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CHAPTER III

FASHION TECHNOLOGY: AN OVERVIEW

3.1 FASHION TECHNOLOGY

The field of ‘fashion technology’ was non-existent as an independent

discipline, but inhabited the margins of scholarly pursuits and belonged mostly

to costume and art history, anthropology and the frivolous end of the social

sciences. Today majority of the work are, however innovative in its

methodological shift from observational to experiential approaches, and its

theoretical shift from a focus on stereotypic clothing’ to ‘everyday dress’

(wardrobe research), charting new ground at the periphery of core discipline

(experimental social psychology), which was oblivious to such trivial pursuits.

So it is with genuine delight that it has been observing the field of Fashion

Technology coming into its own.

The definition of fashion technology research studies is the study of

beauty, fashion and dress as material and visual evidence of social and

economic processes, or as an object of contemplation, reflection and critique.

More specifically it is the study of the meaning of body and beauty procedures

in clothes and adornment, production and crafts, practice and symbol,

observation and experience, self and identities, fact and fiction, reality and

representation, using the advances of technology.1

In principle, such a field contains two levels: visible and invisible. The

visible level focuses on details of objects or images, taxonomies and specific

examples, and examines them closely and meticulously. It highlights certain

periods, locales or styles and uses the rich detail either to paint a previously

unknown picture, or as data to support social historical observations.

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The invisible level is a conceptual layer of meanings, both personal and

collective, that reflects the wearer’s experience and perspective on reason

giving and meaning making, neither of which are inherent in objects or

practices but are contextual in terms of time, place and function. The invisible

level is not necessarily anchored in specific details, but can refer to sartorial or

appearance elements metaphorically or allegorically, to ‘the idea of beauty’ or

‘the idea of dress’ (or other material objects) or to ‘generic clothes’. It is also a

layer that involves a meta-reflexive approach that examines the assumptions

underlying the practices that secure ‘fashion’ its place, the power relations that

sustain or subvert it, the values that inform it and the ideologies that provide it

with the certainty of the taken-for-granted veneer.22

3.1.1 Task of the Field

The task of fashion technology is not merely to record, describe or

analyse. It is about engaging by way of innovative research and application of a

range of theories in a critical reflection, and challenging and interpreting the

received ways of doing fashion, observing fashion, understanding fashion,

explaining fashion and talking about fashion. To engage in research in fashion

studies does not necessarily require detailed knowledge of historical styles,

technical craft, knowledge of designing or making fashion, or an intimate

knowledge of the fashion industry. ‘Fashion studies’ as a field of knowledge is

not just about ‘fashion icons’ and ‘designer collections’, couture and catwalks,

historical styles or the latest trends; it is not just about how to cut, sew, craft a

collection or market a label. It is about more than creating synergies with the

industry, producing rich descriptive accounts, documenting trends or doing

‘fashion technology’.

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3.2DEVELOPMENT AS DISCIPLINE

The development of any discipline depends on natives and migrants. In

fashion technology too it depends on fashion natives and fashion migrants.

The fashion natives see themselves as guardians of the original and true

spirit of the field. They come from a tradition of working with detailed fashion

artifacts, either historical (museums, art, costume history) or contemporary

(fashion design, fashion business, journalism). 2

Fashion migrants, on the other hand, include people working within

social science framework, health science, philosophy, and social and cultural

theory – who are interested in fashion and appearance as instances of social

activity, and as a vehicle for exploring and understanding social processes and

meanings.24

The group features of these fashion natives and fashion migrants are

shown as under:

TABLE 3.1

GROUP FEATURES OF FASHION NATIVES AND FASHION

MIGRANTS

S.No Group features Fashion natives Fashion migrants 1 Disciplines

Arts, humanities, Museum curation, ethnography, journalism, fashion marketing

Sociology, psychology, philosophy, social and cultural theory

2 Level of research focus

Specific, concrete Generic, abstract

3 Dimension of research focus

Visible, observable (e.g. style, craftsmanship)

Invisible, conceptual (attitudes, lived experience, perceptions, emotions, principles, patterns)

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4 Object of research focus

‘Object’ of material culture, beauty procedures

‘Idea’ of a garment or appearance, analogy, metaphor, symbol

5 Aims of research Chronicle, classify, categorize, describe uses

Explain meanings, functions,

reasons

6 Method of research

Inductive, evidence based, Systematic

Deductive, conceptual, eclectic

7 Research outcome

Detailed thematic or period account, typology, record

keeping

Critical argument, reflexive

account, set of meanings

�

3.3 REAL FASHION IN A SOCIETY

Since the 1990s, the landscape of ‘real world’ fashion had undergone a

sea change, and this has been mirrored in ‘academic fashion’. It is better to

sketch the relevant developments in both spheres.3

The processes of globalization changed not just the nature of production

and retail but also ushered in new types of relationships between consumers

and objects. The instantaneous availability of catwalk styles from around the

globe and the speed with which ‘fast fashion’ retailers translated these into

ready-to-wear, as well as the emergence of street fashion (championing a

ground-up approach) signalled the end of trend as an industry dictate

(Hedström and Ingesson 2008)27. The demise of trends coincided with a

backlash against the mass market and a rise in nostalgia for ‘objects with a

story to tell’ (either by virtue of their qualities, or the experiences woven into

them).

