INDIAN

TEXTILES
The Indian Textiles Industry has an overwhelming presence in the economic life of the
country and is one of the leading textile industries in the world. Though was
predominantly unorganized industry even a few years back, but the scenario started
changing after the economic liberalization of Indian economy in 1991. The opening up
of economy gave the much-needed thrust to the Indian textile industry, which has now
successfully become one of the largest in the world.

• Indian textile industry largely depends upon the textile manufacturing and export.
• It also plays a major role in the economy of the country.
• India earns about 27% of its total foreign exchange through textile exports.
• Further, the textile industry of India also contributes nearly 14% of the total
industrial production of the country.
• It also contributes around 3% to the GDP of the country.
• Indian textile industry is also the largest in the country in terms of employment
generation.
• It not only generates jobs in its own industry, but also opens up scope for the other
ancillary sectors.
• Apart from providing one of the basic necessities of life, the industry also plays a
vital role through its contribution to industrial output, employment generation, and
the export earnings of the country.
• The Government of India has also promoted a number of export promotion
policies for the textile sector in the Union Budget and the Foreign Trade
Policy.
• This scheme would cover all sub sectors of the textile sector such as textiles
and apparel, handicraft, handlooms, jute and sericulture.
• The industry attracted foreign direct investment (FDI) worth US$ 1.04
billion during April 2000 to November 2012. And the potential size of the
Indian textiles industry is expected to reach US$ 220 billion by 2020.

In order to match the increasing requirement of skilled personnel at

all levels, CBSE has initiated to introduce “Textile Design” as a
vocational course for Class XI and XII. The course aims to introduce
students to Elements of Design, Fabric science, Woven textiles,
Dyeing & Printing procedures and introduction to Indian traditional
textiles. The course will equip school passing out students for jobs
available in this sector as Assistants in technical setup and studios
and will also prepare students for higher studies in the area of Textile
Design.
Embroidered Textiles

Embroidered Textiles of India

• Kashida
• Phulkari
• Chamba Rumal
• Embroidery from Gujarat
• Parsi Embroidery
• Chikankari
• Phool Patti ka Kaam
• Zardozi
• Kasuti
• Lambadi Embroidery
• Kantha
• Sujani
• Pipli Applique
Dyed Textiles

• Bandhani
• Bandhani of Gujarat
• Special Bandhani Textiles from Gujarat
• Bandhej & Lehariya of Rajasthan
• Special Tie-Dyed Textiles from Rajasthan

Ikat
• Patola of Gujarat
• Bandhas of Odisha

Ikat Textiles of Andhra Pradesh

• Telia Rumal
• Pochampalli Ikats
Ikat

Ikat, or ikkat, is a dyeing technique used to pattern textiles that employs 

resist dyeing on the yarns prior to dyeing and weaving the fabric.
In ikat the resist is formed by binding individual yarns or bundles of yarns with
a tight wrapping applied in the desired pattern. The yarns are then dyed. The
bindings may then be altered to create a new pattern and the yarns dyed
again with another colour. This process may be repeated multiple times to
produce elaborate, multicolored patterns. When the dyeing is finished all the
bindings are removed and the yarns are woven into cloth. In other resist-
dyeing techniques such as tie-dye and batik the resist is applied to the woven
cloth, whereas in ikat the resist is applied to the yarns before they are woven
into cloth. Because the surface design is created in the yarns rather than on
the finished cloth, in ikat both fabric faces are patterned.
Warp Ikat
In warp ikat, the weft yarns are all dyed a solid colour and only the warp yarns
are ikat dyed. Here, the pattern is clearly visible when the threads are wound
on the loom, and weaving in the weft threads solidifies the colour and
completes the fabric formation.
Weft Ikat
In weft ikat, it is the weft threads that are ikat dyed. This type of weaving is
more difficult than warp ikat, as the pattern will be formed only as the
weaving progresses. This means that the weaver has to constantly centre and
readjust the yarns to ensure the pattern is formed correctly.
Double Ikat
The most complicated of the three, double ikat, is where both the warp and
weft threads are resist-dyed prior to weaving. This technique requires
advanced skill, takes time and hence is the most expensive. The Pochampally
Sari and Puttapaka saris are native to India, and feature exquisite double ikat
motifs on silk.
Combined ikat
In combined ikat, both warp and weft yarns are tie dyed but they are present
in selected areas of a textile, to create interesting patterns.

