Approach in Contemporising Jamdani The e

TITLE: Case study on the textile revivalist and entrepreneur desig ner.
“Gaurang Shah’s approach in contemporising Jamdani (extra weft insertion

technique)”.
By
SOURAV DAS
Submitted to NIFT in partial fulfillment for the degree of Master Of Design.
Faculty Guide: Ms. Kavita Yadav
DEPT OF P.G DESIGN
NATIONAL INSTITUTE OF FASHION TECHNOLOGY, DELHI
NEW DELHI, INDIA 110016
9th MAY 2014
1
Declaration
The work presented in this dissertation is authentic and original and is the
outcome of author’s own ideas and labor. No portion of this work has been
submitted in support of an application for another degree or qualification to this
institution or any other university or an y other institution of learning.
Sourav Das
2
TITLE: Case study on the textile revivalist and entrepreneur desig ner.
“Gaurang Shah’s approach in contemporising Jamdani (extra weft insertion
technique)”.
By
SOURAV DAS
M. DES
Batch 2012-2014
Submitted by Mr. Sourav Das to NIFT in partial fulfillment of the requirements for
the degree of Master Of Design (Space Design) of the National Institute of Fshion
Technology at New Delhi and hereby certify that in the judgement of the following
members of the jury it is worth of acceptance :
Name Institute/ Organization Signature and Date
____________________ ________________________ ________________
____________________ ________________________ ________________
____________________ ________________________ ________________
____________________ ________________________ ________________
____________________ ________________________ ________________
____________________ ________________________ ________________
Remarks regarding fulfilling further requirements , if any:-

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
___________________________
Signature of Course Co-ordinator/ PG Design Space: Date:
3
ABSTRACT:
“GAURANG” personifies elegance and captivating the beauty of traditional handlooms and
weaves, created using Jamdani technique with pure zari on cottons and silks. Traditional motifs,
inspired by the sculptures of South Indian temples, floral and geometrics drawn from the
nature are the hallmark of the creations. Immense care is taken to preserve and accentuate the
aesthetic appeal of its beautiful textures. Gaurang took up the challenge of reviving the
traditional handlooms and bringing them back in vogue. It took two painstaking years to regain
the popularity for the handlooms. GAURANG supports around 500 handlooms across India in
the states of Andhra Pradesh, Maharashtra, Tamil Nadu, Uttar Pradesh etc. reviving the
traditional weaving technique of “Jamdani”. Jamdani is a brocaded fabric woven with
discontinuous extra weft yarns. The age old horizontal tapestry technique is imbibed in creating
our Jamdanis so that like the tapestries we get the exact effect of a drawing on fabric.
GAURANG is an avid exponent of varied textures and rich borders in the weaves. Be it cotton
saris with a silk border or a muga tussar border with a khadi body, the creations are an
enchanting fusion of tradition and craftsmanship. GAURANG has transformed the total outlook
of a khadi sari in terms of texture, designs, color and finish using jamdani weave, bringing it at
par with international design standards which appeals even to the younger generation. The
analysis of the study brought some new insights to the research. It states the love of indigenous
weaves in always there in the crowd of intellectual people and he believes that bringing back
happiness in the weaver communities is the true fabric of culture and revival of tradition.The
research aims in deducing Gaurang Shah’s efforts and endeavor in contemporizing Jamdani
which has become his U.S.P, his passion of working with weavers to sustain their craft in a
better way. The research includes few research tool of observation, interviews, field visits and
audio visual interactions. The research will help in archiving Gaurang’s contribution towards the
survival of these craft and analyse his U.S.P for further future outcomes.
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ACKNOWLEDGEMENT
A project work is never an accomplishment of an individual; rather it is an amalgamation of

the efforts, ideas and cooperation of a number of individuals. It gives the immense pleasure
to take this opportunity to thank all those who helped me in successfully completing this
project.
I would like to express my sincere thanks to our director providing all the facilities and
support required by the students. I wish to express my sincere thanks to our Department
Head Mr. Suhail for his guidance and encouragement to the students. I would also like to
thank Mrs. Kavita Yadav for her guidance, patience, and dedication towards my project. I
also owe a tremendous thanks to Mr. Gaurang Shah for his support to my project.I thank
my parents and friends for their immense support and enthusiasm. I have to
acknowledgement that in the preparation of this project I have got immense help from Mr.
Suhail, Ms. Sudha Dhingra and Nikita Teashah. Thank you for your time, energy, and
supervision in the completion of this work.
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CONTENTS
DECLARATION……………………………………………………………………………2
ABSTRACT………………………………………………………………………………..3-4
ACKNOWLEDGEMENT………………………………………………………………. 5
1. PROJECT BRIEF……………………………………………………………………..9
2. INTRODUCTION……………………………………………………………………..9-11
3. SCOPE OF THE RESEARCH………………………………………………………11
4. OBJECTIVES OF THE RESEARCH……………………………………………….12
5. METHODOLOGY…………………………………………………………………….14-15
6. JAMDANI……………………………………………………………………………...17
6.1: THE EASTERN REGION……………………………………………………….17-18
6.1.1: BENGALI DESHI MUSLIN……………………………………………...19-20
6.2: HISTORY………………………………………………………………………….20
6.2.1: DACCA MUSLINS……………………………………………………….20-21
6.2.2: JAMDANI MUSLINS…………………………………………………….21-23
6.3: THE EARLY HISTORY…………………………………………………………23-25
6.4: THE MUGHAL ERA……………………………………………………………25-26
6.5: PROCESS………………………………………………………………………26-27
6.6: MANUFACTURING TECHNIQUE…………………………………………...27
6.7 DESIGN…………………………………………………………………………28-30
6.8 COLOURS………………………………………………………………………30-31
6.9 WEAVE…………………………………………………………………………..32-33
6
6.10 CONTEMPORISATION/ CHANGE WITH TIME……………………………33-34
6.11 SOME TRADITIONAL JAMDANI PIECES FROM
BANGLADESH AND INDIA…………………………………………………35-38
6.12 TYPES OF JAMDANI………………………………………………………...38
7.12.1 DHAKKAI JAMDANI…………………………………………………40-41
7.12.2 TANGAIL JAMDANI…………………………………………………41
7.12.3 SHANTIPUR JAMDANI……………………………………………..41
7.12.4 DHANIAKHALI JAMDANI…………………………………………..42
7.13.5 UPPADA JAMDANI…………………………………………………42
6.13 THE DECLINE AND FALL………………………………………………….43
6.14 CURRENT PROBLEM………………………………………………………43
6.15 (A) HIGHLIGHTS OF INDIAN TEXTILE INDUSTRY (GOVT. DRIVEN)..43-44
(B) HIGHLIGHTS OF INDIAN TEXTILE INDUSTRY (PRIVATE DRIVEN)..45
6.16 INITIATIVES TAKEN BY RENOWNED DESIGNERS IN SUSTAINING
THE CRAFT………………………………………………………………….46
7.16.1 BIBI RUSSELL………………………………………………………46-48
7.16.2 RITU KUMAR………………………………………………………..48-49
7.16.3 RAHUL MISHRA……………………………………………………50-51
7.16.4 SOUMITRA MONDOL……………………………………………….52-53
7. TEXTILE DESIGNER GAURANG SHAH’SINITIATIVE IN
SUSTAINING THE CRAFT……………………………………………………...55
7
7.1 GAURANG’S MUSE………………………………………………………...56-57
7.2 INDIAN AND INTERNATIONAL…………………………………………....57
8. VISUAL ANALYSIS OF JAMDANI………………………………………………57-69
9. GAURANG SHAH’S ENDEAVOUR …………………………………………..70-71
9.1 – 4 P’S OF MARKETING………………………………………………….71-85
10. ANALYSIS OF SURVEY BY CONSUMER RESEARCH…………………….86-110
10.1- DESIGN INTERVENTION……………………………………………….110-114
10.2- SWOT ANALYSIS………………………………………………………..115-116
11. GAURANG SHAH’S INITIATIVE IN SUSTAINING
WEAVING TRADITION ……………………………………………………..116-120
12. LIMITATIONS……………………………………………………………………121
13. CONCLUSION…………………………………………………………………122-123
APPENDICES………………………………………………………………….124-138
BIBLIOGRAPHY/REFERENCE.………………………………………………139-142
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PROJECT TOPIC:
Case study of the textile revivalist and entrepreneur designer, “Mr.

