Role Of Handicraft In Designing

Presented by:Mona Verma

Ph.D Research scholar, I.C . College of Home Science, CCSHAU, hisar

125004

Handicraft is man's first technology, the technology of the hand. A

handicraft at its finest represents man's need to create simultaneously

with mind and hand. India is one of the important suppliers of

handicrafts to the world market.

The Indian handicrafts industry is highly labour intensive cottage

based industry and decentralized, being spread all over the country in

rural and urban areas.

INTRODUCTION

Handicrafts are items made by hand, often with the use of simple tools, and

are generally artistic or traditional in nature. They include objects of utility

and objects of decoration. Many Indian handicrafts have aesthetic richness and

decorative values which have become world famous. For example the artisans who made patta chitra and applique work exclusively

for the religious functions in the Lord Jagannath temple in Puri, Orissa developed

their skill to make these crafts internationally well-known .

The Madhubani paintings of Bihar, Kalighat paintings of West Bengal and a

number of striking metal crafts, stone carvings and wood carvings from Karnataka,

Tamil Nadu, Rajasthan and Madhya Pradesh have become popular both in our

native as well as international markets .

What is Handicraft???

Numerous artisans are engaged in crafts work on part-time basis. The

industry provides employment to over six million artisans (including those

in carpet trade), which include a large number of women and people

belonging to the weaker sections of the society.

In addition to the high potential for employment, the sector is

economically important from the point of low capital investment, high

ratio of value addition, and high potential for export and foreign exchange

earnings for the country.

India, a country with 36 states and UT and 22 languages and more

than 1500 dialects offers an enormous range of handicrafts from each

of the states.

Major centres in Uttar Pradesh are Moradabad also known as the

"Peetalnagari" (City of Brass), Saharanpur for its wooden articles,

Ferozabad for Glass.

The North Western state of Rajasthan has to offer the famous

Jaipuri quilts, Bagru and Sanganer printed textiles and wooden and

wrought iron furniture from Jodhpur.

The coastal state of Gujarat comes with embroidered articles from

Kutch. Narsapur in Andhra Pradesh is famous for its Lace and Lace

goods.

The handicrafts and cottage industries sector comprises of Handicrafts, Coir, Salt,

Khadi & Village Industries activities, which are mainly artisan based or known as

household industry. The main characteristics of this sector are:

1. Skill based

2. Employment oriented

3. Use of simple technology

4. Low Capital investment

5. Utilization of Local Resources

6. No. electric power consumption

7. Eco-friendly

8. Linked with traditional culture

9. Demand in the market

10. High ratio of value addition to the investment

11. Economic & social empowerment of women and weaker section of the society.

Characteristics of Handicrafts sector

Craft wise Artisans As per the survey conducted there are 1, 11, 058 numbers of Handicrafts artisans practicing various crafts in the state. The number of artisans (Craft wise) is mentioned below:

Crafts Globalization

India opened up its economy and adapted to globalisation in

the early nineties. Major changes initiated as a part of the

liberalisation and globalisation strategy included scrapping of

the industrial licensing regime, reduction in the number of

areas reserved for the public sector, start of the privatisation

programme, reduction in tariff rates etc.

Since the advent of globalization in 1991, India has

experienced a lot and accordingly the society has undergone

many changes in different spheres. Though the forces of

globalization have ample positive effects in the long-run in

many sectors of our economy and society, some of its

repulsive implications against the poor in many cases have

worried our development strategists.

If we suspend the later for a moment, one of the

growing sector benefited out of it, is the Handicraft

industry with 'Indian handicrafts export crossing

Rs.1,220/- crores in 1990-91 from merely 10 crores in

the mid fifties.‘ Again the Ministry of Textiles data

show, it increased to Rs. 4517.52 crores in 1994-95 and

Rs. 7206.79 crores in 2000-01.

Indian handicrafts are now available in global markets,

so also foreign crafts in our shops.

Handicrafts constitute a significant segment of the

decentralized sector of our economy and its importance

is being felt when it is assessed that it provides

employment to lakhs of artisans scattered especially in

the weaker sections of our society.

The traditional handicrafts are

being revived and suited to

modern tastes through the

artistic guidance of designers

to ensure that the products

made meet market demand

and thus get higher prices.

Emphasizing on the greater value of the arts and crafts, T.M. Abraham

wrote:

“the world of art and craft is as valuable as the world of science, philosophy or ethics. Like art, crafts reflect the state of human society through the individual. Craft treasures like art's, give us a glimpse into the core and kernel of the collective mind and societies through the mirror of individual mind that created them” . As said above there are numerous varieties of art crafts in India which are

made with attractive designs and meticulous craftsmanship.