The main production centres of ikat in India are gujarat, odisha and andhra
Pradesh. The ikat of each region known by different names can be identified
from the motifs and the patterns achieved on weaving the tie-dyed yarns. The
ikat textiles of India can be classified into three categories on the basis of
region as follows:

• Patola of gujarat
• Bandhas of odisha
• Ikat textiles of andhra Pradesh: Telia rumal and Pochampalli
• Patola of Gujarat
• Bandhas of Odisha
How Is Ikat Fabric Made?

These are the various steps involved in creating an Ikat fabric:

The desired pattern is first drawn on the warp and weft yarns by hand.
The weaver then ties these yarns to match the planned pattern. The threads
are then dyed in the specific colours, so that the colours seep into the yarn at
the appropriate positions.
The ties on the yarn are untied, and the yarns are strung on the loom. In warp
and double ikat, the pattern emerges on the loom at this stage.
The fabric is then woven together, and the colourful pattern of motifs emerges
on it.
For a pictorial description of each of these steps, I suggest you visit the 
HomeWorkshop website.
History of Ikat

Although Ikat weaving is a complex technique, it is surprising

how the technique is believed to 
have simultaneously and independently developed in different p
arts of the world.
 Ikat was brought to Europe at almost the same time by Dutch
traders from South East Asia as the Spanish from South America
and explorers from the Silk Road.
Ikat fabric has been practiced in India, Indonesia, Japan and
other South-East Asian countries for millennia. This form of
textile production is also popular in Central and South American
countries like Argentina, Bolivia and Mexico. The most coveted
double ikat woven fabrics come from Guatemala, India, Japan
and Indonesia. It is interesting to note that every Ikat
Weaving group has its own distinct patterns, styles and
choices of colour.
                                                                                                   
Endek is an economically successful version of Ikat from
Indonesia, as it has been taken from its fabric form and
developed into products. Originally considered a court-based
sacred fabric in Bali, it is now Indonesia’s most commercialised
Ikat In Fashion Today
Printed Textiles

Bagru prints from Rajasthan

Sanganer prints from Rajasthan
Kalamkari from Andhra Pradesh
Hand-woven Textiles

• Saris • Floor coverings

• Banaras Brocades • Carpets
• Baluchari Saris • Durries & Rugs
• Jamdani Saris
• Paithani Saris
• Kanjeevaram Saris
• Chanderi Saris
• Maheshwari Saris
• Shawls
• Kashmir Shawls
• Kullu & Kinnaur Shawls
• Wraps of North-east
Embroidered textiles of india
The art of embroidery dates back to as early as the Indus Valley civilization.
Bronze and copper awls excavated in Harappa confirm that embroidery was a
practiced craft in ancient times. Though none of the embroidered samples
exist from primitive times, travelogues of foreign visitors to India mention
about prevalence of ornamented textiles in Indian kingdoms.
different embroidery styles have developed regionally in India that has a
distinct identity of their own. Cotton, silk, woolen thread or gold/silver is
used to embroider on various media, from cotton, silk, woolen fabric to
velvet and leather. Besides thread, pieces of fabric, beads, mirrors, shells,
coins, precious stones and sequins are also used for embellishing the fabric.
With the passage of time, a variety of embroidery designs have been created
by artisans from their own imagination. The Indian embroideries can be
classified on the basis of the technique of production or as per the region of
production.
Northern India: eastern India:

Kashida from Kashmir Kantha from West Bengal

Phulkari from Punjab Sujani from Bihar
Chamba rumal from Himachal Pradesh Pipli appliqué from Orissa

Western India:

embroidery from gujarat

Parsi embroidery 3 Traditional Indian Textiles

Central India:

Chikankari from uttar Pradesh

Phool Patti ka Kaam from uttar Pradesh
Zardozi from uttar Pradesh

Southern India:

Kasuti from Karnataka

lambadi embroidery from andhra Pradesh
 Kashida region:
Kashida is an embroidery style from Kashmir that is practiced by men folk of
the region.

Technique:
• The base material for Kashida is cotton, wool or silk in a variety of colours
like white, blue, yellow, purple, red, green and black.
• The embroidery threads used to execute Kashida are wool, silk or cotton
depending on the product to be embroidered.
• The main stitches employed for Kashida are darning stitch, stem stitch,
satin stitch and chain stitch.

Motifs used:
• The motifs used in Kashida depict the natural elements which includes the
rich flora and fauna of the region of Kashmir.
• Typical motifs are birds like magpie, kingfisher; flowers, butterflies, maple
leaves, almonds, cherries, grapes and plums.
• A popular motif seen on embroidered shawls is derived from the cypress
cone.