Gaurang Shah’s approa ch in reviving weavers village and jamdani craft
(extra weft insertaion technique)”.
Case Study: Gaurang Shah
1. PROJECT BRIEF:
To study the traditional aspects of doing extra weft insertion in the handlooms that is
called as “Jamdani” in different parts of India and Bangladesh and its contemporisation
done by Gaurang Shah in terms of aesthetics, colours and motifs on different ground
fabric mentioned as Silks of Benaras, Khadi from Andhra Pradesh, Kota cotton from
Rajasthan in Kota Doria, Blends etc and further intervention to create amalgamation of
crafts with Jamdani for the Women of Hyderabad and Gaurang’s niche Clients.
2. INTRODUCTION:
Textiles have fascinated mankind since ancient times. Many highly developed
civilizations besides their other achievements, produced incredibly refined and
elaborately designed textiles- each created its own distinctive patterns, employed
unique weaving techniques, and utilized the raw materials available in the region.which
were hemp, cotton, wool and silk.
It was a vast production of textiles over the centuries by civilizations renowned for the
excellence of their textiles, Indian,Hellenic, Egyptian, Mesopatamian, Achaemdian,
sassanian, Assyrian and Chinese, only a minuscule fraction of fabric samples have
survived the depredation of time due to their fragility.
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Though india’s speciality has traditionally been cotton, it was also known for its fine
linen and silk fabrics. The silk fabrics which were made in India in the ancient times is
corroborated by textual references in Indian literature. Ancient Indian texts refer to silk
as Kausheya, Kriminag, Kitsutram, Pttasutra and patron etc. These were the varieties of
wild silk, such as tassar, eri, or munga, which were produced in particular parys of india
such as Assam, Upper Bengal, Madhya Pradesh and Orissa.
Some of the finest textiles were made in the royal workshops, references to which have
been found since Mauryan period, third to first century B.C
Mughal Empire was founded in India in (A.D. 1526 to 1857) by Babar, a chieftain of
Fargana in Samarkand.This was a period of the great revival of Indian arts and
crafts.other illustrations emperors of the dynasty- Humayun, Akbar, Jahangir,
Shahjahan and Aurangzeb- favoured a highly sophisticated culture, which was the
synthesis of central Asian, Persian, and Indian traditions. That time Bengal and Pundra
use to be the fine manufacturer of cloth. From various historical accounts, folklore and
slokas, it may be assumed that very fine fabrics were available in Bengal as far back as
the decade before Christ. Cotton fabrics like dukul and muslin did not develop in a day.
Dukul textile appers to have evolved into muslin. Jamdani designs and muslin
developed simultaneously.
Abul Fazal’s Ain-e-Akbari is most informative recent account of woven loom textiles
developed under the Muslins and records by Abul Fasal in Ain-e-Akbari describe the
intelligent patronage of Emperor Akbar. The delicate muslins of ancient Dhakawere
used both for male and female attirein the Moghul court and the province of Bengal
flourished both in commercial trade and agriculture at this time. Jamdani was the very
technique of weave which was been done on Dhaka muslin during this period by the
weavers of Gangetic weavers of Dhaka. These royal piece of cloth was initially made to
cover and wrap the royal jewellaries, when the Mughal King saw that, he said the
rajkarigar that, “when Gold vcan wear this beautiful fabric, even I can wear this beautiful
fabric”, that’s how Jamdani came into existence and people started adorning them with
muslin drapes with Jamdani work done on it. Initially it was done on gray fabric with
10
bleached white cotton thread. With ages many experimentation has been done with the
weave and the weave itself migrated to many places results in its contemporisation.
Gaurang Shah is a name in the chapter of Indian Traditional Textiles who have taken
initiative in reviving this very weave with the help of his weavers energy and creative
skills resulting in contemporisation of the weave. Highly exceptable , innovative
masterpieces, high end Jamdani saris have become his forte, who believes handloom
can make you more trendy, stylish and today. Indian women look hue if she’s wearing a
six yard drape of fabric, it gives you comfort, enhances ones charm and beauty.
3. SCOPE OF THE PROJECT
 This Research will help to understand how the Jamdani Weave is implemented
by Mr. Gaurang Shah in different Indian textiles like Cotton, silk, blends and khadi etc.
 The study will highlight how the richness of Jamdani Art is carried forward by the
modern designers on the thoughts and ideas to make it suitable wardrobe choices for
Gen-Y.
 The Research will help in gaining knowledge about the extra weft insertion
technique i.e- Jamdani which is already existing and exploring more to contemporize it.
 The study also focused on the ground level weaver community those who use to
thrive to earn their livelihood and how the weaving tradition got uplifted with the
contribution of Gaurang Shah.
 There is an opportunity provided by the designer Gaurang Shah to unspotted
skilled master craft men to showcase their skill to the modern world and help them to
grow more through his initiatives.
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4. OBJECTIVES
To gather information regarding Jamdani weaving “extra weft insertaion” in different

ground fabrics in India and Bangladesh.
To identify the amalgamations of the colors, aesthetics and craftmenship in Gaurang’s

Jamdani.
 Visual analysis of Jamdani and its contemporaisation done by Gaurang shah and
his contribution in the field of Textile design.
 To understand Gaurang Shah’s work in order to deduce his U.S.P
 To archive Guarang Shah’s contribution in the sustainace and upliftment of the
Weavers Village in Srikakulam.
Compare the clients work with the traditional technique used for weaving using extra
weft insertion and impact of its amalgamation in cotton,silks,blends and khadi.
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CONSUMER PROFILE
Total female population in Hyderabad and around india in the age group of 25-65 years
with household income 10 lakh and above.
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5. METHODOLOGY
The above model gives methodology for sample development in manufacturing saris or
yardage on different ground fabrics mentioned as cotton, kota, khadi, silks and blends
using the extra weft insertion traditional weaving technique “Jamdani”. The sample
development of a range of woven Jamdani saris and studying the very rich form of craft
involved the following steps:
1. Literature Search
 Study the different techniques of Jamdani weaving, its traditional aspects on
different ground fabrics or yarns, its terms of origin , motifs, colours, aesthetics ,
techniques and contemporary situation.
2. Sample design
 Identifying target market (urban females in Hyderabad in the age group of 25-65
years with household income 10 lakh and above)
3. Questionnaire design: To identify the need of knowing the weaving style and its
contemporisation and demand and the needs for redesign through open ended and
closed ended questionnaires by actual and loyal buyers i.e. to find out the demand and
the shortcomings of the product ranges, if any, made using the very textile weaving
technique ‘JAMDANI’.
 Open Ended Questionnaire ( understanding the customer’s perspective to