Most theorists of consumer culture problematize the appeal to image or

appearances over the appeal to substance or values – on conceptual and ethical

grounds. The metaphors of Alvin Toffler’s ‘future shock’4 and Zygmunt

Bauman’s ‘liquid modernity’5, which they have elaborated on in several books,

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capture the spirit of this approach. In 1970 Toffler envisaged that the shift from

the industrial age to the information age would generate an accelerated rate of

technological and social changes leaving people disconnected and disoriented.

Zygmunt Bauman21 explains the dynamics of globalization, the loss of

community and the gradual privatization of public life, as closely related to the

nationstate’s renunciation of its functions of security and stability

(employment, finance, health). The hero of liquid modernity may not be

disconnected and disoriented but he/she is still anxious: with only loosely

connected and unstable communities online and offline, with no bonds but

‘connections’ of a transient and non-obliging nature. The consumerist habits of

such a hero are likewise geared more to fun, conviviality and temporality than

to duty, values, and rational choice behaviour. Even if they are not customers

of the fast-fashion value chains, the heroes of liquid modernity participate in

the throwaway society by virtue of shopping for pleasure, not necessity. But

objects are not the only way global consumers distinguish themselves. Bauman

describes a new class of elite global consumers defined by the privilege of

increased mobility. Unlike the forced mobility of the displaced, these

globetrotters are truly ‘citizens of the world’.

3.4 ‘ACADEMIC FASHION’ SINCE THE 1990S: A DISCIPLINE IN

SEARCH OF A CHARACTER

As a field of enquiry until the 1990s, with some notable exceptions such

as Hebdige24, Eicher and Roach25, Kaiser29, Polhemus34, Steele39, Wilson,

among others, fashion exhibited very little theoretical or empirical

sophistication. Before 2000 there were only a handful of interdisciplinary

conferences dedicated to fashion and appearance topics (e.g. the psychology of

fashion in 1985 (Solomon 1985)35; mask, masquerade and carnival in 1994;

masquerade and gendered identity in 1996 (Tseëlon 2001).

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Theoretically fashion scholarship has tended to recycle a number of

causal explanations from a limited core of theoreticians (e.g. Veblen’s

conspicuous consumption, Simmel’s trickle down, Barthes’ semiotics, Flügel’s

psychoanalytic explanations). Empirically fashion research relied on insights or

anecdotal evidence, avoiding a systematic meaningful analysis. The early

experimental work tended to reify te notion of ‘indexical meaning’ inherent in

the clothes themselves and in certain styles, and to embody all that the critique

of positivism in social sciences targeted. However, in the last couple of decades

fashion studies has emerged as a broadly defined, constantly evolving and

incredibly versatile multidisciplinary field (combining arts, social sciences,

textile chemistry and business) in search of an identity and a distinctive

character.

The transition from a series of loosely connected research areas on the

periphery of established disciplines to an interdisciplinary field in its own right

has followed the familiar trajectory of a discipline in the making, whose place

is not yet safely secure. When organizations (or societies) enjoy recognition,

acceptance and prestige, they tend to display relaxed and generous tolerance of

heterogeneity and pluralism, and an appetite for cooperation. But in times of

uncertainty and struggle, the level of tolerance goes down, and internal

struggles intensify. Remembering this spirit of ‘fashion technology research’

has been detected in three main stages such as 31

• Identity formation

• Agenda settings

• Gate keeping

3.4.1 Identity formation

In the first stage ‘fashion Studies’ was preoccupied with setting

boundaries, fencing, territorial marking, delineating insiders (exclusive club of

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those who are invited to participate in special activities, symposia, publications

etc.) from outsiders.

3.4.2 Agenda setting

The second stage involved a production of hegemonic discourse in terms

of topics, perspectives and methods. This was accompanied by an increase in

platforms – both journals and books – where fashion-related work could be

published. While such topics could always occupy the margins of social

science, history, art, and/or the up-and-coming cultural studies domain of the

more established disciplines (like cultural sociology and psychology), the

addition of more dedicated journals like Visual Culture, Fashion Theory and

the Journal of material culture created a positive environment for the field to

flourish. Increasingly, publishers started giving space to fashion studies

monograms with some, like Berg for example, specializing in these themes.

Another feature in the academic landscape is that in the last two decades

the number of fashion themed conferences or panels at conferences has

multiplied. Fashion is increasingly the focus of many conferences, symposia,

seminars and museum exhibitions.

3.4.3 Gate keeping

The third stage in the consolidation of the field is the internal power

struggle with certain groups representing certain agendas (e.g. fashion natives

and fashion migrants) trying to establish themselves as ‘centre’ and position

other perspectives as ‘marginal’ (for example fashion practice vs. fashion

theory; costume/social history vs. social theory; production vs. consumption;

engagement with special occasion wear vs. everyday wear; focus on designer

fashion vs. real people’s wardrobes). These groups define the scope of

legitimate activity using practices which include production of collections,

taxonomies, ‘Readers’ and textbooks which purport to provide definitive and

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encyclopaedic knowledge and the authoritative version of the field, as well as

deciding who to ignore and who to cite, especially as there are so many

‘parallel communities’ not very familiar with each other’s work. Gate keeping

also involves regulating activities of the kind employed by professional bodies

that guard the interests of their members (for example in job references,

publication refereeing, interview panels or grant panels).