Style of embroidery used:

• There are three styles of embroidery followed in Kashmir. Sozni is intricate
embroidery that uses stitches like fly stitch, stem stitch and darning stitch.
• The aari style, also called Zalakdozi employs hook or aari to fill-in motifs
with chain stitch .
• In Kashmiri couching, zari thread is laid on the fabric along a pattern and is
held in place with another thread.

Sozni
Zalakdozi aari
motifs with chain stitch
 Phulkari region:
Phulkari is an embroidery style that originated in Punjab.
It is used and embroidered in different parts of Punjab namely Jalandhar,
amritsar, Kapurthala, Hoshiarpur, ludhiana, Ferozepur, Bhatinda and Patiala.
The earliest available article of phulkari embroidery is a rumal embroidered
during 15th century by Bibi Nanaki, sister of guru Nanak dev. The needlework
is widely practiced by the women of Punjab and holds significance in a life of a
woman, from her marriage till her final abode to heaven.

Technique:
The base material to execute Phulkari is handspun and handwoven Khaddar
that is dyed in red, rust, brown, blue and darker shades.
Soft untwisted silk thread ‘Pat’ is used for the embroidery.
The colours of the thread are red, green, golden yellow, orange, blue etc.
The basic stitch employed for Phulkari is darning stitch, which is done from the
reverse side of the fabric. For outlining of motifs and borders, stem, chain and
herringbone stitches are sometimes used.
Motifs:
The motifs used in Phulkari are inspired by objects of everyday use like rolling pin,
sword, flowers, vegetables, birds, animals etc. They are generally geometrical and
stylized. Usually one motif is left unembroidered or is embroidered in an offbeat colour.
This motif is called ‘nazarbuti’ which is considered to ward off the evil eye.

Style of embroidery:
The two embroidery styles prevalent in Punjab are Bagh and Phulkari. Bagh is a fully
embroidered wrap that is used for special occasions whereas Phulkari is simple and
lightly embroidered for everyday use.
 Chamba rumal region:

Chamba rumal, an embroidery from Himachal Pradesh dates back to the 15th
century. There is a mention of this embroidery being practiced in Pathankot,
Chamba and other remote villages of Himachal Pradesh in Buddhist literature
and the Jataka Tales.

Technique:
The embroidery is executed on two types of unbleached cotton cloth:
lightweight, delicate muslin or handspun, hand-woven, coarser khaddar.
untwisted, dyed silk threads ‘Pat’ in bright colours like red, yellow, green,
blue, crimson and purple are used for the embroidery.
The embroidery uses double satin stitch which simultaneously fills in the
motif on both sides of the fabric, making it reversible.

motifs:
The motifs used are inspired from Pahari paintings depicting lord Krishna and
his playful antics.
Typical motifs include: tiger, goat, deer, horse, peacock, parrot; flowers, shrubs
and plants, willow and cypress trees; and musical instruments like sitar, tabla,
veena, tanpura etc.

Style of embroidery:
The embroidery is executed on a square piece of cloth.
The motifs are arranged on the rumal in order to portray scenes from lord
Krishna’s life.
Some of the popular themes include Rasamandala, Rukmini haran and Kaliya
daman .

end use:
Traditionally the rumal was used as a cover for food prasad offered to gods
and goddesses. It was also a custom to gift embroidered rumals at the time of
weddings.
Chamba embroidery is done on fabrics like silk, polyester or terrycot and
made into blouses, caps, slippers, cushions covers etc.
Embroidery from gujarat
Region:
The embroidery of gujarat is colourful and vibrant practiced by different communities
of the state. The most popular embroidery styles originate from Kutch and Kathiawar
region of gujarat.

Technique:
The embroidery is done with multi-coloured threads, usually cotton or silk
embroidery threads. different stitches are used depending on the style of
embroidery, namely chain stitch, herringbone stitch, satin stitch, interlace
stitch, buttonhole stitch and darning stitch. There is also use of mirrors that
are fixed on the fabric with an embroidery stitch. Another technique used in
Gujarat is appliqué where scraps of fabric are cut into a form and stitched
onto the base fabric.
motifs:
The motifs used in Gujarati embroidery are mostly taken from flora and
fauna. Some typical motifs are flowers, creepers, trees, peacocks, parrots and
elephants. Besides flowers and animals, human figures in different poses like
dancing women and men are also seen in some styles of gujarati embroidery.