formulate the closed Ended Questionnaire from 10 respondants)
 Closed Ended Questionnaire (Translating the broad objectives of the study into
Questions that will obtain necessary information from 25 respondants)
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 Visual Survey (substantiate the results of Closed Ended Questionnaire and
getting approval of designs and experimentation by providing the visual representation
of designs in different colour combination, motifs as shown to 20 respondants for the
final review)
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SECONDARY RESEARCH
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6.JAMDANI : ORIGIN AND EVOLUTION
6.1. THE EASTERN REGION:
Fig 1: Eastern region including Bangladesh, the north eastern states and some of the areas of Bihar and Varanasi
th
who were the major producers of Gangetic muslin during 16 century.
The eastern Indian region in the 18th century was consisting Bangladesh, West Bengal,
Bihar, and eastern Uttar Pradesh. Two and a half thousand years ago it developed a
distinctive culture that dominated most of the sub continent and profoundly influenced
the Asia .The small kingdom of Magadha and central Bihar become the base of the
Mauryan and Shunga empires (320-50 BC) and over the following 12 hundred years
eastern India remained the centre of Buddhist and classical Hindu culture. It was the
17
time when the Muslin invaders from Afghanisthan in the twelfth century that eastern
India lost its political and cultural dominance.
When the East India Company entrenched itself here during the eighteenth century, its
business practices soon reduced once-comfortable peasants and artisans to utter
poverty by preventing them from spinning and weaving their own cloth for sale, causing
the disappearance of many local textiles. Although the region usually those created for
luxury and urban markets was ruled by Muslims from the west since the twelfth century,
saris rather than cut and stitched garments always dominated women’s clothing, India’s
three major natural fibres, namely cotton , mulberry silks and wild silks, have
traditionaaly been cultivated and woven here.
Fig 2 : Eastern
India during the
British Rule, 17th
century.
While the traditional Bengal variety of cotton (deshi) has a short fibre that is more
crimped than most longer-fibred cottons cultivated for mechanical spinning, giving a
distinct crepe-like appearance to the woven cloth.
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6.1.1 Bengali Deshi Muslins:
West Bengal and Bangladesh make up a continuous geographic, cultural and linguistic
zone ( Bengali is spoken through and the Ganga Delta spreads across both areas).
Bengal has been famous for the fine, transparent cotton muslins. Bengali cotton was
mentioned in the ancient Arthasashtra (200 BC), and anonymous first century AD
Roman text even, “The Periplus of the Erythrean Sea”, which is noted that the finest
muslins from India were ‘Gangetic Muslins’ from the Delta region. The everyday muslins
are worn by Bengali women, often called Deshi muslins, were usually heavier and more
opaque. The traditional deshi muslins sari is the archetypal sari of the eastern region. Its
designs is especially simple and understand with color added through discrete
supplementary –warp or weft patterning. The body is usually white or unbleached cotton
with a narrow border (kinara,kora) and a short endpiece (anchal,anchala),woven in a
series of narrow stripes of yarn-dyed threads. Most of the woven sarees of Shantipur
and Dhaniyakhali and in Pabna, Tangail, Demra, Bajitpur and Dhaka. Muslims (julahas)
and Hindus (Tantis) are the traditional weavers.
There are three types of Deshi muslins
(1) plain-woven fabrics with warp and weft stripes created by yarn dyed fibres.
(2) Others with decorative, contrasting borders woven with supplementary-warp
threads.usually of silk
(3) A more complex type incorporating both of the above, often woven with
supplementary warp-borders designs, often woven in twill as well as plain weaves.
Muslin saris with extensive supplementary- warp border designs ,often in a fine repeat
patterns, and sometimes with twill woven in twill as well as plain weaves.
Muslin saris with extensive supplementary-warp border designs, often in fine repeat
patterns, and sometimes with twill- woven checks and stripes in the body, and
characteristics of Tangail, although similar saris are made in Dhaniakhali and Shantipur
19
now. The Tangail saris should not be confused with the modern “Tangail” jamdanis
which have a very different appearance.
6.2 HISTORY
6.2.1 DACCA MUSLINS:
The ganga delta ,most of which is in Bangladesh, is the indigenous home of Dacca
muslin sari, which is the finest of all the Bengal Muslins. The very finest have not been
made since the late eighteenth century following the decline of the Mughal Empire and
its satellite states, whose courts were the major consumers. These muslins has poetic
names named as-
Abrawan (flowing water)
Baft- hana (woven air)
Shab-nam (evening dew)
Malmal khas (king’s muslin,which was believed to have the finest), all of which refer to
the transparency of the fabric. This Periplus of the Erythrean Sea may have signified
these muslins.sheer fabrics have always been highly prized in India. Sanskrit poetry
often describes women’s body being revealed through the fineness of their clothes. A
passage in the seventh-century AD Harshacharita by Banabhatta, also describes
goddess Lakshmi as wearing a garment ‘so thin and fine shows her limbs, almost as if
she is coming out of it’.
By the sixteenth century, these muslins were part of the royal clothing. The sixteenth
century French chronicler Baron Tavernier described such a gift to the Persian Shah
Shafy (1628-41) that was so fine that you would scarely know what it was youheld in
20
your hand. The best of the muslins could even easily pass through a lady’s finger ring
and they are so delicate they could only be woven during the monsoon season,when
the humidity was high, and even today they cannot be mechanically reproduced
because of the type of cotton used to create them and the very fine yarn can only be
spun by hand.
6.2.2 JAMDANI MUSLINS:
What is Jamdani?
The term Jamdani comes from the two words Jama (cloth/dress) and Dana
(buti/diapering). Jamdani is a weaving technique that was introduced long back and
gained popularity during the Moghul rule. Jamdani has its roots in Dhaka, Bangladesh.
It is a hand-woven, fine cotton fabric deftly embellished with intricate motifs that are
expertly woven into the fabric. Traditionally the base fabric for Jamdani is unbleached
cotton yarn and the design is woven using bleached cotton yarns so that a light-and-
dark effect is created
The most expensive and exclusive Dacca muslins were those that had distinctive style
of discontinuous supplementary-weft work woven into the fabric.
Fig 3: Jamdani done on grey ground fabric with dyed red yarn.
21
The term jamdani has a Persian origin, many hindi and other north Indian-language
textile terms (such as resham for the silks and zari for gold wrapped thread) had
become persianized after the Islamic invasions, and this may be no exception. The
jamdani weaving method does not require the use of the Persian-derived drawloom.
Instead it employs two weavers sitting side by side at the simple handloom who add
every discontinuous supplementary-weft motif separately by hand, using individual
spools of thread called tilis.
Jamdani is a fabric of fine cotton muslin of Bengali origin, with colored stripes and
patterns. In the first half of the nineteenth century, James Taylor described the figured
or flowered jamdani; in the late nineteenth century, T. N. Mukharji referred to this fabric
as jamdani muslin. Whether figured or flowered, jamdani is a woven fabric in cotton, and
it is undoubtedly one of the varieties of the finest muslin. It has been spoken of as the
most artistic textile of the Bangladeshi weaver. Traditionally woven around Dhaka and
created on the loom brocade, jamdani is fabulously rich in motifs.
The origin of the word jamdani is uncertain. One popular belief is that it came from the
Persian words 'jama', which means cloth and 'dana', which means buti or diapering.
Jamdani therefore could mean diapered cloth. It is probable that Muslims introduced
jamdani weaving and the industry was their monopoly for long.
Though mostly used for saris, Jamdani is also used for scarves. Jamdani is believed to
be a fusion of the ancient cloth-making techniques of Bengal (perhaps 2,000 years old)
with the muslins produced by Bengali Muslims since the 14th century. Jamdani is the
most expensive product of Dhaka looms since it requires the most lengthy and
dedication.
Jamdani patterns are mostly of geometric, plant, and floral designs and are said to
originate in Persian and Mughal fusion thousands of years ago. Due to the exquisite
pain-staking methodology required, only aristocrats and royal families were able to
22
affordsuchluxuries.
The main pecuiliarity of Jamdani work is the geometric design. The expert weavers do
not need to draw the design on paper, but instead work from memory. Jamdanis have
different names according to their design (for instance, panna hajar, dubli lala, butidar,
tersa, jalar, duria, charkona & many others). Present-day Jamdani saris have on their
ground designs of rose, Jasmine, lotus, bunches of bananans, bunches of ginger and
sago. A Jamdani with small flowers diapered on the fabric is known as Butidar. If these
flowers are arranged in reclined position it is called tersa jamdani. It is not necessary
that these designs are made of flowers only. There can be designs with peacocks and
leaves of creepers. If such designs cover the entire field of the sari it is called jalar
naksha. If the field is covered with rows of flowers it is known as fulwar jamdani. Duria
Jamdani has designs of spots all over. Belwari jamdani with colorful golden borders
used to be made during the Mughal period, especially for the women of the inner court.
6.3 THE EARLY HISTORY
The earliest mention of the origin of Jamdani and its development as an industry is
found in Kautilya's book of economics (about 300 AD) where it is stated that this fine
cloth used to be made in Bengal and Pundra. Its mention is also found in the book of
Periplus of the Eritrean Sea and in the accounts of Arab, Chinese and Italian travelers
and traders. Four kinds of fine cloth used to be made in Bengal and Pundra in those
days, viz khouma, dukul, pattrorna and karpasi. From various historical accounts,
folklore and slokas, it may be assumed that very fine fabrics were available in Bengal as
far back as the first decade before Christ. Cotton fabrics like dukul and muslin did not
develop in a day. Dukul textile appears to have evolved into muslin. Jamdani designs
and muslin developed simultaneously. The fine fabric that used to be made at Mosul in
23
Iraq was called mosuli or mosulin In his 9th century book Sril Silat-ut-Tawarikh the Arab
geographer Solaiman mentions the fine fabric produced in a state called Rumy, which
according to many, is the old name of the territory now known as Bangladesh. In the
14th century, Ibn Batuta profusely praised the quality of cotton textiles of Sonargaon.
Towards the end of the 16th century the English traveler Ralph Fitch and historian Abul
Fazl also praised the muslin made at Sonargaon. The accounts given by travelers to the
Indian continent have however often given meticulous details about the people's dress.
Thus if one is to go through the revealing descriptions from "Periplus of the Erhythreai
Sea" and follow it by Megesthanes records of King Chandragupta's court and again
read on in the travelogue of Chinese historian Hieun Tsiang in the 7th century A.D.
moving on to Alberuni in the 11th century, one finds a continuity of the textiles produced
and, perfected in different parts of the country through the ages. Abul Fazal's Ain-e-
Akbari, is perhaps our most informative recent account of woven loom textiles
developed under the Muslims and records by Abul Fazal in Ain-e-Akbari describe the
intelligent patronage of Emperor Akbar. The delicate muslins of ancient Dhaka were
used for both male and female attaire in the Moghul court and the province of Bengal
flourished both in commercial trade and agriculture at this time. In 1628 we find the
writings of Italian traveller Manrique, which describes the patronage of the court of
Emperor Shahajahan, and later Emperor Aurangzeb, who received annual tributes of
these fine cloths from their governors in Bengal and which were so special as to cost
ten times the price of any other cloths made for Europeans. We are further informed
that Muslim merchants in 1887 protested against the monopoly of the East India
Company's hold on weaver's throughout East Bengal (48, 000 persons), which was
done by issuing permits which prevented the weavers from taking on work from private
traders. The entry of Muslim immigrant-travelers and traders proceeded the of Islam
(11th century AD) to the subcontinent by at least a hundred years. Even though it was
not till the early 1200s AD that Muslim conquerors settled in Bengal, contact with Arab
traders, and Persian and Turkish religious mendicants had already taken place via the
coastal ports in the Bay of Bengal and through the northern western land route.
Muslim rule which commenced in Bengal in 1268 with the reign of the Tughlaks, the
24
area of western Bengal then called Lakhnauti, and in the eastern part called Bangalas
was receptive to the message of Islam which spoke of social equality. By the time of the
first independent Sultan Shams-uddin Ilyas Shah in 1342 an area considered to be a
Sultanate was declared, although it did not constitute the entire region of Bengal as we