In fact most of the changes described above occurred inside the

discipline. In the wider academic context it appears that changes have been

slower. Despite improved standing and greater understanding of a cultural

agenda, fashion is still somewhat tainted with ‘craft image’ and a ‘not quite

serious image’. Other than a handful of journals in a number of disciplines

which specialize in fashion, the research area is still not considered a proper

specialization within the established social sciences as expressed in the

structure of associations (e.g. ASA, ISA, ESA, APA), and the content of

associations’ flagship journals (and other ‘high impact’ journals), or the

publishing lists of mainstream publishers.

3.5 CONTENTS OF FASHION LABEL

If people from different branches of ‘fashion studies’ were to compile

lists of those they consider to be ‘the key players’ there would be very little

consensus about cAnonymousical lists. Every branch (representing different

core disciplines, or different linguistic communities) has its own list of star

performers and every new ‘fashion studies reader’ or encyclopaedia is trying to

rewrite history as they see it, and to place a different set of celebrities at the

core of the narrative. This is obvious not just from the content of the

anthologies and the entries of the various encyclopaedias but also from the

reality of the market. To get a good idea of what ‘fashion’ is about outside

academe a survey of what is available in a nonspecialist bookstore is a handy

clue. With five floors and more than 200,000 titles in stock the iconic Foyles is

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Europe’s largest and London’s leading bookstore. A visit to the shop reveals

fashion to contain a number of themes: a periodization of costume/social

history with some work that focuses on a specific period, style or artefact;

books which feature a specific exhibition or the work of a particular designer;

books about the craft of fashion making; and DIY books (from manuals to

reality TV programmes).35

Many titles are of the coffee table variety. There are also a handful of

current books about theory. Similarly, if one examines the fashion courses that

exist in UK higher education a clear trend is visible which revolves around

engaging with luxury fashion and the fashion industry (the process of

producing collections, the study of designers, branding, collaboration with

fashion houses: labels and magazines and manufacturers). Additionally, if one

looks at the work displayed in graduate fashion weeks, fashion shows and

publicity materials, it is obvious that the industry mindset (whether of the

couture or ready-to-wear variety), conventions and practices are followed

uncritically; these include the catwalk conventions: the skinny models, the

killer heels, the loud music, the mindless walk of mechanical dolls. Except in

rare token gestures the standards of designing and displaying adhere to the

industry’s tendency to design for slim Figures, professional models, stylized

presentations, or to design for size (a tradition whose origin lies in the military

uniform) rather than body shape (as some fashion gurus have been advocating).

3.6 TOWARDS DEFINING A ‘FASHION STUDIES PROJECT’

It is only in the last two or three years that fashion studies gained

institutional recognition in the form of specialist fashion theory chairs and

dedicated degrees (e.g. Stockholm, Leeds, NY Parsons). At this point it seems

appropriate to rethink a fashion studies project. In particular it is better to

outline how Critical Studies in Fashion and Beauty (CSFB) is to fit within that

project. On the one hand its role is simply to enhance the gallery of dedicated

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publications that address issues of dress and appearance specifically. At this

juncture any such bolstering is an asset to the field and to its practitioners.

Beyond that, the remit to the journal, not so much in terms of content, but in

terms of methodology and approach.

In particular their challenge to the hegemony of totalizing theories and

unifying narratives of nation and subjectivity created a paradigm shift. In

fashion this new reflexivity was expressed in two principal ways: 33

(1) the semantic shift from the indexicality of clothes as reflecting rigid and

fixed categories to an appreciation of their contextual nature and the

realization that meaning is always negotiated, and

(2) the blurring of boundaries between art and fashion with both artists and

fashion designers engaging in reflection and questioning of the

assumptions underlying their own craft – fashion design, practice and

consumption – through installations and performances. This has been

most clearly demonstrated with the emergence of deconstructionist

fashion led by Japanese and European designers (e.g. Belgian, Dutch,

Cypriot) who rewrote the rules of the game, and managed to combine

conceptual fashion with commercial success and to perform not just

articulate a ‘participant observer’s’ critique.

3.7 FASHION TECHNOLOGY HERITAGE

India’s fashion heritage is rich in its tradition, vibrant in colours and

extremely attractive in look and style. In fact, Indian fashion varies from

village to village and city to city. The country’s ancient fashion garments

generally used stitching although Indians knew sewing also. Most of the

clothes were ready to wear as soon as they left the loom. The traditional Indian

dhoti, the scarf or uttariya, and the popular turban are still visible and continue

to be part of Indian fashion. For women, the dhoti or saree with a stanpatta

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forms the basic ensemble, which again consists of garments that do not have to

be stitched, the stanpatta being simply fastened in a knot at the back.36

The fashion industry in India keeps on changing. A rapid stride was

made in this regard towards the end of the previous century when the Indian

beauties were crowned Miss World and Miss Universe in quick succession.