Crafts are very much an economic activity, and the centre of the

development process is marketing. The customer does not buy out of a sense

of sympathetic concern for the artisan; the product must be competitive in

price, pleasing in aesthetics, and efficient and useful in functionality.

The product can only be marketable if it is attractive to the consumer,

that is, if traditional skill is adapted and designed to suit contemporary

consumer tastes and needs.

Craft producers cannot be economically viable unless their product is

marketable, and this is where design intervention plays a critical role in

ensuring this viability, in matching technique with function.

Crafts Items Need To Be Modified For Marketting

Role Of Handicraft In

Fashion Industry

Fashion industry of India has seen a boom and gained popularity in world as

a fashion centric nation. Earlier, not many people knew about India and Indian

fashion. However, today India is a renowned nation famous for its elegant

woman’s attire named “Saree” and the fabric.

India is a diverse nation and doesn’t have a unique or a standard dressing

style. This diversification of dressing style has given Indian fashion designers

ample scope of creativity. The end result of mixing such diverse dressing styles

was FUSION.

Right from the traditional salwar kameez or sarees to churidars, kurtis, the

semi formal way of wearing it over trousers or jeans, capris and the highly

elegant and contemporary style of draping sarees, from simply cotton blouses to

halter-neck, puffed sleeves, deep necks, and lycra-fitted blouses.

Handloom Sarees

Banarasi Handloom Silk Sarees

Handloom Tussar Silk Sarees

Baluchari Handloom Sarees

Handloom Tant Sarees Kantha Sarees

Colorful Sambhalpuri Sarees

Exclusive Munga Sarees

Ethnic Bafta Sarees Chanderi Silk Sarees Ikkat Patola Silk Sarees

Pure Kanjivaram Sarees

Bandhini Sarees

Apart from regional attires, the Bollywood element also holds a

domineering part in Indian Fashion style.

Let us have a look at the faces who have taken Indian Fashion and

Indian Fashion Industry at the top most level. These are the best

known faces of the International Fashion Industry.

The traditional, ornamental look was easily accepted by customers. More

important, however, was that Indian designers' use of traditional textiles and

craft techniques enabled them to claim that they were helping to preserve the

Indian heritage of dyeing skills and rural crafts.

Pioneering designer Ritu Kumar said, “The Indian fashion industry is

essentially a craft-based industry and the craftsmen are integral to the

industry. Her whole interest has been that we should not lose our craft

identity”.

The notion that Indian textiles and traditional crafts were both unique and

integral to high-end fashion was deeply rooted and widespread. The reflection

of India's vast heritage of arts and crafts. Many of today's top-notch designers

incorporate traditional arts creating a distinct identity for themselves. And, in

the process, help to conserve traditional Indian craftsmanship.

Each state has its distinctive embroidery traditions from

religious motifs to images from nature and art.

These are then used to embellish a diverse range of items

from home accessories to fashion accessories to clothes.

Role of fashion designers in promoting handicraft

Designers are an interface between tradition and modernity, helping

match craft production to the needs of modern Living. Crafts thus need

designers to bridge the gap and allow them to compete with the products

and practices of modern industrialization.

Craft, if it is to be utility-based and economically viable, cannot be

static. It must respond to changes in markets, consumer needs, fashion

trends and usage preferences.

It is the role of the designer to interpret these changes, with

sensitivity and understanding, to the artisans, who are removed

pomp their new markets.

The early designers in India therefore focused on designing ornate,

heavily embellished Indian-style clothing. This tactic helped them to

achieve several goals and to overcome the hurdles they faced.

First, customers liked such garments better than Western designs.

Second, creating Indian-style clothing allowed the designers to use

luxurious traditional Indian textiles and to attach various kinds of

traditional embellishments to them, such as beads, gold thread and sequins,

without hurting the design consistency, or "look," of the garment.

Moreover, these decorative elements helped to differentiate the new

styles from available alternatives, such as clothing stitched by tailors and

wedding saris woven in a traditional manner and at the same time provide

the employment to the other crafts persons.

Today, Indian Fashion designers are well known faces in the International Fashion

Industry and it is because of these fashion designers that India is in the list of top

countries. The Indian fabric and Indian textile is equally popular and in demand in

international markets.

Rohit Bal : Titled as the ‘India’s Master of fabric and fantasy’

by the Time magazine in 1996, Rohit Bal’s sense of aesthetics

is finely honed, and each of his creations is handcrafted to

perfection, with meticulous attention to detail.