know it after the British held their sway. The excellence of cotton mulmul or muslin
produced on the Dhaka loom was raised to an art par excellence by Moghul patronage,
and achieved a uniqueness which has remained unparelled among handloom cloth all
over the world. When woven for royalty the muslin was called Mulmal Khas (king's
special) and the viceroys who placed orders for the Emperor gave it poetic names such
as Ab-e-rawan (running water), Shabnam (evening dew) and Sharbati (winelike). The
pinnacle of perfection came in the evolution of a special weave with motifs
'embroidered' along the weft and this fabric was named 'jamdani' which became
renowned as the figured or flowered muslins. Dhaka jamdani, more than any other
woven craft, became synonymous with Muslim weaving skills. The origin of the word
Jamdani has no substantiated etymological explanation, but it is a Indo-Persian word
and in its strictest meaning describes 'jama' or clothing.
6.4 THE MUGHAL ERA:
Without any shadow of doubt, it can be said that the jamdani industry of East Bengla
reached its zenith during the Moghul era. The art of making jamdani designs on fine
fabric reached its zenith during Mughal rule. There were handlooms in almost all
villages of the Dhaka district. Dhaka, Sonargaon, Dhamrai, Titabari, Jangalbari and
Bajitpur were famous for making superior quality jamdani and muslin. Traders from
Europe, Iran, Armenia, as well as Mughal-Pathan traders used to deal in these fabrics.
The Mughal Emperor, the Nawab of Bengal and other aristocrats used to engage
agents at Dhaka to buy high quality muslin and jamdani for their masters' use. The
golden age of Dhaka muslin began with Mughal rule. Since then the demand for
jamdani and muslin fabrics at home and abroad grew and this prompted further
improvement in their manufacture. According to 18th century documents of the East
India Company, a high official of the company was posted at Dhaka to buy mulmul khas
25
and sarkar-i-ali. He had the designation of Daroga-i-mulmul. Every weaving factory had
an office, which maintained records of the best weavers and other exports. Weavers
had no fixed salary. They used to be paid the market value of the jamdani or muslin
they produced. It was the duty of the Daroga to keep a sharp eye at every stage of
production. Mulmul khas worth about Re. 100,000 collected from Dhaka, Sonargaon
and Jangalbari used to be sent to the Mughal court every year. According to a 1747
account of muslin export, fabrics worth Re 550,000 were bought for the Emperor of
Delhi, the Nawab of Bengal and the famous trader Jagath Sheth. The same year
European traders and companies bought muslin worth Re 950,000. Towards the end of
the 18th century, the export of muslin suffered a decline. After the English gained
Diwani in Bengal in 1765, Company agents resorted to oppressing the weavers for their
own gains. They used to dictate prices. If weavers refused to sell their cloth at a lower
price they were subjected to repression. To stop this repression the East India
Company started buying the textiles directly from the weavers. According to James
Wise, Dhaka muslin worth Re 5 million was exported to England in 1787. James Taylor
put the figure at Re 3 million. In 1807, the export came down to Re 850,000 and the
export completely stopped in 1817. Thereafter muslin used to go to Europe as personal
imports.
6.5 The process:
Bundles of thread are dyed in a variety of colors. The dyed thread is strengthened and
softened by soaking overnight in a solution of rice water starch, allowing the woman to
wind it more easily onto bobbins. this tedious work is done early in the morning, usually
between four and nine, before the increasing heat dries the thread, making it more
difficult to handle. The wound bobbins are sent to another worker who prepares the
warp on a beam. Afterwards, the warp is sent to the weaver’s house where it is set up
on a loom. Drawings are placed under the warp as a guide. The weaver, almost always
a man, may or may not follow the drawing, often preferring to work from intuition alone.
Colored thread s carefully inserted and hand tied into the fine weft to create patterns on
the plain weave.
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The entire system of production, from dyeing the thread to setting up the loom, is
determined by the length of the jamdani’s most marketable end product, the sari. Looms
are set up with 11 meter warps, each warp yielding two saris, 5.5 meters in length. The
patterns woven into these two saris will not be repeated by the weaver again.
6.6 MANUFACTURING TECHNIQUE:
The fineness of muslin cloth used to depend usually on the art of making yarns. The
most appropriate time for making yarns was early morning as the air then carried the
highest moisture. For making yarns weavers needed taku, a bamboo basket, a shell
and a stone cup. They used popcorn, rice or barley for starch. Before making jamdani
designs they used to dye their yarn and starch it. For dye they used flowers and leaves
of creepers. For quality jamdani they used yarn of 200 to 250 counts. These days
weavers buy fine yarn from the market and use chemical dyes instead of herbal dyes.
For making jamdani two weavers sit side by side at a loom to work on the delicate
designs. Jamdani designs are made while the fabric is still on the loom. Coarse yarns
are used for designs to make the motifs rise above the fabric. Originally, the motifs used
to be made on gray fabric. Later on fabrics of other colours were also used. In the
1960s, jamdani work on red fabric became very popular. The Victoria and Albert
Museum of London has a fine collection of jamdani with work in white on white fabric.
The base fabric for Jamdani is unbleached cotton yarn and the design is woven using
bleached cotton yarns so that a light-and-dark effect is created. Alexander the Great in
327 B.C mentions “beautiful printed cottons” in India. It is believed that the erstwhile
Roman emperors paid fabulous sums for the prized Indian cotton.
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6.7 Design:
The method of weaving resembles tapestry work in which small shuttles of coloured,
gold or silver threads, are passed through the weft. The jamdani dexterously combines
intricate surface designs with delicate floral sprays. When the surface is covered with
superb diagonally striped floral sprays, the sari is called terchha. The pallow is often
decorated with dangling, tassel like corner motifs. The most coveted design is known as
the panna hazaar (literally: a thousand emeralds) in which the floral pattern is
highlighted with flowers interlaced like jewels by means of gold and silver thread. The
kalka (paisley), whose origin may be traced to the painted manuscripts of the Mughal
period, has emerged as a highly popular pattern. Yet another popular pattern in jamdani
is the phulwar, usually worked on pure black, blue black, grey or off-white background
colours. Jamdanis are decorated with floral motifs woven in discontinuous
supplementary-weft cotton, or occasionally silk or synthetic fibre providing an opaque
patterning against a transparent ground. Often the supplementary threads are thicker
and heavier than the growth. In the 19th century mughal motifs were usual, although
they were oftenly stylized and angular. Today, Bangladesh jamdanis continue the
tradition but in west Bengal saris are more geometric, abstract and zoomorphic forms
are more common.
West Bengali Jamdani are often called “Tangail jamdanis”, and they typically have many
small buti woven throughout the field, often diagonally. They are now woven in many
areas in west Bengal such as Dhatrigram, Samudragarh, Saitia, Phulia and Shantipur
(Nadia and Burdwan districts).
Shantipur have black and dark blue bodies with bright buti suggestive of the
inexpensive neelambari saris woven there at the beginning of the twentieth century.
The common woven patterns in the borders included the following:
Bhomra paar – Fine mesh beehive pattern
Aansh Paar _ Fish Scale pattern.
Chatai paar – Mat pattern.
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Taaj paar – Crown pattern
Rajmahal paar – palace pattern
Kamini noth Paar – Nose-ring pattern.
Chandmala paar – string of moons pattern.
Prajapati paar – Butterfly pattern.
Terchhi paar – Diagonal pattern .
Benki terchhi paar – Double diagonal / wave pattern.
Some of the well known motifs in the Tangail Jamdani are as follows:
Weavers mentioned the podda or lotus, nimkeen or biscuit and pradeep or lamp pattern
apart from the lota paata or vine- patterned borders that were woven in East Bengal.
From the use of the single color in the border, either black, red, green or yellow which
were the only dyes available at that time, they graduated to use of two three colours.
These was referred to as meenar kaaj, derived from the enamelling of Gold and silver
ornaments.
29
Some popular motifs implemented on Daccai Jamdani are :
Fig 4: Floral motif inspired by indigenous flower
6.8.Colors:
The traditional nilambari, dyed with indigo, or designs such as toradar (literally: a bunch
or bouquet) preserved in weaving families over generations are now being reproduced.
30
Other jamdani patterns are known as phulwar, usually worked on pure black, blue black,
grey or off-white background colours. Initially Jamdani started on grey muslin ground
color yarn with embellishments of bleached white cotton extra weft, until the 1960, many
white or unbleached Bengali muslins were dipped into a wash of grey or grey-blue dye
after cleaning to give them a greyish tone. In addition, saris in dark colours, such as
dark blue, black and wine red were made. The popular neelambari sari is dark blue or
black usually a dark blue muslin with or without woven or embroidered embellishments.
Fig 5 : Natural ingredients used to make dyes for dying yarns.
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6.9.weave
For traditional jamdani weaving, a very elementary pit loom is used and the work is
carried on by the weaver and his apprentice. The latter works under instruction for each
pick, weaving his needle made from, buffalo horn or tamarind wood to embroider the
floral sequence. With a remarkable deftness, the weft yarn is woven into the warp in the
background colour from one weaver to the other. The butis (motifs) across the warp, the
paar (border) and anchal (the portion that goes over and beyond the shoulder) are
woven by using separate bobbins of yarn for each colour. The fine bobbins are made
from tamarind wood or bamboo. After completion the cloth is washed and starched.
Fig 6: A weaver on the loom making the intricate pallav.
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6.10 Contemporisation / changes with time:
We do not know exactly when jamdani came to be adorned with floral patterns of the
loom. It is, however, certain that in the Mughal period, most likely during the reign of
either Emperor Akbar (1556-1605) or Emperor Jahangir (1605-1627), the figured or
flowered muslin came to be known as the jamdani. Forbes Watson in his most valuable
work titled Textile Manufactures and Costumes of the people of India holds that the
figured muslins, because of their complicated designs, were always condidered the
most expensive productions of the Dhaka looms. The designs and colors also changed
with time. Originally, the motifs used to be made on gray fabric. Later on fabrics of other
colours were also used. In the 1960s, jamdani work on red fabric became very popular.
The Victoria and Albert Museum of London has a fine collection of jamdani with work in
white on white fabric. The production methods have also changed. Previously, popcorn,
rice or barley was used for starch. Before making jamdani, the designers used to dye
their yarn and starch it. For dye they used flowers and leaves of creepers. For quality
jamdani they used yarn of 200 to 250 counts. These days weavers buy fine yarn from
the market and use chemical dyes instead of herbal dyes. Finally, time has also
influenced the designs. Keeping up the modern demand, present day jamdani saris
have on their ground designs of rose, jasmine, lotus, bunches of bananas, bunches of
ginger and sago. Recently, there is a trend of embroidering Jamdanis or putting ‘’paars’’
on saris. However, many traditionalists are vehemently against this trend, claiming this
is destroying a tradition
In terms of colours and designs , contemporary Jamdani fall into six categories: those
with
(1). Natural- coloured, unbleached cotton grounds with bleached white cotton
supplementary work.
(2). Pastel-coloured grounds with white supplementary work.
(3). Dark- coloured grounds (usually black, dark blue, dark red) with white
supplementary threads.
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(4). Any of the above combinations with supplementary threads , with coloured threads,
either of the similar or contrasting tones.
(5). Any of the above combinations with zari supplementary threads as part of the mix,
or
(6). Dark grounds with only zari supplementary work.
The only town in India where more traditional jamdanis are still made in Tanda in Uttar
Pradesh. Here, finally patterned white jamdanis, usually completely covered with vines
and foliate patterns, have been created since at least the nineteenth century. Always
white-on-white, the patterning is woven in thicker threads than the ground, producing
the typical opaque design against a transparent cloth. Today, most Tanda jamdanis are
woven into dupattas (veils worn with salwar kameez) or yardage, although saris of this
type were once popular among wealthy older women and widows.
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6.11 some traditional jamdani woven pieces of India and Bangladesh
6.11. 1 Handkerchief
Fig 7
Place of origin: Lucknow, India (made)

