficulty:
Determining ownership,
Developing membership structures for owners, and
Establishing and maintaining enforcement procedures.
Several different types of owners in the crafts sector of India who need protection:
Traditional craftspeople making traditional objects
Craftspeople using their traditional skills, materials, and techniques to produce new products of
their own design
Designers and craftspeople who work together to create “fusion” products
Designers/manufacturers who provide designs to craftspeople or use crafts producers’ skills in
execution of particular designs
13. POSSIBLE SOLUTIONS
Except in a museum setting, no traditional craft skill can be sustained unless it has a viable market. Two
basic types of solution are required:
1.) To increase the income of crafts producers, the prerequisites are adaptation of skills and
products to meet new market requirements and improvement in market access and supply.
2.) To sustain the traditional skill base and to protect the artisans’ traditional knowledge
resources, the priority is development and implementation of appropriate IPR legislation.
Two promising ways to improve livelihoods while saving skills and knowledge are:
• Adapting traditional skills to new products for changing markets. This adaptation can be
accomplished in many areas in India, including fashion, home furnishings design, and tourism.
• Repositioning skills and products for upscale markets that appreciate and are willing to pay
premiums for handcrafted quality and character.
15. PROTECTION OF TRADITIONAL CRAFT SKILLS
• The International Trade Centre (ITC) points out that support to crafts has "become a must on the path
towards poverty alleviation and environment protection, two local and compelling concerns worldwide"
(ITC 1999).
• The growing interest in the role that crafts can play in the development process has also led to
increasing involvement in this area by a great many international organizations and agencies, among
them the International Development Bank (IDB), the International Labour Organization (ILO), UNESCO,
the United Nations Industrial Development Organization (UNIDO), and others.
• Crafts producers often employ skills and complex knowledge systems that have evolved over long
periods of time.
• Even as the products "globalize" (reaching an increasingly distant clientele via fairly sophisticated
marketing systems), however, the skills and the knowledge systems remain largely informal, poorly
protected, inadequately documented, socially and culturally disadvantaged, and imperfectly adaptive.
• Craft industries form an important sector of the Indian economy, contributing substantially to
manufacturing income, employment, and exports, and the scale of these contributions is increasing.
16. • The part-time, rural nature of much crafts activity also complements the lifestyles of many
crafts workers, provides supplementary income to seasonal agricultural workers and part-
time income to women, and provides craftspeople with the means to remain in their
traditional villages, where alternative employment opportunities are limited.
• Many craftspeople themselves express the strong desire to remain in their traditional
profession.
• And although many are highly talented and extremely skilled in their own craft form, most
are poorly educated or illiterate and come from caste groups of low social status.
• The most viable means to improve their lives appears to be maximizing the high skill base
they already possess.
• If the crafts producers continue to reap so few rewards from it, however, more and more
people will leave these traditional professions for other forms of employment, and his skills
and knowledge will ultimately be lost.
18. CONCLUSION
• Handicrafts represent our culture that is rich, diverse and believes in valuing things done with hands
and bringing people from all communities, castes and religions together.
• They are our composite heritage and we must feel pride in them and make all efforts to preserve
them. It mirrors the craftsmen’s lives, reflect their hidden desires and aspirations, and expresses the
cultural traditions and religious beliefs of the society to which they belong.
• Even the facade of Bada Imambara, an 18th-century monument, has designs which publicise typical
chikan motifs.
• Undoubtedly, Lucknow, renowned for Umrao Jaan’s beauty and adaa, is as famous for the exquisite
chikan she wore.
• The motifs of chikankari range from mughal architectural design of buildings to vine themes and from
birds to animals. The Impact of Islamic civilization on Indian crafts has been profound.
• With the passage of time, the change in culture, the change in the statement of fashion; we could see
the Chikankari is still in the fashion.
• Crafts form a special category of traditional knowledge.
• Irrespective of fact whether a design is a structural or decorative one of the basic necessity is the
selection of a motif. A motif is the most simplified form of design, formed mainly with the help of line.
19. Chikankari Vs Principles of design:
• Balance is one of the five principles of design. It gives a restful effect obtained by grouping shapes are
colour around a center in such a way that there are equal attractions on each side of that center. The
three basic forms of balance are formal, informal, and radial balance.