The attires of these beauties need special designing. Their dresses included

costumes from head to toe and matching ornaments. These modern and rich

dresses were liberally adopted by the young ladies from the upper strata in the

fashion cities of Mumbai, Bangalore, Delhi and elsewhere.

The changing fashion has resulted in the hem-lines of skirts moving up

and down over the years. Before the Second World War and even some

decades later, the length of the skirt that covered upto the knee was considered

obscene. However, towards the end of the century, the length shortened above

the knee. This ultimately reached drastic proportions with the mini skirt

expressing most of the feminine thigh. The men also started sporting longer

hair-equal to trendian women.

The present-day youth are in the haute culture of wearing mix of

western and Indian trends because of coming up of sprawling call centres, BPO

centres, IT parks, mega markets and mall culture. Perhaps the setting up of the

multinational company’s offices in India is one of the reasons of fashion boom

in India. Men’s fashion draws a lot from films. The young boys not only

imitate the glamour of men’s clothes but also their hairstyle. TV serials and

advertisements are the other source which is closely watched by the youth. The

branded names in men’s wear sold at famous shops in big arcades, malls,

plazas and markets attract the young boys and girls in large number every day.

Fashion designing offers vast opportunities for learning the skills from

famous institutes like National Institute of Fashion Technology (NIFT), Indian

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Institute of Fashion Technology (IIFT), Pearl Fashion Academy (PFA), etc.

Many Indian universities offer diploma, graduate and postgraduate courses in

fashion and cosmetic designing. Such learning helps improve the creative skills

and provides a cutting edge technology in designing. The Fashion Design

Council of India (FDCI) holds the fashion extravaganza to offer a platform to

the exponents of Indian fashion industry and to give them right opportunities

for displaying their skills and marketing their creations to the outside world for

a high profit. There are also perennial features like the Lakme India Fashion

Week that show glitz, superb designs and new designers to display their skills

on the ramp shows. The vogue designers like Pooja Nayyer and Anju Modi

provide inspiration for creative styles.

With the evolving fashion and style and the changing face of Indian

retail, our consumers are gearing up for a rapid transformation. Their spending

too has been on the rise. Most of the organised retail businesses have reported

an increase in their sales and consequently higher profits.

Good designers should be genuine, practical and give incentive in

making the custom made outfits, designer dresses and costumes. The maker

should create ideas according to the seasonal changes-winter, summer and

spring. There should be an attractive combination of traditional, modern, local

and foreign-creating every possible wearable product-and providing a wide

range to the consumers. It is fashion which has revolutionized the retail brands

in clothing, jewelry, cosmetics, footwear, etc. As a matter of fact it has brought

a retail boom in India and continues to act as a driving force in all kinds of new

markets, malls and stores.

The media plays an important role in the fashion boom. Various kinds of

fashion magazines provide latest designs and styles in colour photographs

along with details of stuff used, measurements, price range, shades available

and the places from where they can be used. TV programms give live telecast

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of major fashion shows conducted not only in India but also in all parts of the

world. These programmes provide a good look at the fashion world in all the

seasons so that the people can make their own choices while shopping. The

stars shown in flamboyant dresses make an indelible impression on the

consumers. This accelerates the fashion industry and enables it to prepare to

compete with the best in the world. Fashion has become such an important part

of the present-day world that even in colleges there are frequent ramp shows

for boys and girls.

Fashion industry in India is now facing a tug of war between the

designers for copyright protection although there are imitations by some

designers from other designers’ work. There should be strict law to prevent

such copying. The other important requirement is to ban shows and telecasts of

such shows which show nudity in the name of fashion. Besides, there should be

legislation against consumption of dangerous medicines like autorexia and

bulimia which some models consume to remain slim. Fashion designing is a

creative art and it should be promoted as such.

3.8 INDIAN FASHION INDUSTRY - A GLANCE

A Bird’s eyeview is given here so as to have a basic knwoeldge on he

Indian fashion industry. Indian Fashion Industry is at its infancy at the moment

and has great potential to make the mark on the world stage. Fashion in India

has thousands of years of tradition behind it. India has a rich and varied textile

heritage where each region of India has its own native dress and traditional

costumes. Fashion Industry is growing at a 'rapid pace with international

developments, such as the India Fashion Week gaining popularity and annual

shows by fashion designers held in major cities of India. In Indian culture, the

body is invested with various meanings and reflected in its rich sculptural

tradition decorating the body is yet another way of conveying meaning and

personality.17

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3.8.1 Market Capitalization

A report on Indian Fashion Industry recently stated that this Industry

can increase from its net worth of Rs 200 crore to Rs 1,000 crore in the next

five to ten years. Currently, the worldwide market for designer wear is

amounted at $35 billion, with a 9% growth rate, with the Indian fashion

industry creating hardly 0.1 % of the international industry's net worth.

According to approximations, the total market in India is calculated to

be about Rs 20,000 crore. The branded Fashian market's size is nearly one

fourth of this or Rs 5,000 crore. Designer wear, in turn, covers nearly about

0.2 % of the branded apparel maFket. Today the largest sales turnover within

the designer wear segment is about Rs 25 crore, with other well-known names

having less turnovers of Rs1015 crore.