Date: 19th century (made)
Artist/Maker: Unknown (production)
Materials and Techniques: Cotton, jamdani
woven
Museum number: IS.54-2002

Gallery location: In Storage
Descriptive line
Jamdani cotton handkerchief, Lucknow, 19th century.
Physical description
Handkerchief, cotton, jamdani. Floral design on outside border, Prince of Wales
feathers in centre, with the words 'ich dien' in the centre. On
other border, three words woven in, 'JAIS, OUDH, INDIA'. Mounted on glazed pink
cotton.
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6.11.2 scarf
Fig : 8
Scarf - Scarf
Object: Scarf
Place of origin: Dhaka, Bangladesh (Made)
Date: 19th century (Made)
Materials and Techniques: Woven muslin,
embroidered with cotton
Museum number: 6173(IS)

Descriptive line
Textile, scarf, muslin, embroidered, 19th century, Dhaka.
White muslin scarf, figured in the loom ('jamdani' work). Repeated plant motif on ends,
trailing plants on borders. Field woven with palmette
rosettes.
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7.11.3 Sari - Sari (incomplete)
Fig: 9
Object: Sari
Place of origin: Dhaka, Bangladesh
(Made)
Date: mid-19th century (Made)
Materials and Techniques: Muslin
Museum number: 9632(IS)
Part of a sari in white muslin, figured in the loom ('jamdani') in indigo blue and white.
37
6.11.4 Textiles
Fig: 10,Place of origin: Dhaka, Bangladesh (made)
Date: ca.1880 (made)

Materials and Techniques: Cotton, woven in jamdani
technique, which forms
the design by adding localised extra wefts by hand
with a bobbin while on the loom

6.11.5 Textile
Fig: 11
Place of origin: Dhaka, Bangladesh

(made)
Date: ca. 1760 (made)
Materials and Techniques: Woven
cotton, with cotton secondary
weave
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Public access description
This sari is made by a weaving technique known as jamdani, originating in Bengal.

Additional patterned wefts are inserted by small shuttles of
plain, coloured, gold or silver threads. They were traditionally woven in pit-looms, using
unbleached grey yarn for the warp and bleached white yarn for the weft. Being so light,
jamdani was suited to the intense summer heat.
Descriptive line
Textile, jamdani cotton sari, Dhaka, ca. 1760
6.12 TYPES OF JAMDANI:
There are at least seven varieties of jamdani saris, i.e. Dhakai jamdani, Tangail
Jamdani, Shantipur Jamdani, Dhaniakhali Jamdani, Begampur jamdani, dhonekhali
jamdani,tanda jamdani, vanaras and awadh jamdani and silk Jamdani, uppada jamdani.
Types of Jamdani Work:
The main peculiarity of jamdani work is the geometric design. The expert weavers do
not need to draw the design on paper. They do it from their memory. Jamdanis have
different names according to their design. For instance, panna hajar, dubli jal, butidar,
tersa, jalar, duria, charkona, mayur pyanch, kalmilata, puilata, kachupata, katihar, kalka
pad, angurlata, sandesh pad, prajapati pad, durba pad shaplaful, baghnali, juibuti, shal
39
pad, chandra pad, chandrahar, hansa, jhumka, kauar thyanga pad chalta pad, inchi
pad, bilai adakul naksha, kachupata pad, badghat pad, karlapad, gila pad, kalasful,
murali jal, kachi pad, mihin pad, kankra pad, shamukbuti, prajapati buti, belpata pad,
jabaful and badur pakhi pad. Present day jamdani saris have on their ground designs of
rose, jasmine, lotus, bunch of bananas, bunch of ginger and sago. Efforts are underway
to revive traditional jamdani designs. A jamdani with small flowers diapered on the fabric
is known as butidar. If these flowers are arranged in reclined position it is called tersa
jamdani. It is not necessary that these designs are made of flowers only. There can be
designs with peacocks and leaves of creepers. If such designs cover the entire field of
the sari it is called jalar naksha. If the field is covered with rows of flowers it is known as
fulwar jamdani. Duria jamdani has designs of spots all over. Belwari jamdani with
colourful golden borders used to be made during the Mughal period, especially for the
women of the inner court.
6.12.1 Dhakai Jamdani:
These saris are very fine

textured just resembling muslin.
The workmanship employed to
these saris is very elaborate
where the single warp is usually
ornamented with two extra weft
followed by ground weft. They
have multicolored linear or floral
motifs all over the body and
border and have an exquisitely
designed elaborate pallu.
Fig: 12 : Dhakkai Jamdani, white extra weft on pink ground fabric.
The mango motif signifying fertility, growth, and marital bliss is a very popular design in
Dhakai Jamdani saris. They are woven painstakingly by hand on the old fashioned Jala
40
loom, and many take even up to one year to weave a single sari. It feels supple to the
touch and drapes gently to reveal the contours of the wearer.
6.12.2 Tangail Jamdani
These saris feature highly stylized jamdani motifs on Tangail fabrics fine textured fabric
with 100s count. The traditional Tangail borders had a paddo( (lotus
pattern), pradeep (lamp) pattern apart from the popular aansh paar (fish scales) which
was common to Shantipur. From the use of a single colour on the border, they began to
use 2 to 3 colours to give it a meenakari effect.
Fig: 13 Tangail Jamdani: Bel motifs, green weft on green ground fabric.
6.12.3 Shantipur Jamdani
They characterize powder fine texture of the sari and are much similar to tangail
jamdnais.
41
6.12.4 Dhaniakhali Jamdani
These jamdanis have tighter weave as compared to tangail and shantipur jamdanis.
Dhaniakhali Jamdani saris are known for their stripes and checks and are woven in bold
colours with contrasting borders.
6.12.5 Uppada jamdani
Uppada is well known for its traditional Jamdani / Uppada Handlooms. Uppada
handlooms are well known for its unique designs. Usually Uppada handlooms are made
in cotton warp and weft. The count used in weaving gives the softness and hardness of
the fabric. The count in a handloom fabric means the number of threads woven length
wise and breadth wise known as warp and weft respectively in a square inch. In Uppada
the count used is 100 (length) – 120 (breadth). The count makes the quality of the
fabric. The weavers in Uppada uses a technique without any mechanical aids to weave
the traditional Jamdani weaving to create rich patterns using gold and silver zari for
which Uppada saree weavers have received Geographical Indication (GI) registration in
the year 2009. Jamdani is a hand loom woven fabric made of cotton, which historically
was referred to as muslin. The Jamdani weaving tradition is of Bengali origin.
Fig 14:
Uppada Jamdani
Jala technique
Bold floral motif
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6.13 The decline and Fall:
From the middle of the 19th century, there was a gradual decline in the jamdani
industry. A number of factors contributed to this decline. Use of machinery in the
English textile industry, and the subsequent import of lower quality, but cheaper yarn
from Europe, started the decline. Most importantly, the decline of Mughal power in India,
deprived the producers of jamdani of their most influential patrons.
6.14 Current problems:
At present, a mojor problem of the industry is that the weavers do not get adequate
wages for their labour. According to the national daily, a senior taanti or “ostad” earns
about Rs. 2,500 to Rs. 3000 per month. Junior weavers get much less, around Tk
1,600. As a result many weavers do not want their children to come to the profession.
For many, the garments industry offer a lucrative alternative. A good piece of jamdani
saree needs the labour of one to two months, and the wage paid to the weavers does
not compensate for their labour. The producers often do not have direct access to sari
markets and because of their dependence on the middlemen, who often form informal
cartels,they are deprived of their share of profit. sometimes, the producers fail to
recover the costs.
6.15 (a) Highlights of the Indian Textile Industry (Government Driven)
The Ministry of Textiles is responsible for policy formulation, planning, development,