He has access to the best the industry has to offer in terms of

materials and workmanship. From villages where local

craftsmen weave dreams with magic fingers, to factories,

workshops and outlets where retailers jostle for survival, to the

opulent grandeur of glitzy boutiques and malls at the best

addresses in the big cities of high fashion.

One of the earliest and reputed fashion diva amongst

fashion buffs, Ritu Kumar has developed a unique style

of her own. Her designs reflects the ancient traditions of

Indian craftsmanship in a contemporary fashion. Ritu

Kumar’s understanding of ancient designs and the

innovative use of traditional crafts has created a new

classicism. Ritu holds the status of a revivalist in the

Indian fashion industry, which has successfully bridged

the gap between traditionalism and modernity.

A true pioneer in Indian fashion, Kumar has been

recognized with prestigious awards including France’s

Chevalier des Arts et des Lettres and India’s Padmi Shri

Award for her contributions to fashion, textiles and

craftsmanship.

Ritu Kumar

The revolutionary fusion of traditional crafts

and contemporary haute couture generates an

alluring, urbane, one-of-a kind handiwork is the

signature of the House of Valaya.

Valaya has rejuvenated and redefined age-old

Indian crafts as a profitable niche within the

cosmopolitan market, allowing the valued artistic

processes to live on despite the pressures of

globalization.

JJ Valaya

Revolutionizing costume design and having

introduced the concept of styling in Indian Bollywood

films has made Manish Malhotra one of the most

recognized names in the fashion industry globally.

Manish Malhotra’s areas of creativity span the broad

spheres of Bollywood, design, styling, diffusion and

everlasting bridal couture.

He creates glamorous ensembles with Indian

traditional colors, textures, embroideries, and

craftsmanship.

Manish Malhotra

One of the most stunning fashion shows of Wills

Lifestyle India Fashion Week 2013 was

undoubtedly Manish Malhotra's "Mijwan Sonnets

in Fabric" showcasing Chikankari embroidery by

village women from Mijwan.

Everyone was stunned, riveted and absolutely

ashamed of their ignorance of the wonderful artistry

of Chikan, which belongs to the same pedestal

as more globally prominent textile art forms

like French Laid Embroidery(White Work), 18th

century lace-like embroidery known

as Dresden or Ayreshire embroidery from 19th

century Scotland.

Chikan embroidery by the village girls from Mijwan

In the past one year, Manish

Malhotra, the label has taken up

the responsible initiative to

promote regional handicrafts and

workmanship from rural India.

One such initiative is the

association with Shabana Azmi’s

“Mijwan Welfare Society”. The

label has adopted 45 girl workers

from the village of Mijwan, near

Azamgarh, Uttar Pradesh for

their intricate and exclusive

hand embroidered chikankari.

The only Indian designers to win an

accolade at the Milan Fashion Week

2014, Rahul Mishra is known for

incorporating traditional Indian textiles

and handicrafts to his designs.

His signature style is classic and

subtle, perfect for a sophisticated look

anywhere in the world.

Rahul Mishra

Designer Vaishali Shadangule gives old India a new lookDesigner Vaishali Shadangule uses traditional weaves and textiles in Western and

contemporary dresses. Shadangule made her debut at the Lakme Fashion Week in

2011, in which she showed well-crafted Indian dresses

in Chanderi and Paithani prints. It was perhaps the first time that these fabrics had

been cut into dresses, for till then they were only woven into 5.5-metre saris.

The designer had reached out to the weavers of Chanderi in Madhya Pradesh and

Paithani in Maharashtra to incorporate their designs into fabrics suitable for cutting

into dresses.

• Fashion designers and

craftsmen today create

crafts whose designs and

ornamental motifs are truly

characteristic of India, and

these have become the

inspiration for future

generations.

In 1990, the Delhi based designer, Ritu Kumar presented her first Khadi collection, Tree of

Life, which helped put Khadi in the fashion circuit. With increasing interest of the western world

in use of handloom and Khadi, many Indian designers began to use Khadi for their designs. The

government also made efforts to promote Khadi. In September 2000, Vasundhara Raje,

Minister for Small Scale Industries, initiated a movement to revive all the 7,000 KVIC shops

in India and make Khadi more fashionable and affordable.

Reviving Khadi: From Freedom Fabric to Fashion Fabric

In January 2002, a high-profile textile exhibition, featuring Khadi ensembles designed by

prominent Indian designers, was launched in New Delhi to popularise the traditional hand-

spun cotton. The idea of the exhibition was to promote wholly hand spun, hand woven and

hand patterned fabric, as a unique luxury product. The exhibition displayed western as

well as traditional Indian attire made from the finest Khadi available in the country.

