chikankari art work Thursday, 20 November 2014

RESEARCH OBJECTIVE To understand consumer preferences for traditional art form-chikankari, for their apparel wear and then to suggest a brand from which they will purchase.

  

  Indian Traditional: Weaving techniques

SUB OBJECTIVE-

To study, The chikankari art form in depth with respect to its history culture, artisans and evolution.  Suitable brand for the art form, which could help it getting mass commercial opportunity?

Topic Consumer preference for Indian traditional art form : chikankariResearch questions To understand the backwardness of chikankari?

How to gain its preference with the international brands?At what price should it be sold so that brands can adopt it?To understand how to provide it mass commercial opportunity,To understand the domestic and international market, to increase its sales and export. 

Research objective To understand consumer preferences for traditional art form-chikankari, for their apparel wear and then to suggest a brand from which they will purchase.

Sub objectives To study, The chikankari art form in depth with respect to its history culture, artisans and evolution. Suitable brand for the art form, which could help it getting mass commercial opportunity?

Research design Literature review was conducted through secondary sources I.e.                                Internet followed by primary study through survey on target market.

Data collection method Secondary study was done through internet and primary study was done through survey etc.

Sample design Target market was women in the age group 25-35years of Delhi-NCR ,(their demographic factors- age , education, occupation, income)

Data analysis Data was analysed with the help of statistics.

Indian Traditional: Weaving techniquesA descriptive research

Submitted to

Vasundhara GuptaPearl academy

(2014-2018)

Acknowledgement We hereby take the opportunity to express our very deep  appreciation and regards to those who have contributed to the accomplishment of this research project.

We would like to express our immense gratitude to our mentor, Ms Vasundhara Goel, who gave us constructive advices and continuous direction, and for her guidance, monitoring and constant encouragement throughout this project.

Executive summary

In the following pages you would see types of embroidery and traditional weaving techniques in India, and a descriptive research on Chikankari art form, the history and evolution, types of chikankari embroidery, process of making and time consumed, availability of Chikankari products – distribution, a brief on artisans and export market of chikankari.

Lucknow- the state capital of Uttar Pradesh is world renowned for its traditional Chikankari Embroidery. Chikankari is the embroidery work done with the white cotton thread on fine white cotton material. Chikankari is also called as shadow work. The word 'Chikan' is basically derived from Persian word 'Chikeen'. In earlier days, the Chikankari embroidery is traditionally done on mulmul- fine muslin cotton. Due to non-availability of mulmul, now-a-days this work is done on cotton, wool, chiffon, crepe, organde chiffon and silk clothes using contrast color threads. The origin of Chikankari is initiated by the influence of intricate carving patterns of Mughal architecture during their period. The Chikan work in Lucknow is older than 200 years and later it is patronized by Nawabs. There are 5000 families involved in Chikankari embroidery in and around villages of Lucknow. The artisans belong to local Muslim community. Nearly 90% of Chikankari work is done by women professionally. Delhi, Mumbai are the other centers for Chikankari work.

The purpose behind conducting this research was to know customer’s opinion about the form in which they would prefer Chikankari in their apparels. Along with it, the research aimed at better and more precise understanding of potential customers, their demographics and psychographics. In respect with this, it would be the information concluded from the survey would also assist to find out  a suitable brand for the art form, which could help it getting mass commercial opportunity .

Objective

RO 1) To understand the art form in depth with respect to its history, culture, artisans, evolution.

RO2) To understand consumer preferences for traditional art form Chikankari for their apparel wear and then to suggest a suitable brand from which they would purchase.

RO) To find out a suitable brand for the art form , which could help it getting mass commercial opportunity .

Design and Colour

Designs are traditionally taken from nature and include beautiful flower  patches  such as embroidery of  mango and  various design of flowers as designed by the designer.

Chikankari is dynamic there is always a central image which pulls the design together.

Colours tend to be  bright, red, blue black and yellow have always been popular , as much for the richness they bring to the design as for their symbolic meaning. White, red and black are the colours of purity, passion and darkness they also represent water, fire and earth.

Traditional weaving in India

Textiles:

India’s textiles both woven and printed that have dazzled the world have their own fabulous stories to tell. Stretched along the length and breadth of the country each region has its own characteristic fabric that weaves its history. There are hundreds of different textiles in India but some of the popular ones are favourites with everyone.