export promotion and trade regulation in respect of the textile sector. This includes all
natural and man-made cellulosic fibres that go into the making of textiles, clothing and
handicrafts.
43
Some of initiatives taken by the government to further promote the industry are asunder:
• The Government of India plans to set up a Rs 100 crore (US$ 15.79 million) venture
capital fund to provide equity support to start-ups in the textile sector, in order to
encourage innovative ideas
• The Government has allowed 100 per cent FDI in the sector through the automatic
route. In the 12thFive Year Plan (2012–17), the government plans to spend US$ 9.1
billion on textiles as against US$ 4 billion in the 11th Plan
• In order to make textile processing units more environment-friendly and globally
competitive, the Cabinet Committee on Economic Affairs (CCEA) has approved an
Integrated Processing Development Scheme (IPDS) with an investment of Rs 500 crore
(US$ 78.94 million)
• Under the Technology Upgrading Fund Scheme (TUFS), the cotton textile industry of
India will receive margin money from the Ministry of Finance. The industry is also
expected to attract Rs 4,000 crore (US$ 631.65 million) in the form of investments over
the next six months
• The Government of India has allotted Rs 700 crore (US$ 110.53 million) in the next
Five Year Plan for the development of technical textiles. In 2012–13, the technical
textiles industry reached Rs 7.48 trillion (US$ 118.19 billion) at an annual growth rate of
3.5 per cent
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6.15 (b) Highlights of the Indian Textile Industry (Private Driven)
Some of the major investments in the Indian Textile Industry are as

follows:
• Trident Ltd plans to invest Rs 1,667 crore (US$ 263.24 million) to

install 176,000 spindles and 500 looms to manufacture around 40,000
TPA of additional cotton yarn of higher count
• Exhilway, a US-based private equity firm, will fund a Kolkata-
headquartered garments retail start-up firm Sconto Retail Pvt Ltd. The
initial investment will only be in equity of around Rs 6 crore (US$
947,490.36), with the graded funding, both in equity and debt, likely to go
up to Rs 24 crore (US$ 3.79 million) by the first 18 months
• The DyStar Group and Arvind Ltd have signed an agreement for joint
development in the field of denim. Dedicated teams from DyStar and
Arvind's Denim Division will work closely to implement new technologies
in indigo dyeing and finishing as well as develop new products,
processes and effects for denim fabrics and garments
• Gitanjali Group has entered into the apparels segment as part of its
brand extension of its popular brands and plans to set up 300 selling
points across the country in 2013
• Swedish retailer Rusta plans to import Indian textiles and handicraft
worth Rs 200 crore (US$ 31.58 million) annually over the next 3-4 years.
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6.16 INITIATIVES TAKEN BY RENOWNED DESIGNERS IN REVIVING JAMDANI:
6.16.1 BIBI RUSSELL FOR “FASHION FOR DEVELOPMENT”:
Fig: 15 BIBI RUSSELL, Chittagong, Bangladesh, ENTREPRENEUR, FASHION DESIGNER, MODEL
Weaving is a age old tradition of Bengal. The fine and varied handmade fabrics, the
weaving skills of the craftspeople of Bengal have marveled and drawn the attention of
people around the world for centuries. To revert the regressive situation of the weavers
and craftspeople, Bibi Russell set up Bibi Productions in Bangladesh on 13 th july,1995,
the purpose of which is to generate a movement towards weaving a glorious future for
the weavers of Bangladesh.
Bibi Russell- the astounding model who rose to stardom in the late 70’s and early 80s-
now works to establish a cause that’s much closer to her heart, the plight of the hand
woven textile industries and their workers in her native Bangladesh. She has given the
46
Bangladeshi weavers and artisans the golden opportunity to utilize their considerable
skills and talents to achieve economic survival- and to build towards a prosperous
future. Its about using culture and creativity to eradicate poverty.
By the early 90’s Bibi decided to build a world-wide reputation for the hand-woven
textiles she remembered from her childhood. A true humanitarian by heart,Bibi strives in
heart, Bibi Russel strives in her diligent pursuit of easing the burden of dtreet children. It
was her dream to watch these children blossom into confident strong young individuals
the world can lean on, “ her project has enabled 56 out of 60 street urchins to be regular
going school children to realize their goals.
Bibi is currently working in Bangladesh in promoting Bangladesh Fabrics and

handicrafts for domestic and international markets. She works with thousands of
weavers and artisans and has presented several shows in Europe most of which were
supported by UNESCO. In 1996 Bibi presented her first ready to wear collection, a
fashion show “weavers of Bangladesh” at UNESCO Headquarters in Paris. It
showcased her designs in various handloom fabrics and promoted the weavers who
made them.
The Fashion Space Gallery in London displayed an exhibition on Bibi Russell’s work on
13th May 1999. The exhibition was held on the occasion of her receiving the “honorary
Fellowship” of the London Institute as recognition for her outstanding contribution to the
field of fabric and design.
The second show in August 1997, “colours of Bangaladesh” at the Castel de Belliver in
Palma de Mallorca was launched and supported by queen of spain, who was the
special guest at the event.
The year 2003 had also brought her a dyanamic medium of hope and success. This
was the first time when bibi had first created her first ever costume designs that were to
be attired in the film “Dwitiya Paksha” produced by the film divisions of the Government
of India. She, the founder of Fashion for Development, said the authentic Jamdanis can
only be produced on the banks of river Shitalakhya, where its distinct climatic conditions
help make the fine texture of Jamdani.
47
Bibi Russell also mentioned the Indian Government’s attempts to register the Jamdani
and Kantha under its name.
6.16.2 RITU KUMAR
Fig: 16 Ritu Kumar ,11 November 1944,Delhi
Designer Ritu Kumar worked a lot of times with the weavers of Bengal in reviving
Jamdani with a touch of Ritu Kumar style statement in her collections. Ritu Kumar even
tried weaving jamdani threads on Kanchivaram ground fabrics. She has even come up
with a product line of Jamdani bags, having floral motifs on the bag.
For Ritu Kumar’s aficionados, there is yet another reason to rejoice, She has
showcased her prêt collection, LEBEL for Lakme Fashion Week, The accessories she
came up with are sub-divided into three collections- Ghungroos, Jamdani, Laser
48
Engraved and Madhubani. From ghungroo embellishments to leather engraved bags,
the collection’s sensibilities suits to every women’s requirements- be it day or night.
Her accessories are available to buy at Ritu Kumar stores in Mumbai, New Delhi,
Chennai, Kolkata, Hyderabad, Pune, Amritsar, Bangalore.
Fig :17 Jamdani bags embellished with beads and leather sequences.Bag made of intricate
49
6.16.3 RAHUL MISHRA:
Fig: 18 Rahul Mishra, Fashion Designer, Woolmark Award Winner
Fashion designer Rahul Mishra brought together the different elements from East and
Westof India in his spring-summer 2014 collection on the day two of Wills India Fashion
Week.
The rustic khadi jamdani from West Bengal and the intricate Bandhani from Gujarat has
been combined in Mishra’s new fashion line titled ‘kiss’ (keep It Simple and Sport).
He tells the collection is a marriage between the eastern and the western part of
our country. He has been influenced by ancient jamdani work of West Bengal. He has
got those garments done by the workers from Kalna, a small town near Kolkata.
The subtle but stylish collection comprised of jersey dresses, Jamdani long jackets, kota
block printed pallazos, Jamdani sarees, tie and dye silk gowns, asymmetric skirts and
embroidered crop tops.
The colour palette was dominated by corals, oranges, indigo, cobalt blues and classic
blacks. The fluidness of the garments was achieved by the use of silk organzas.
50
He says for the past eight to nine months he have been travelling back and front to
kalna anad other places and he was happy to see that all the hard work has paid off
when he see the collection.
Fig : 19 Rahul Mishra’s collection on Jamdani for WILLS fashion week
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6.16.4 SOUMITRA MONDOL:
Fig: 20 SOUMITRA MANDAL,DESIGNER, MARG COUTURE, KOLKATA
Soumitra Mandal’s fashion philosophy is all about simplicity and preserving dying art
forms. In the somewhat affected world of fashion of Kolkata fashion where up and
coming designers. He come from the suburbs of Kolkata which has contributed a lot to
what he is today. The small towns and villages surrounding Kolkata have wonderful
weaving heritage. Places like phulia and Bolpur are where you get the best of Bengali
handloom and these are the places that have shaped his sensibilities.
Most of his collection are inspired by the indigenous handloom and Jamdani technique.
He is busy doing groundwork. His work with weavers of phulia village in Nadia district
who specialize in the Jamdani style of weaving, has given a new lease of life to the
dying art form, He has about 70 weavers working for him, who are all gifted artisans in
their own way. If he manages to set up a system through which these gifted people
manage to sustain themselves and preserve their distinct art form he will consider
himself blessed.
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Fig : 21 Soumitra Mondol’s Jamdani saree from phulia in Lakme fashion week.
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PRIMARY RESEARCH
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7. Textile Designer Gaurang Shah’s initiative in sustaining the craft:
In 2001,when the traditional Handlooms were fading in to an oblivion, due to declining

patronage and an onslaught of growing popularity for embroidered saris like georgettes
and chiffons, weaver communities were mired in debt traps, uncertainty and hunger
deaths; Gaurang took up the challenge of reviving the traditional handlooms and
bringing them back in vogue. After a lot of painstaking years, when the handloom
sarees started getting fame, was born the label “GAURANG”.
The label “GAURANG” personifies elegance and captivating the beauty of traditional
handlooms and weaves, created using Jamdani weaving technique with pure zari on
cottons and silks. Traditional motifs, inspired by the sculptures of South Indian temples,
floral and geometrics drawn from the nature are the hallmark of his creations. Immense
care is taken to preserve and accentuate the aesthetic appeal of its beautiful textures.
GAURANG now supports around 500 weavers across India in the states of Andhra
Pradesh, Maharashtra, Tamil Nadu, Gujarat, Uttar Pradesh etc. reviving the traditional
weaving technique of “Jamdani”. The intricacy of a design which was hitherto possible
only in print and embroidery has been materialized into weaves.
Gaurang is a self-taught designer who learnt on the job at his family store. He believes
that bringing back happiness in the weaver communities is the true fabric of culture and
revival of tradition.
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Contemporization in terms of using different textiles, silhouettes , implementing new
motifs by the same weaving technique for the better survival:
Fig 22: Actress Tapsi pannu wearing