Style of embroidery:
There are different embroidery styles carried out by tribal communities of
gujarat. Some of the styles are as follows:
• Mochi Bharat: The embroidery style from Kutch is practiced by the mochis
of shoemakers. The ari or the hook is used to embroider designs with chain
stitch
• Soof Bharat: The embroidery is executed with untwisted silk floss and
geometric patterns are created using the darning stitch
• Abhla Bharat: The embroidery style is defined by the use of mirror work
along with other embroidery stitches to create designs on fabric
• Moti Bharat: The craft is characterized by the use of white and coloured
beads that are connected with thread to develop colourful motifs on a white
background of beads.
• Kachcho Bharat: The embroidery uses interlace stitch called sindhi taropa.
The motifs are mainly geometrical comprising of squares, hexagons and
lozenges.

Imges had to add of all type of bharat

 Parsi embroidery region:

As the name suggests, the Parsi embroidery is practiced by the Parsi

community living in Mumbai. They are believed to be descendants of Persian
Zoroastrians, who migrated to India around the 8th century. The Parsi
embroidery is an interesting mix of eastern and western cultures, imbibing
from Persian, Chinese, Indian and European influences.

Technique:
The base material for Parsi embroidery is silk fabric in bright red, purple, blue,
magenta and black colour. The embroidery is done with silk threads in light
pastel colours like off- white, pink and cream. The basic stitch used in Parsi
embroidery is satin stitch and its variations to fill-in motifs Besides the satin
stitch, French knots are used that imparts texture to the fabric, resembling
small beads fixed on the fabric.
motifs:
The motifs are derived from Persian, Chinese, Indian and european cultures.
The range of motifs from nature includes flowers like chrysanthemum, peony,
lily and lotus; foliage like cherry, weeping willow and pine; birds like crane
and peacock, and butterflies. Other important motifs are inspired from
Chinese architecture and portrayal of Chinese human figures and scenes from
daily life.
Style of embroidery:
The Parsi gara is an embroidered sari that has heavily embellished borders
on all its four sides.

end use:

The Parsi embroidery is done on garas (sari) and jhablas. a time consuming
embroidery, the richly embroidered Parsi garas are regarded as heirlooms.
Though the embroidery is becoming extinct, attempts are being made to
revive the craft and produce fast selling products like scarves, bags and other
accessories.
 Phool Patti ka Kaam region:
Phool Patti ka Kaam is traditional appliqué style embroidery practiced in Uttar
Pradesh, chiefly Aligarh and Rampur. The embroidery is executed by Muslim
women, who work from their homes. The craft gained importance during the
Mughul period.

Technique:
The appliqué is done on fine white cotton fabric or organdy. Traditionally
appliqué is done in two ways. In one form ‘Badi Patti ka Kaam’ small pieces of
white fabric cut into floral forms are stitched onto the white fabric, creating
the light and shade effect. The detailing of the motifs is done with stem stitch.
In the other ‘Choti Patti ka Kaam’, small pieces of cloth are folded into
diamond shapes and used as petals or leaves in the motifs, along with stem
stitch work
As the name suggests, the embroidery motifs are in the shape of flower petals
or leaves. “Phool” means “flower” and “Patti” means “leaf” in the local
language spoken in the region. This textile decoration style consists of little
bits of fine ‘mull’ fabric which are cut by hand and deftly folded and shaped
into tiny petals, leaves and other geometrical and floral shapes. These are
then embroidered onto the fabric to create a variety of intricate patterns. The
entire embroidery is done by hand including the finish of edging and joining of
the seams. 
motifs:
As the name suggests, the motifs used in Phool Patti ka Kaam are flowers and
leaves. The floral forms are geometric in nature.

Style of embroidery:
There are two styles of Phool Patti ka Kaam according to the size of motifs
appliquéd on the fabric. The Badi-patti style uses bigger floral forms for
appliqué whereas in Choti-patti style very small diamond shapes are applied
on the fabric.

end use:
Phool Patti ka Kaam was traditionally done on dupattas and saris. Now a days
the appliqué is also done on home furnishings like curtains, table linen and
cushion covers using other colours besides white.
 Zardozi

Zardozi on jute

Zardozi on velvet
colors
Painting in textiles of india
• Kalamkari Painting
• Mata ni Pachedi painting
• Kishangarh Painting
• Tanjore painting frame
• Pabuji Ki Phad Painting
• Rogan …painted or block printed 
• Warli
• Madhubani
• Pattachitra Art from Odisha