3.8.2 Total contribution to the economy

Fashion Industry; it was further revealed that the Indian fashionindustry

accounts for barely 0.2 % of the international industry's net worth. Currently

the market for designer wear is worth about Rs 1,62,900 crore and growing at

9.5 % every year.

As per the estimates, Indian designer wear commands a category

engagement of 66 % for male customers and 57 % for female customers. The

category engagement in western designer wear is 5%. The per capita per

annum on designer wear for men amounts up to Rs 48,627 and Rs 56,271 for

women.

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3.8.3 Domestic and Export Share

India Fashion Industry is a very big exporter of Fabrics and accessories

for the global fashion industry. Indian ethnic designs are considered as a

significant facet for the fashion houses and garment manufacturers all over the

world. India also plays a vital role as one of the biggest players in the

international fashion arena for fabrics, while sourcing for fashion wear. India's

strengths are due to its tradition, but even its raw materials. India is the third

largest producer of cotton, the second largest producer of silk and the fifth

largest producer of man-made fibers all over the world.

3.8.4 Employment opportunities

There has been growing consciousness among the Indian men and

women towards the fashion, styles and designs of the dresses since long times.

There are several institutes like National Institute of Fashion Technology

(NIFT), Indian Institute of Fashion Technology (IIFT) and other fashion

academies which have been established where the students are taught to

translate their creativity into dresses and fabric designs. The media has also

played an important role in the fashion boom by providing good coverage to

the fashion world and even several magazines are specifically devoted only to

the fashion scene.

The proliferation of fashion-based programmers on the satellite

television channels has increased the consciousness of the average Indian

masses about the changing trends in the global fashion. This industry is also

generating a lot of business and becoming a booming industry for generating a

lot of jobs for people. More and more fashion training institutes and fashion

corporations are cropping up. Many national and international brands are

establishing themselves in Indian market. The mall culture has

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immenselyhelped in the growth of our fashion industry. Thus, globalization has

completely changed the face of our Indian fashion industry.

3.8.5 Latest developments

The organized market for designer apparel is about Rs 250 crore and

designer wear calculates to less than 1 % of the apparel market. The global

market for designer wear is 5 % of total apparel market and the global market

for designer wear industry is largely dependent on the small-scale sector.

Consumers for designer wear have a yearly household income of Rs 10 lakh-

plus. There are 3 lakh such households developing at 40-45 %. Designer wear

industry is projected to increase to Rs 1,000 crore by 2015. More than 81 % of

the population below 45 years of the age is fashion conscious.

Today the fashion designers and management experts foresee an average

growth of about 10-12 % for the Indian fashion industry in the coming

years.Though, the growth rate could be more than 15%, if infrastructural and

other logistical bottlenecksand drawbacks are over come, Indian fashion design

industry is expected to grow much fasterthan projected (Rs. 500 crore) and

likely to touch Rs.750 crore by 2012 from the current level ofRs.270 crore.

because Indian companies are heavily investing big sums in the industry,

consumersare increasingly shifting focus towards designer wear, exposure to

western media and readily available of designer wear in the shopping malls in

India.

3.9 INDIA VIS-À-VIS TEXTILE INDUSTRY A SCENARIO

The archaeological surveys and studies have found that the people of

Harappan civilization [1] knew weaving and the spinning of cotton four

thousand years ago. Reference to weaving and spinning materials is found in

the Vedic Literature also.

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There was textile trade in India during the early centuries. A block

printed and resist-dyed fabrics, whose origin is from Gujarat is found in tombs

of Fostat, Egypt.[1]This proves that Indian export of cotton textiles to the Egypt

or the Nile Civilization in medieval times were to a large extent.Large quantity

of north Indian silk were traded through the silk route in China[2] to the western

countries. The Indian silk were often exchanged with the western countries for

their spices in the barter system. During the late 17th and 18th century there

were large export of the Indian cotton to the western countries to meet the need

of the European industries during industrial revolution. Consequently there was

development of nationalist movement like the famous Swadeshi movement

which was headed by the Aurobindo Ghosh.

There was also export of Indian silk, Muslin cloth of Bengal, Bihar and

Orissa to other countries by the East Indian Company. Bhilwara is known as

textile city.

India is the second largest producer of textiles and garments in the

world. The Indian textiles and apparel industry is expected to grow to a size of

US$,223 billion by 2021, according to a report by Technopak Advisors. This

industry accounts for almost 24% of the world's spindle capacity and 8% of

global rotor capacity. Abundant availability of raw materials such as cotton,

wool, silk, and jute as well as skilled workforce have made the country a

sourcing hub.

The textiles industry has made a major contribution to the national

economy in terms of direct and indirect employment generation and net foreign

exchange earnings. The sector contributes about 14 per cent to industrial

production, 4 per cent to the gross domestic product (GDP), and 27 per cent to

the country's foreign exchange inflows. It provides direct employment to over

45 million people. The textiles sector is the second largest provider of

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employment after agriculture. Thus, growth and all round development of this

industry has a direct bearing on the improvement of the India's economy.