The brocades of Varanasi are the most well-known of Indian textiles. The brocade or kinkhwab (fabric of dreams)is the weaving of pure silk and gold strands to create a lush fabric. Each region has its own individual brocade like the Aashavali, Paithani, Kanjeevaram, Tanchoi, Balucheri and Jamewar. Creating the jala are the naqsshaband or master craftsment of Varanasi. From floral patterns to hunting scene patterns, designs have been adapted to suit contemporary times. A variety of motifs like creepers, flowers, birds, animals, architectural and human forms are incorporated in a single design.

Gujarat is generally considered the home of silk and brocade weaving after Varanasi. Even during the reign of Akbar, Gujarat was a famous center for weaving brocades, velvets and silks. The Aashavali from the town of Aashval is popular for its rich colours in contrast to the simple brocade border. The Aashivali woven ininlay technique has four to five coloured silk threads interspersed with jari (gold thread). Stylized parrots, peacocks, lions and doves appear quite often with trees and flowers.

From Paithan the town in Maharashtra comes the regal Paithanai. Many royal households own the Paithani which could take months to weave. Motifs of parrots and flowers are very popular and the Paithani is treated as an heirloom once it is bought.

Tanchoi was brought to India from China by the three Choi brothers (hence the name) who settled in Surat to weave the fabric with a different technique-a combination of Indian and Chinese style. The colours are subtle, the drape is light and the intricate work with extra floates which are blended into the fabric gives it an embroidered look based on the satin weaving style.

One of the most coveted of Indian fabrics, the double Ikat Patola, originates from various stateslike Gujarat, Orissa and Pochampalli in Andhra Pradesh. The double Ikat resist dyed Patola from Orissa and Patan in Gujarat is very intricate in weave. While the single Ikat from Rajkot is more affordable it is the double Ikat that is regarded as a masterpiece. Prices can be quite exorbitant because a Patola is valued for its purity of silk.

From the south comes the Temple Sari, the Kanjeevaram, from the town of Kanchipram. To own it is every bride’s dream because of its grandeur of weave. The Kanjeevaram sari was first woven around 400 years ago and since then this vibrantly coloured sari very often checks in silk yarn or gold threads, is a favourite. Many of the designs are variations of vertical and horizontal lines and checks.

From the Deccan comes the Gadhwal sari which represents a harmonious look of contrast. The sari originating from the Decan has the influence from the south, north, east and west of India. A blend of silk and cotton, the borders are normally in contrasting colours with intricate motifs.

From the colourful state of Rajasthan comes the Tissue Kotah woven in pure cotton. It is one of the lightest saris ideal for the

warm weatherof India.

Bhagalpur, Chanderi and Maheshwari are fabrics from different states with a beautiful combination of cotton and silk spun to create an extremely light fabric. The bhagalpur comes from Bihar, the Chanderi from the south and Maheshwaris from Madhya Pradesh. The silk yarn in the warp and a very fine cotton thread in the weft go to make them. The Chanderi made of super fine silk or Cotton has a light tissue-like appearance while the Maheshwari made of spun silk and cotton yarn has exquisite and intricate borders sometimes with a touch of gold.

The Jamewar fabric inspired by the Jamewar shawl with the paisley as the focus of attention is the beauteous fabric of Kashmir. Created in wool, cotton and silk, it has tht timeless beauty that is admired by all. The weft thread alone forms the pattern and is inserted by means of wooden spools without the use of a shuttle. It is a time consuming process which has made the hand woven Jamevar almost extinct.

From the town of Baluchar in Bengal comes the Baluchari textiles. It was some time in 1704 that the first Baluchar weaving took place. At one stage no gold or silver thread was used except the pure mulberry silk in the making of the fabric. The important feature is the white outlining of ht emotifs like animals, vegetation and figuarative patterns.

The most prominent of printing techniques is the Kalamkari from Andhra Pradesh. The world Kalamkari literally means pen of stylus work which is a combination of printing and painting. The themes are normally from mythology and the fabrics were first used im temples and religious places. The Calamari fabric requires patience and skill. But with modern methods the design is created with wooden blocks and stamped on the cloth.