Besides, nearly 110 varieties of the fabric (from the sheerest to the coarsest) were

showcased. Designer Rakesh Thakore, whose collection was showcased in the exhibition

commented, "If packaged well, Khadi can be sold internationally.

Revival of Khadi Cotton- From freedom fabric to fashion fabric

The Government of India has encouraged a public-

private partnership which aims to

Promote the handicrafts industry

To help introduce its products to a larger market through

the internet to offer employment and growth

opportunities for the artisans.

The indian government could make different memoranda

of understanding (mou) for export of crafts goods to

foreign countries while dealing with trade related

agreements.

Role of Government

To deal with the handicrafts related issues, the All India Handicrafts

Board was established in 1952.

to study the problems confronting the handicrafts

to improve and develop the production techniques and new designs to

suit the changing tastes and

to promote marketing in India and abroad.

However all of these have to be implemented wholeheartedly by the

government agencies. Add to it, various cooperatives, voluntary

associations also need to put sincere effort for the better working condition

of the artists.

Every year during the first fortnight of February, Surajkund in Faridabad - Haryana, transforms

into a colourful craft and cultural hub for national and international forms of handicrafts.

The Surajkund International Crafts Mela offers an exquisite platform for craftsmen from India

and abroad to showcase their handicrafts and promote it on a significant scale.

The entire assemblage is set around the ancient reservoir ‘Surajkund’, in an area sprawling over

40 acres.  Every year the Mela is organised on a theme and one of the states of India is chosen

the ‘theme state’ and given a chance to exhibit their indigenous arts. Handicrafts exhibited in the

Surajkund Mela aesthetically feature the rich sculpting, casting,

carving , moulding and painting arts, aboriginal to India.

It celebrates the variety of Indian craft from various corners of the

country.

Initiative Taken By Government Of Haryana For Promoting Handicraft

These organizations both aim to serve as support structures for

the artisans, to fill the gap between them and the marketplace.

Ensure that they are able to continue this important aspect of

cultural heritage, which has suffered in the past because of market

barriers like poor infrastructure, little information on market

demand and full reliance on middlemen to transport and market

their crafts.

The handicrafts industry can serve as a viable engine for rural

economic growth, offering employment to seasonal farm labourers

as well as women workers, based out of their homes.

Role of Organizations

Without these support structures, this industry and its

workers are vulnerable to

Exploitation

Dwindling market demand &

Eventual decline

Because the handicrafts of a country tell its story to its own

people as well as to the outside world, this would truly be a

devastating cultural loss.

RECOGNITION

TO MASTER CRAFTMEN

Since 1965 the Government of India, Office of the Development

Commissioner (Handicrafts) and the Office of the Development

Commissioner (Handlooms), have, been jointly implementing a

special scheme that confers recognition and honour to the Master

Artisans for their excellence and invaluable contribution to the

crafts and textiles of India.

In recognition of their talent these Shilpgurus, Master Weavers and

Master Craft persons are honoured with a National Awards, State

awards, National Merit Certificates. Besides these awards several

organizations including UNESCO honour craftsmanship.

CRAFTMEN : THE INVISIBLE RESOURSES

The skilled hand of the Indian craftsmen is our most important and yet

most invisible resource.

The workmanship of the Indian craftsmen is so exquisite that throughout the

18th and 19th centuries India was known to other countries on the trade

route more by her crafts than by her art, religion and philosophy.

Remarkable progress has been made in exports of handicrafts since India's

Independence.

The Handicrafts and Handlooms Exports Corporation of India ltd

(HHEC)

Instrumental in promoting Indian handloom fabrics in the west.

Vast scope for the Indian's handicrafts exports to grow further.

Indian handicraft's further prospects lies in diversification of

products and markets.

We have to be ahead of our competitors in keeping ourselves

informed of market trend and changes in fashion and design.

Problems Facing The Crafts and Craft Persons

In the present globalized and financial liberalized market, owing to the

popularization of machine based low cost and superior quality

consumer goods, the Indian handicraft industry is facing enormous

problems.

As there has been the evolution of the modern market system economy,

the artisans have lost their holds over the old patron-client market

network and jajmani relationship.

In the globalization times, the artisans have become increasingly

dependent on middle men like petty merchant capitalists who pay

the artisans in wage on piece rate bases

The government's initiative to create cooperatives has not become much

successful.

A report says there are over 25lakh crafts persons in India, based mostly in

the villages who are not used to interaction with buyers and don't have the

necessary skills to safeguard their own interests.