3.9.1 Growth

The Indian textiles industry is set for strong growth, buoyed by strong

domestic consumption as well as export demand. The most significant change

in the Indian textiles industry has been the advent of man made fibres (MMF).

India has successfully placed its innovative range of MMF textiles in almost all

the countries across the globe. MMF production recorded an increase of 10 per

cent and filament yarn production grew by 6 per cent in the month of February

2014. MMF production increased by about 4 per cent during the period April

2013-February 2014.Cotton yarn production increased by about 10 per cent

during February 2014 and by about 10 percent duringApril2013-February

2014. Blended and 100 per cent non-cotton yarn production increased by 6 per

cent during February 2014 and by 8 per cent during the period April

2013February 2014. Cloth production by mill sector registered a growth of 9

per cent in the month of February 2014 and of 6 per cellt during April 2013-

February 2014.Cloth production by power loom and hosiery increased by 2 per

cent and 9 per cent, respectively, during February 2014. The total cloth

production grew by 4 per cent during February 2014 and by 3 per cent during

the period April 2013-February 2014. Textiles exports stood at US$ 28.53

billion during April2013-January 2014 as compared to US$ 24.90 billion

during the corresponding period of the previous year, registering a growth of

14.58 per cent. Garment exports from India is expected to touch US$ 60 billion

over the next three years, with the help of government support.

The textiles sector has witnessed a spurt in investment during the last

five years. The industry (including dyed and printed) attracted foreign direct

investment (FDI) worth Rs 6,710.94crore (US$ 1.11 billion) during April 2000

to February 2014.

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3.9.2 HIGHLIGHTS OF THE UNION BUDGET 2014-15 - FOR TEXTILE INDUSTRY36

• Around Rs 200 crore for six more textile clusters in Rae Bareily (Sonia

Gandhi’s Constituency), Lucknow, Surat and Bhagalpur.

• Plan for development of a Hastkala academy in PPP (Public private

partnership) mode.

• Nearly Rs. 50 crore for Pashmina Production prog in Jammu and

Kashmir.

India has improved its ranking as per the recent data released by 'UN

Comtrade' in Global Textiles as well as Apparel exports. In Global Textiles

Exports, India now stands at second position beating its competitors like Italy,

Germany and Bangladesh, with China still retaining its top position.

India's share in Global Textiles has increased by 17.5% in the year 2013

compared to the previous year. Currently India's textiles export to the world is

US$ 40.2 billion. This growth is phenomenal as the global textiles growth rate

is only 4.7% compared to India as it has registered the growth of 23% beating

China and Bangladesh which has registered 11.4% and 15.4%, respectively.

Total global textiles exports are to the tune of US$ 772 billion with

India commanding 5.2% of the share. This growth in the increase in share of

the Textiles Exports from India is largely attributed to the growth in the

Apparel and Clothing sector as it accounts for the almost 43% of the share

alone. The Apparel Exports ranking has also improved from 8th position in

2012 to 6th position in 20!3. India's apparel exports, was to the tune of

US$15.7 billion in 2013, as against US$ 12.9 billion in 2012. Among the top

five global clothing suppliers except for the Vietnam; India's Apparel Exports

growth was highest registering 21.8% growth during the year 2013. Apparel

exports from India accounts for 3.7% of share in the global readymade garment

exports.

79

The Availability of speciality fabric is big bottleneck for which AEPC

has been aggressively demanding 5% duly scrip on the input, so as to increase

exports and optimally use to the fullest extent our potential. The rising interest

rate is another issue which hampers growth for which AEPC once again has put

in its request to the Government for a Separate chapter for pre and post

shipment export credit at fixed rate of 7.0% interest, as was done in the past

also to the apparel export sector and treat Readymade Garment as the priority

sector lending.

Increasing labour cost in China, non-compliance of large number of

factories in Bangladesh provide India a big opportunity in view of its relative

advantage; risk appetite of Indian entrepreneurs and a small push from the

Government may help India to get more business as overseas buyers are

looking at India as safe and reliable option for the sourcing. But to capture the

space in market left by China and Bangladesh, India have to be competitive in

pricing, apart from meeting strict timelines, better quality delivery by Indian

exporters and therefore, Government agencies active support is very crucial.

AEPC ispushing in this direction to seek export friendly enabling environment

from the Government which attracted the buyers and International brands

across globe to source from India.

80

Source: Wikipedia, the free encyclopedia: ���������

Figure 3.1 Map of Handlooms in India

81

Fig. 3.2 The Textile and Apparel supply chain

The fibre and yarn�specific configuration of the textile industry includes

almost all types of textile fibres, encompassing natural fibres such as cotton,

jute, silk and wool; synthetic / man�made fibres such as polyester, viscose,

nylon, acrylic and polypropylene (PP) as well as multiple blends of such fibres

and filament yarns such as Partially Oriented Yarn (POY). The type of yarn

used is dictated by the end product being manufactured.

82

The Man�made textile industry comprises fibre and filament yarn

manufacturing units of cellulosic and non�cellulosic origin. The cellulosic

fibre/yarn industry is under the administrative control of the Ministry of

Textiles, while the non�cellulosic industry is under the administrative control of

the Ministry of Chemicals and Fertilisers.