The Block Print is what India is famous for. The Sanganer prints of Jaipur, Nandana prints of Madhya Pradesh and Batiks of Bengal provide a vast almost unlimited choice.

The Bandhani and Leheria are two tie-and-dye methods whicha re popular in Rajasthan and Gujarat. For Bandhani the fabric is tied into minute knots to form a designand then dipped into the dye, the Leheria (waves) pattern is also achieved with tie-and-dye techniques. Diagonal lines in a single colour across a white background create a magical effect.

The beauty of India fabrics is so hypnotizing that the West has been enchanted by it and has never resisted creating garments from them. Indian master craftsmen are being encouraged to move with the times and attempts innovations in traditional designs so that the art for weaving Indian textiles is kept alive.

Introduction to chikankari art form.

This art  form is practised since many years  .it has been a part of Indian culture since AD655. It is believed that chikankari art form was introduced by Noor Jehan  wife of Mughal emperor Jahangir.

The wearers of chikan cloth reflects status and style in their society it is purchased by the rich people.

Designer duo Abu Jani and Sandeep Khosla had  life into the art form over a decade ago by employing chikan kari in their high range ensembles worn by the likes of Dame Judi Dench, Jaya Bachchan, Dimple Kapadia and Kareena and Karishma Kapoor. Their short

kurta-pyjamas are a hot favourite with Aishwarya Rai Bachchan. Muzzafar and Meera Ali of Kotwara label fame initiated an elegant array of gold and silver chikankari work on black for formal wear and even bridal wear. The daraz chikan kari is the most expensive, stitched-by-hand work and takes months to complete.

History and evolution of chikankari art form .

This art form dates back to 3rd century BC. Some create the popularity of chikankari to the Mughal group. The word chikan is rooted

in the Persian chikin, meaning needlework on colourless muslin called tanzeb  or decorations on the body . It is also believed to be a distorted form of chikeen or siquin, a coin valued at Rs. 4, for which the embroidery was sold in Persia. Noor jehan was highly inspired by Turkish embroidery and gave impetus to  this form of needle work.

Origins of chikankari are believed to be rooted in Awadh, the work is believed to have been part of the Indian heritage for centuries.

Process of making of chikankari art

work.

The city of Lucknow has a prominent place in the history of India particularly for its art, historical monuments and rich cultural heritage. Besides being famous for its hot summers and a glorious past, Lucknow is also known the world over for its many fine Handicrafts. Among these the most popular and recognized worldwide is Chikankari.

At first the design is printed on the cloth with washable colours while different embroidery work is done on other cloth. This is home based industrial activity done by women artisans and workers .

Next, The fabric is given desired shape and  quick rough hand stitch is done to give the block printer an idea  of the placements of the designs.

After the design is finalised the cloth is then washed which involves bleaching , acid treatment , stiffing and ironing rounds up the entire process of chikankari.

The stitches used in Chikan Kari work of Lucknow are basically of three categories, namely•   Flat Stitches (Subtle stitches that remain close to the fabric)•   Embossed Stitches (they give a grainy appearance)•   Jali Work (Created by thread tension, it gives a delicate net effect)

Types of chikankari art work.

Tepchi  is a long running stitch worked with six shore on the right side of  the fabric taking over four threads and picking up one. Thus a line is formed .

Bakhiya, double back or shadow stitch in chikan work is done from opposite side of the fabric and the design is rendered in the zigzag pattern . The shadow of the cloth is seen from the right side.

Hool – Herein , a hole is punched in the fabric and the threads are teased apart. It is then held by small straight stitches all around and work is done with one thread on the right side of the fabric.

Zanzeera is small ring worked with one thread on the right side of the fabric, it is used to outline the leaf or petal shapes .

Rahet is a back stitch work done on the right side of the fabric , it forms a line of back stitch, it is rarely used in simple forms.

Banarsi is a twisted stitch worked with six threads on the right side of the fabric. The needle is reinserted halfway along and below the stitch and is taken out about two threads vertically on the right above the previous stitch.

Khatau is similar to bakhiya but is fine and is a form of decorative style.

Phanda/Murri are forms of stitches used to embroidery the centre of the flowers in the ordinary chikan work.