Illiteracy often makes them more vulnerable.

The village craftsmen in our society remain concerned that with free trade,

mass production, embroidery from other parts of the world will out price the

products of their hard labour.

Although globalization has so far served the handicrafts sector well, there is

no denial that some of these products will come under attack and India will

not be able to ward that off.

In India various small scale industries have been facing enormous problems

and have failed to compete with the Chinese companies who have intruded

into the Indian market with their low cost products.

Another problem in India, is that the production matrix of the handicrafts is

structured in such a manner that the crafts persons notwithstanding their

superb skill and artisanship always remain at the receiving end.

In contrast the trader entrepreneurs or merchant capitalists and the middle

men by virtue of their control over the marketing of the craft-goods occupy

the top position of the production ladder.

The illiterate artists failing to deal with the modern market system take the

help of these middle men who pocket the actual surplus.

It has compelled the poor artists of the country to shift to and

adopt a more viable occupation.

A report of the United Nations suggests that in India, over the

past 30 years the number of artisans have declined by at least 30

per cent and many of these artisans are joining the ranks of

casual wage labourers and the informal economy.

Intervening MeasuresThe precarious conditions of the artists needs careful interventions.

Government have been taking different measures to make the handicraft products globally competitive and the condition of the artisans better.

The Development Commissioner, Handicrafts has taken various safety

measures for the welfare of the artisans like

◦ Giving training to the artists

◦ Introducing new techniques and designs to meet the demands of the variety-seeking consumers.

Besides, organizing exhibition-cum sale of crafts products, opening up of

sales emporium for the handicrafts goods and providing insurances to the

poor craftsperson are also taken up.

The changing roles of the artisans, craftsmen and designers are

emphasized in the context of emerging technology that is capable

of facilitating the preservation, dissemination and generation of

new designs based on decorative forms, and also offers enhanced

capabilities in terms of colour variety and colour differentiation.

It is hoped that the influence of emerging technology will lead

to a renaissance in the field of decorative designing.

Indian textile and costume designs can be innovatively used today

by interchanging motifs and their ornamentations for serving the

world of fashion and also increasing awareness about our rich

cultural heritage.

The production base is much unorganized in Indian handicrafts sector. The craftsmen use traditional tools and techniques for which the production base is very weak.

So for improvement in the quality of production, it is necessary to

upgrade the skill of the artists, who should be supplied with quality raw

material and adequate financial assistance.

Government should take ample measures to provide with loans and

giving training to the artists. At the same time care should be taken to

ensure that with innovation originality of the crafts is truly maintained.

To make the craft products internationally well-known and

commercially viable, steps should be taken together by the Ministry of

Information, Commerce and Tourism.

National Agencies working for the Export Promotion of the Textiles and Handicrafts

Confederation of Indian apparel Exporters

Cotton Textiles Export Promotion Council

Synthetic & Rayon Textiles Export Promotion Council

Apparel Export Promotion Council

Handloom Export Promotion Council

Wool & Woollen Export Promotion Council

National Agencies working for the Export Promotion of the Textiles and Handicrafts

Power looms Development & Export Promotion Council

National Centre for Textile Design

Carpet Export Promotion Council

Indian Silk Export Promotion Council

Central Silk Board

Northern India Textile Research Association

At present, the office of Development Commissioner (Handicraft) is

implementing the following seven schemes for promotion and

development of handicraft sector:

(i) Baba Saheb Hastshilp Vikas Yojana

(ii) Design and Technology Up-gradation

(iii) Marketing Support and Services

(iv) Research and development

(v) Human and Resource Development

(vi) Handicrafts Artisans Comprehensive Welfare Scheme

(vii) Infrastructure and Technology Development Scheme

The village craftsmen are gradually losing

interest in their traditional business. The

marketing intermediaries like agents and

brokers are collecting the products at a

very low price and selling or exporting

those at a very high rate. They are also not

paying them their dues in time. Realizing

the above difficulties the Govt. has divided

the state into different clusters and has

appointed cluster manager who provides

all kind of marketing supports.

Conclusion

In most of the handicraft sectors

women, especially house wives play

predominant role and contribute for

increasing household income. At

present there are more than 5 lakh

SHG’s engaged in various micro

entrepreneurship.

The growth of tourism can give

ample scope for development of

rural entrepreneurship with the

help of increasing handicraft

production and marketing scope.

There is need for integrating tourism

with handicraft sectors, which can

provide lots of scope for development of

rural entrepreneurship. The government

should focus on handicrafts growth and

boost the morale of the rural artisan. It

seems that the future of handicraft sectors

is very bright.