It is well�established that India possesses a natural advantage in terms of

raw material availability. India is the largest producer of jute, the

second�largest producer of silk, the third�largest producer of cotton and

cellulosic fibre/yarn and fifth�largest producer of synthetic fibres/yarn.

The industry structure is fully vertically integrated across the value

chain, extending from fibre to fabric to garments. At the same time, it is a

highly fragmented sector, and comprises small�scale, non�integrated spinning,

weaving, finishing, and apparel�making enterprises. The unorganised sector

forms the bulk of the industry, comprising handlooms, powerlooms, hosiery

and knitting, and also readymade garments, khadi and carpet manufacturing

units. The organised mill sector consists of spinning mills involved only in

spinning activities and composite mills where spinning, weaving and

processing activities are carried out under a single roof.

3.10 GOVERNMENT INITIATIVES

The Government’s role in the textile industry has become more

reformist in nature. Initially, policies were drawn to provide employment with

a clear focus on promoting the small�scale industry. The scenario changed after

1995, with policies being designed to encourage investments in installing

modern weaving machinery as well as gradually eliminating the

pro�decentralised sector policy focus. The removal of the SSI reservation for

woven apparel in 2000 and knitted apparel in 2005 were significant decisions

in promoting setting up of large�scale firms. Government schemes such as

83

Apparel Parks for Exports (APE) and the Textile Centres Infrastructure

Development Scheme (TCIDS) now provide incentives for establishing

manufacturing units in apparel export zones.

The new Textile Policy of 2000 set the ball rolling for policy reforms in

the textile sector, dealing with removal of raw material price distortions, cluster

approach for powerlooms, pragmatic exit of idle mills, modernisation of

outdated technology etc. The year 2000 was also marked by initiatives of

setting up apparel parks; 2002 and 2003 saw a gradual reduction in excise

duties for most types of fabrics while 2004 offered the CENVAT system on an

optional basis. The Union Budget of 2005�2006 announced competitive

progressive policies, whose salient features included:37

• A major boost to the 1999�established Technology Upgradation Fund

Scheme for its longevity through a Rs 4.35 bn allocation with 10%

capital subsidies for the textile processing sector

• Initiation of cluster development for handloom sector

• Availability of health insurance package to 0.2 mn weavers from 0.02

mn initially

• Reduction in customs duty from 20% to 15% for fibres, yarns,

intermediates, fabrics and garments; from 20% to 10% on textile

machinery and from 24% to 16% in excise duty for polyester oriented

yarn/polyester yarn

• Reduction in corporate tax rate from 35% to 30% with 10% surcharge

• Reduction in depreciation rate on plant and machinery from 25% to 15%

• Inclusion of polyster texturisers under the optimal CENVAT rate of 8%

84

To meet the challenges of the post�MFA setup, the Government of India

initiated a reforms process which aimed at promoting large capital investments,

pruning cumbersome procedures associated with the tax regime, etc. The

Textile Vision 2010 was born as a result of interaction between the government

and the industry which envisages around 12% annual growth in the textile

industry from US$ 36 billion now to US$ 85 billion by 2010. Additionally,

Vision 2010 also proposes the creation of an additional 12 million jobs through

this initiative.

3.11 THE TEXTILE INDUSTRY[Small and Medium Enterprises –

SME] 40

The phasing out of the international quota system is a major turning

point for the Indian textile industry – an opportunity and a threat. The textile

industry is among the SME intensive sectors in India, largely an outcome of

government policies during the early years of Independence. Focusing on

promoting domestic employment, large�scale production in the textile industry

was curtailed through restrictions on total capacity and level of mechanisation.

Several textile items were reserved for the small scale segment. These policies

promoted the extensive growth of small scale textile enterprises that were

highly labour intensive, though it eroded the competitiveness of the industry

and acted as a disincentive for capital investment.

These policies �� pursued from the 1950s to the 1970s �� resulted in the

dominance of the decentralised powerloom and handloom sectors in the textile

industry, which are mainly small and medium scale enterprises. In fact, many

of the large textile companies are also conglomerates of medium sized mills.

Statistics released by the Ministry of Textiles shows a highly fragmented

industry, except in the spinning sub�segment. The organised sector contributes

over 95% of spinning, but hardly 5% of weaving fabric. Small Scale Industries

(SSIs) perform the bulk of the weaving and processing operations.

85

De�reservation of textile products has been a priority area for the

government since 1997, which was believed to be the most effective way to

foster productivity and efficiency within the sector. All textile items were

removed from the reservation list by 2005. These measures were a prerequisite

to compete globally in the post�MFA regime. As trade barriers come down and

capital mobility increases, large, organised and integrated firms will gain

importance in establishing a presence in the global market and to tap

opportunities.

In the new scenario of a quota�free world, the readymade garments

sector will play a crucial role in the economy, in terms of contributing to

exports as well as employment generation, considering its inherent

labour�intensive nature. In the cloth production segment, the hosiery and mill

sectors are likely to be the gainers.

3.11.1 Defining MSMEs

The Micro, Small and Medium Enterprises Development Act, 2006,38

which came into effect from October 2, 2006, define SMEs on the basis of

investments in plant and machinery.