Jali the stitching is done on the back side of the fabric so that the black portion look as impeccable as the front.

Lifestyle of artisans working  in chikankari industry

The lifestyle of artisans has improved a lot from early times as the rates of fabric has increased with the increase in the demand of chikan cloths therefore earning of workers has

increased subsequently from year to year.

Export Market of  Chikankari

. MLK EXPORTS

The Company is a Govt. of India recognized Export House dealing in exports of readymade garments of woven fabrics like all type of cottons, viscose, silk, lycra, linen, blended fabrics etc., specializing in ladies high fashion wear, night wear, kurtas (the traditional item of Lucknow) that is made based on the requirements of the buyer.

The city of LUCKNOW where the Company is situated, has the specialty of Hand Embroidery known as Chikankari or CHIKAN Embroidery which is one of the finest and unique embroidery which cannot be find anywhere else in the world. The Company, apart from the chikan embroidery, also deals in other types of embroidered garments like Machine, Ari Machine, Computer, Applique, Beads and Sequin embroideries etc.

The Company has the in-house production capacity of about 2000 garments per day. All the latest cutting, stitching and finishing machines are installed under one roof so as to give the top quality product.

The Company has a team of dedicated managed by Mr. Sharad Kapoor and Mr. Shishir Kapoor, the two Directors having experience of more than 20 years in this line.

The main markets are U.S.A., Brazil, Turkey, Australia, Italy, Spain, France, Canada, Caribbean islands, Mauritius etc. (www.mlkexports.com/about.html)

Availability of Chikankari

Main types of fabric used and their prices:

1. Cotton: per meter cloth is available at the rate of 60 rupees.2. Terivoile: : per meter cloth is available at the rate of 59 rupees.3. Georgette 30*30:  per meter cloth is available at the rate of 40 rupees.4. Pure Georgette:  per meter cloth is available at the rate of 410 rupees.5. Chanderi Banaras: per meter cloth is available at the rate of 135 rupees.6. Mataka silk: per meter cloth is available at the rate of 450 rupees.7. Pure chiffon:  per meter cloth is available at the rate of 425 rupees.8. Pure crape: per meter cloth is available at the rate of  425 rupees.9. Tussar silk Bhagalpur:  per meter cloth is available at the rate of 280 rupees10. Printed cotton: per meter cloth is available at the rate of 125 rupees

Where in the current fashion trends, retail store holders prefer cotton and georgette 30*30 more as their sale is more in these fabrics with the customers. And, for the people who are operating boutiques prefer pure cotton and pure georgette to sell.

Places where chikankari clothes are available across India

1. Lucknow: Alambagh, Rana pratap marg, Hazratganj, Aminabad, Gomti nagar(Bhoothnath market), Chowk

2. Delhi: Karol bagh, Ansal plaza, Delhi haat, Sarojini market, Chandani chowk, Plika Bazar and in Ghandhi Ashram of Connought Place is also shopper’s paradise for chikankari suits.

3. Mumbai: Andheri east(khairani road),Park road vile parle east, Malad west, Nagpada, Mohammad ali road, Prarthana road, Charni road, Girgaon

4. Kolkata: China world market, Ekbalpur, Khidirpur, Dharmatala, Taltala, Lake road, kalighat, Bedford lane

5. Hyderabad: Telecom nagar, Gachibowli, Shahabad.

6. Jaipur: Johri bazar, Janta colony, Adarsh nagar.

References

www.dsource.in/resources/chikankari_emroidery_II/intro/introduction.html

www.mlkexports.com/about.html

www.lucknowcity.com/chikankari.php

www.indianprofile.com/fashion/indian_textile.html

www.dsource.in/resources/chikankari_emroidery_II/intro/introduction.html

www.google.com

www.in.search.yahoo.com

Bibliography

www.india-crafts.com/textile/indian-handlooms.html

www.linguistics.byu.edu

www.indianprofile.com/fashion/indian_textile.html

www.indianmirror.com/indain-industries/weaving.html

www.dsource.in/resources/chikankari_emroidery_II/intro/introduction.html

www.mlkexports.com/about.html

www.lucknowcity.com/chikankari.php

www.google.com

www.in.search.yahoo.com

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