Gaurang’s Khadi Saree.
7.1 Gaurang’s Muse:
Kiron Kher who is a renowned television artist and celebrity actor always loved
Gaurang’s Saree and his brand ambassador. She always picks up hand-woven saris of
Gaurang and wears them elegantly and proudly. She looks graceful and full with charm
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whenever she wears Gaurang and even she walks for him in Lakme fashion week and
she will be his favorite showstopper.
7.2 Indian and International:
Gaurang passionately popularizes his Indian roots across international fashion, and is
few great examples of people who have achieved global frame by sticking firmly to their
roots. For instance, at the Berlin Fashion week 2012, he presented 24 unique outfits
and patterns using fabrics like khadi, kota and organza, along with jamdani and parsi
embroidery on which he has got amazing response at Berlin. He was the only Indian
Designer at the show, and took pride in showcasing Indian cuts and techniques at the
global platform. He got amazing responses from the people over there who got totally
enthrailed by his collection which serves as celebration.
8. VISUAL ANALYSIS OF JAMDANI:
TRADITIONAL JAMDANI
Fig: 23 Ancient Dhakkai Jamdani on muslin
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Fig: 24 Ancient Dhaka muslin Jamdani, Museum Piece
Fig: 25 Jamdani traditional hat from Luckhnow during Nizam’s time
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Fig: 26 Tanda Jamdani , patters and motifs in colour red,yellow, green and gold
zari on black ground fabric.
Fig: 27, traditional technique of Dhaka muslin weaving.
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CONTEMPORISATION BY GAURANG SHAH:
Fig: 28 contemporised Jamdani with floral spray all over the saree.
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Fig: 28 Jamdani, floral motifs all over in indigo ground khadi fabric.
Fig: 29Jamdani on the border of muga and butas all over the khadi body, saree:
blend of muga silk and khadi.
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Fig: 30 Jamdani done on all over the saree.
Fig: 31 contemporary and stylized lilies all over the body.
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Fig: 32 Lotus sprays on the border of the khadi saree.
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Fig:33 khadi off white body saree with flowers all over
Fig: 34 khadi saree with stylized life like wild life motifs
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Fig: 35 William Moris wallpaper weaved on a khadisaree with jamdani technique.
Fig: 36 Tree of life all over the saree, contemporary theme on blend of khadi and
silk.
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Fig: 37 Mugal flowers on the border in a muga saree
Fig: 38 Uppada jamdani saree done with jala technique.
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Fig: 39 Kota doria saree with mugal flower motif al over the body.
Fig: 40 Jamdani on benaras tissue saree, buta motifs allover.
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Fig: 41 Jamdani saree with tulips on the border in a lehanga concept
Fig: 42 Jamdani on blend body, floral sprays all over the body.
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Fig: 43 Paithan jamdani done on a paithani sari with weft interlocking technique.
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9. GAURANG –THE STORY
To all those living in cosmopolitan city, Hyderabad for more than 20 years definitely
would have heard about the store Indian sari emporium. Talking about the Indian sari
emporium which was established in 1980’s in basheerbagh. It was established many
years back in small area. The shop was small and after few years was cut during road
expansion. Then the owner Mr. shah thought it was about time and decided to search
for a new place to shift the store. That was when Mr.shah came across a shop for sale
in somajiguda which was a hot locality in late 1990’s. This location was chosen as it
was a attractive place for retailing. It was set up as a matching centre for blouses with
very few sarees kept for selling which were designed by GAURANG who was very
young. Gaurang is the son of Mr.Shah, Who was in late 20’s when the store shifted to
somajiguda. He never went to any fashion school to learn designs or colour combition.
He was self-motivated and talented person who learnt everything by just being next to
his father in the matching centre. He observed everything closely and developed the
knowledge practically by experiencing it on everydaybasis. As many customers who
visited the store liked the sarees designed by Gaurang, they started purchasing it and
soon the word was spread to all the women in Hyderabad. Women started praising his
designs and soon started falling in love with his work. As many customers liked the
sarees designed by him and wanted to purchase more, suggested and supported by
customers Gaurang decided to expand his store with a separate sari section. Luckily,
Just then a bank which was behind the matching centre in the same building was going
to move their location. Gaurang thought this was a good opportunity and decided to
take up the space behind his father’s matching centre to put up an exclusive sari
retailing unit. This was a soon a big hit and led him to launch his own designer label
named ‘GAURANG’. He sold the saris and also met the weavers and others in this store
behind the matching centre. In the entire process, their arose a small trouble and
commotion as both the customers and master weavers use to arrive at the store at
same time, this led to problem as the customers started meeting the weavers which
wasn’t a good sight for an emerging entrepreneur. So that was when Mr.Gaurang
decided to open a new store away from his main store where he did most of his office
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work. He was searching for a big place which would give everyone a feeling like home,
with scenic and silent atmosphere. After searching for a long time, He spotted a place in
jublihills which matched all the requirements he was looking for. The extended store in
somajiguda was soon turned into a office where weavers could come, designers could
design, technicians could operate, stock and merchandize management would take
place. GAURANG has been extending monetary as well as institutional help to the
weavers in uppada and srikakulam. The jamdani weaves however still haven’t been
able to realize these benefits due to their unanswered problems that they still face in the
light of industrialization and mechanization of the process in the industry. The weavers
are still looking for receiving due profits and recognition of this art globally. The
customers for this industry are slowly growing and aggressive marketing techniques will
be required to the set foot on the untouched markets in the country.
The technique of jamdani is an exotic mix of culture with art which truly imbibes in it the
heritage of the Indian tradition and skills. Such traditional works need to be
acknowledged and nurtured. The weavers demand that only if the government can
provide a rehabilitation package, then only handloom industry can survive. the
handloom industry is searching for a breakthrough for survival.
9.1 The Four Ps of Marketing
Marketing Mix, are the ingredients that combine to capture and promote a brand or
product’s unique selling points, those that differentiate it from its competitors. “The Four
Ps” classification has been used by marketing companies, branding agencies and web
design companies throughout the world.
The Four Ps Model
 Product - The first of the Four Ps of marketing is product. A product can

be either a tangible good or an intangible service that fulfills a need or want of
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consumers. Whether you sell custom pallets and wood products or provide luxury
accommodations, it’s imperative that you have a clear grasp of exactly what your
product is and what makes it unique before you can successfully market it.
 Price - Once a concrete understanding of the product offering is
established we can start making some pricing decisions. Price determinations will
impact profit margins, supply, demand and marketing strategy. Similar (in concept)
products and brands may need to be positioned differently based on varying price
points, while price elasticity considerations may influence our next two Ps.
 Promotion - We’ve got a product and a price now it’s time to promote it.
Promotion looks at the many ways marketing agencies disseminate relevant product
information to consumers and differentiate a particular product or service. Promotion
includes elements like: advertising, public relations, social media marketing, email
marketing, search engine marketing, video marketing and more. Each touch point must
be supported by a well positioned brand to truly maximize return on investment.
 Place - Often you will hear marketers saying that marketing is about
putting the right product, at the right price, at the right place, at the right time. It’s critical
then, to evaluate what the ideal locations are to convert potential clients into actual
clients. Today, even in situations where the actual transaction doesn’t happen on the
web, the initial place potential clients are engaged and converted is online.
9.1 THE 4 P’s of MARKETING IN GAURANG:
PRODUCT
HIS DESIGNS:
Gaurang Shah, who is fondly called the master of weaves by his peers, has been know
for extensively getting the Khadi fabric to vogue. He has revived traditional Indian hand-
weaves like Patan Patola, Kanjeevaram, Uppada, Paithani, Kota, Benarasi using the
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Jamdani technique of weaving and texturing them with muga, tussar, etc. He is also
credible for reviving surface techniques like hand-painted kalamkari, chikankari and
parsi gara embroidery and getting them on the runway.
KOTA
Third largest city of Rajasthan, Kota lies on the banks of river Chambal. The weaving is
done in villages in and around kota.
Kota doria is known for its checkered texture. This texture is achieved by the denting
and the reed. Different kinds of patterns are made only in this checkered design.
We have introduced the technique of jamdani weaving on this checkered texture of