For enterprises engaged in the manufacture of goods:

• Micro � Investment in plant and machinery less than Rs 2.5 mn

• Small � Investment in plant and machinery over Rs 2.5 mn but not

exceeding Rs 50 mn

• Medium – Investment in plant and machinery in excess of SSI limit but

less than Rs 100 mn

• For enterprises engaged in providing or rendering of services:

86

• Micro � Investment in equipment not exceeding Rs 1 mn

• Small � Investment in equipment over Rs 1 mn but not exceeding Rs 20

mn

• Medium – Investment in equipment is in excess of SSI limit but less

than Rs 50 mn

3.11.2 Buyer Driven Network

The global textile industry, a buyer�driven network, is dominated by

retailers, marketers and manufacturers. In the newly defined business

environment for textiles, retailers like Zara, H&M, etc. have redefined the life

of fashion trends from the earlier five to six months to around two months. In

this scenario of such short shelf�life, the small scale operations of Indian SME

apparel manufacturers gives them the flexibility to service custom�made orders

at low cost. It is likely that India will become a preferred destination for global

manufacturers and retailers as well, and big opportunities for SMEs are

forthcoming.

Today, apart from the big Indian textile manufacturers like Gokuldas

Exports, Alok Industries, Raymonds, Welspun India, Arvind Mills and Madura

Garments, several small and medium sized apparel manufacturers have also

become significant contributors to the total apparel exports of the country.

Cotton knitwear suppliers of Tirupur, hosiery suppliers of Ludhiana and

suppliers of home textiles from Tamil Nadu, Kerala and Punjab, among others,

have been accepted as high quality and cost effective apparel suppliers in

international markets.

These regions are also SME dominated textile clusters that have emerged

either due to market access, availability of raw material or private initiatives.

The textile industry of India operates largely in the form of clusters �� mostly

87

natural clusters �� with roughly 70 textile clusters producing 80% of the

country’s total textiles. Based on a UNIDO study conducted on SME clusters

in India, some noteworthy textile clusters include:

• Panipat, accounting for 75% of the total blankets produced in the

country

• Tirupur, responsible for 80% of the country’s hosiery exports

• Ludhiana, which accounts for 95% of the country’s woollen knitwear

produced.

3.11.3 Clusterbased Approach to Development

Inspite of some natural advantages such as low costs and flexibility, the

SMEs suffer from disadvantages of being in a relatively isolated environment.

The Government of India’s cluster development initiatives, involving

technical assistance, subsidies for technology upgradation and marketing

support, have strengthened the competitiveness of the SMEs, which has also

consolidated their position in the global value chain. A case in point is the

initiative undertaken by the Textile Committee under the Ministry of Textiles,

which has undertaken a cluster�based programme for capacity building in

textile and clothing SMEs in across 20 clusters in the country.

Some key benefits of a cluster based approach for developing SMEs are:

• Networking among enterprises

• Economies of scale

• Improved bargaining power

• Technology and skill upgradation

88

• Global visibility and being part of the value chain

• Easier access to finance

• Greater institutional support.

Among the successes of the Textile Committee’s cluster development

initiatives has been the acquiring of intellectual property rights protection for

the Pochampally Ikat tie�anddye sari, from Andhra Pradesh. It is the first

traditional Indian craft to receive this status of XXVIII geographical branding,

and is expected to benefit at least 100,000 weavers in the state. The powerloom

clusters in Sholapur and Salem are also following suit in acquiring

geographical indications protection.

Another successful initiative is seen in the Terry Towel cluster of

Solapur, where some major interventions were undertaken by the committee

such as setting up of a polytechnic institute, acquiring quality certifications for

some of the units, setting up an export consortium and establishing networks.

The concentration of textile firms in the form of clusters is to a natural

advantage for adopting a cluster�based development approach of the textile

SME segment. International and domestic experience has proved that this

approach has helped firms in attaining competitiveness �� a requisite in today’s

new market.

3.11.4 Linking with the Global Value Chain

An inevitable outcome of the opening up of the textile markets is the

rationalisation of supplier base by large retail chains such as Wal Mart and

Gap. Under such circumstances, it will be difficult for small enterprises to

individually meet the requirements of these international buyers. Hence, it will

89

be essential to build value networks through linkages with large players who

can win large orders, while smaller players service these orders.

This entry into value networks will not only link up small players to the

global value chain but also assure a market for their products. Incorporation of

textile SMEs as third and fourth tier suppliers will be an effective way of

ensuring that they gain from the growing demands of the global market.

However, here the role of the government and the large textile companies will

be imperative.

3.12 FUTURE OUTLOOK

Expectations are high, prospects are bright, but capitalising on the new

emerging opportunities will be a challenge for Fashion Technology. Some

prerequisites to be included in the globally competing fashion industry are:

• Imbibing global best practices

• Adopting rapidly changing technologies and efficient processes

• Innovation

• Networking and better supply chain management

• Ability to link up to global value chains.

3.13 CONCLUSION

In this chapter a brief over view of fashion technology has been

provided. The publication output and growth of literature on fashion

technology research has been analysed and the same is discussed in Chapter

IV.

90

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