• Harmony is the art principle, which produces an impression of unity through the selection and
arrangement of consistent objects and ideas. Fine design is often harmonic in character. Harmony can be
brought about with shape, size, texture, line and colour.
• The principle of proportions is sometimes called the law of relationship. It states that the relation
between parts of the same thing or between different things of the same group should be satisfying.
• Rhythm means an easy connected path along which the eye may travel in any arrangement of line,
form, or colours. This can be obtained by repetition of shapes; progression of sizes, and by continues line
movement.
• Emphasis is the principle that directs us to have a center of interest in any arrangement and a
dominating idea in any scheme. The success of the result depends upon what, how, how much and
where to emphasize.
20. • Though all art principles have a role to play in design development the principle rhythm
plays the most important role.
• The role of design organization in textiles design depends on whether it is an all over
pattern, a border pattern, a pallu design or a combination of any two.
• Craft industry plays an important role in the Indian economy also.
• A large no. of the products is imported as well as fulfills the demands of India.
• And this is substantially helpful in providing employment.
• And hence, in my opinion, the demand for the Indian handicraft is increasing.
• And in other words, we could say that it reflects the blending of the roots of tradition and
culture of Lucknow.
• And at last, I would like to conclude it by quoting the expert of chikan embroidery, “When
an art becomes a way to earn a living, it becomes time-bound; naturally, the quality suffers”.
Does that mean another slice of Lucknow’s rich history will wither away?
21. REFERENCES
1) Liebl, Maureen, and Tirthankar Roy. 2000. “Handmade in India: Preliminary Analysis of Crafts Producers and Crafts Production in India;
Issues, Initiatives, Interventions.” Report prepared for the Policy Sciences Center, Inc. Available at the website of the World Bank–Policy
Sciences Center, Inc. Crafts Workshop: India at http://lnweb18.worldbank.org/essd/essd.nsf/Culture/CW-Agenda.
2) Jain, Jyotindra. 1989. National Handicrafts and Handlooms Museum. Ahmedabad, India. p. 18.
3) UNESCO (United Nations Educational, Scientific, and Cultural Organization). 1999. “General Conclusions of the Symposium of Experts on
‘Culture: A Form of Merchandise like No Other? ’Culture, the Market, and Globalization.” June 14–15, 1999. Available at
www.unesco.org/culture/industries/ html_eng/reunion3.shtml.
4) Becker, Ellie. 1998. “Foreign-Made ‘Indian’ Crafts Are Difficult to Detect, Stop.”Albuquerque Journal, April 13, 1998.
5) Brooke, James. 1997. “Sales of Indian Crafts Boom and So Do Fakes.” Editorial, The New York Times, August 2, 1997.
6) Bureau of Indian Affairs. 2000. Available at http://www.doi.gov/bia.
7) Federal Trade Commission. 2000. “American Indian Arts and Crafts “‘Surf Day’.” Available at
http://www.ftc.gov/opa/2000/10/indianart.htm.
8) Ramsay, Caroline. 1999. “Characteristics of World Trade in Crafts.” The Crafts Center, Washington, D.C.
9) WIPO (World Intellectual Property Organization). 1999. “Roundtable on Intellectual Property and Traditional Knowledge.” Geneva.
(WIPO/IPTK/RT/99/3). Available at http://wipo.org. Accessed 2002.
10) Ragavan, Srividhya. 2001. “Protection of Traditional Knowledge.” Minnesota Intellectual Property Review 2:1.
11) V.A. Shenai, 1995. “History of Textile Design”, Sevak Publications, Bombay,
12) Apparel Export Promotion Council (AEPC): 1995, 1996, 1997. Handbook of Export Statistics,
13) Sheila Paine, ‘Chikan Embroidery: The Floral Whitework of India’.
14) Post GI workshop completion Report, exclusively Submitted to the office of Dev. Commissioner (Handicraft), Ministry of Textile, New
Delhi by NEED, Lucknow, India.
15) Poor People’s Knowledge Promoting Intellectual Property in Developing Countries Edited by J. Michael Finger and Philip Schuler
16) bieap.gov.in/traditionaltextiles.pdf