fabric. The design is drawn on a graph paper, which is coordinated to a jala above the
pit-loom. The jala controls the lifting of warp threads, through which the jamdani design
is woven in.
He has created huge border designs with mughal buttis in jamdani, big zari borders, all
over jaal designs.
PATAN PATOLA
Patan patola, is considered the most difficult textile art. It needs utmost precision and
skill. Even a small mistake can lead to damage for the entire saree.
In Gaurang the designs are tie-dyed in the yarn stage. The weaver would see the
design on the graph paper, and accordingly each thread of warp and weft are tied and
dyed. The tie-dye of yarns takes upto 7-8 months depending upto the intricacy of the
design. These yarns of warp are set in the loom, and the dyed weft is inserted. While
weaving, the weaver has to weave with utmost precision so as to set the design in
perfectly.
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Gaurang has revived the traditional designs of patan patola like narikunjar, popat kunjar,
pan bhat, foolvadi bhat, ratanchowk, vohra gaji bhat, chabdi bhat, etc. in new color
combinations like ink blue and fuscia pink, or lemon yellow and parrot green, orange
and purple.
BENARAS
Known as the holy city of India, Banaras lies on the banks of river Ganga.
As the traditional as the city is , Gaurang has got the charm of the vintage and the
freshness of the contemporary in his sarees. Creating high cocktail sarees in organza
and silk, he has made immense design variations. One can find traditional paithani
designs and kanjeevaram motifs on organza. While contemporary floral designs in
unique color combinations and yarns like tussar, muga are amalgamated in the
traditional silk.
Like in Kota, Banaras also follows the Jala Jamdani method of weaving. The paper
design is converted to graphs, which is linked to the jala above the loom which controls
the warp yarn and the jamdani is done.
PAITHANI
Located south of Aurangabad, Paithan lies on the banks of river Godavari and was
home to the Maharastrian saint “eknath”.
The village is known to make the ceremonial sarees for a Maharastrian bride. But with
the difference in Gaurang’s design sensibilities, this has become a rage nationwide.
He has created all over jaal designs, inspired from the traditional paithani
characteristics. He has made varied textures using khadi, muga, tussar instead of the
usual silk.
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In paithani, the jamdani process is different from banaras or kota. A paper design is laid
under the warp and the design is replicated by the weaver by his mere vision. While
doing the jamdani, no extra weft thread is inserted after the design is woven in, it is
done with the weft interlocking technique. Because of this, solid colors in the design can
be seen.
KANJEEVARAM
Using the traditional weaving method of dobby and jacquard, the design revival from
temples and ancient designs from the 15th and 16th century is what Gaurang is credible
for. It has got borders as big as 20 inches in the saree, and also has introduced a 3
shuttle loom, which makes it possible to weave the body and border in different colors.
One other entire new twist to the kanjeevaram, is introducing ikat with it. Simple
geometric ikkat designs adorn the body, while the borders are traditional kanjeevaram.
SEEMAANDHRA
Taking over three fabrics of Andhra Pradesh- Venkatgiri, Uppada and Khadi, the
weaving is carried out in villages that have been adopted by Gaurang and the entire
village weaves for him named as Alikam and puttapakka village in Andhra Pradesh..
While in Kota a jala is linked to the design paper, in this region there is no jala used. A
design is drawn on the paper, and the paper is kept under the warp yarns, and just by
seeing the designs they are replicated into weaves by the weavers. After the jamdani is
woven, a weft thread is inserted through the width, which makes the color of the motifs
one shade lighter than the original color.
From introducing yarns like tussar, muga to designs that are as intricate as prints, these
traditional sarees get a contemporary flair.
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PRICING:
Gaurang provides us with weaves and hand embroideries like Parsi, Kashmiri,
Chikankari, Kutch, Kasauti on handloom sarees with a subtle and sensible
contemporary flair. The price range starts at Rs-6000 and goes up to Rs4-5 lakhs. The
store provides high end Jamdani sarees in ikkat, tussar, organza, benarasi, uppada,
khadi, maheshwari silks with the price range beginning from Rs-6000 to 18000. It also
has kotta sarees beginning from the range of Rs19000. The store is specialized in
selling organza, kalamkari sarees which start from Rs-48000. The store also provides
kanjeevaram silks, paithani sarees starting from price range of 48000 and which go
upto Rs340000. Gaurang is specialized in selling kanjeevaram silks and tissue saris
which are preferred by most of the South Indian brides. Gaurang prices its products
depending upon intricacy of design, the fabric used, number of weavers involved in
weaving the saree, time taken to make a saree, transport cost and other costs. The
prices in this store are way different and the products are more expensive when
compared to others, this is because all the the sarees in this store are made using
traditional jamdani technique of weaving where the entire saree is made by one to one
weaving wherein the other stores make their sarees in powerlooms. So the prices are
high when compared to other stores. The most important part of gaurang’s saris is the
quality of the saree. The fabrics used are pure which leads to increase in price of the
sari.
SAREES:
KOTA (18000-90000) INR
Checkered kota sarees without any weaving are priced at 19000 INR.
Kota sarees with zari borders range from 50000 INR.
Kota sarees with heavy zari borders and buttas with Jamdani all over range around
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98000 INR.
PATAN SILKS (125000-225000) INR
The weave is a double ikat, usually made from silk.
These expensive saris were once worn by royalty and aristocracy.
It can take six months to one year to make one sari.
PAITHANI (128000-450000) INR
Paithani is made on cotton and cotton. Paithani is either done as heavy borders
(ranging from 128000) or on complete saree (ranging 300000).
Jamdani technique is used for making paithani sarees.
BENARASI (28000-89000) INR
Benarasi cotton, Organza and Benarasi silks vary in their prices depending on the
designs used.
Benarasi sarees having design all over are priced 89000 INR.
KHADI (14000-250000) INR
Khadi sarees having borders with plain body are priced between 14000-30000 INR.
Khadi sarees with design all over the saree, depending upon intricacy of design are
priced between 100000-250000 INR.
UPPADA (100000-225000) INR
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Uppada silks have design all over the saree and are priced depending on intricacy of
design.
Jala Jamdani technique is used to design Uppada sarees.
KANJEEVARAM SAREES (24000-350000)
Kanchi sarees with ikkat and thread designs instead of gold saree designs are priced
from 24000 to 90000.
Traditional kanchi bridal silks with zari designs are priced at 100000 and above.
Bridal tissue sarees with gold weaves range between 100000 to 250000.
PLACE
GAURANG is a standalone outlet located in jublihills. It is Gaurang’s flagship store. It is

a designer outlet selling varieties of hand-loomed and silk sarees. It is a unique from
other stores as it is one of the very few stores which sell handloomed sarees. The store
was opened an year back in jublee hills. Gaurang also runs his design studio at :
IndianEmporium………………………………………………………………..... (Hyderabad)
L'affaire……………………………………………………………………………….. (Delhi)
Straavi………………………………………………………………………………… (Kolkata)
Vaya…………………………………………………………………………………. (Mumbai)
Manmandir…………………………………………………………………………. (Chennai)
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STORE LOCATION
The store is located in jublihills which is a suburban neighbourhood in west Hyderabad,

Andhra Pradesh. It is one of most expensive residential locations in India. The store is
sandwitched between wealthy commercial suburban prime localities.
This store is easily accessible to all the customers. As most of gaurangs customers are
from higher income group of the society who majorly(**) reside in jublihills and
banjarahills, its easier for them to visit the store whenever they wish to purchase. This
store is surrounded by trees and greenery with birds singing to each other. All the
sarees are put on to the hangers on display for the customers to choose what they want
easily. The store occupies about 3000(**) square feet.
INTERIOR ATMOSPHERE
The store has two floors- Lower floor Is parted into two sections- one displaying
regular sarees, bailoo sarees, maheshwari silks, the second partition has organzas,
ghadwal silks and other hand woven sarees. Upper floor is converted into two sections
with one section displaying duppatas and kids wear and the second section displaying
heavy bridal silks - kanjeevaram pattu ,uppada pattu. The walls of the store are painted
in white and yellow with kalamkari paintings done on the walls of the store. The
kalamkari paintings drawn on the wall give the whole store an traditional and Indian-
village like image. A strong sense of design is also characteristic of Indian art and can
be observed in its modern as well as in its traditional forms. The store also displays
desig9ner mamatha reddy’s decorative pieces especially those articles which are
required for pooja for the purpose of selling them. Wooden furniture with kalamkari
paintings drawn on them are used in the store to have uniformity with interiors. Soft
classical music is played in the store. The store has a kitchen and washroom facility. It
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also has two changing rooms with huge mirrors for customers to try on the sarees. The
atmosphere of the store in more of a traditional in approach.
EXTERIOR ATMOSPHERE
The store is surrounded by independent houses with silence all around. The lane is
calm and silent with easy access to main road. The store has kalamkari drawings even
on the external walls. The store also has a well planned garden with a sit out with
variety of plants and flowers. Birds are heard chirping and also gushy breeze make soft
tunes in the garden. Video Cameras are kept all around, both inside and outside the
store for easy surveillance over the staff and customers.
PROMOTION
There are many ways in which gaurangs brand is promoted :
 Adds- gaurangs adds are posted on facebook, on newspaper and on other

fashion magazines.
 Promotion at multi designer stores in other cities except for Hyderabad.
 Major promotional events-
“India has got talent” –wardrobe for kirron kher was done by gaurang.
Lakme Fashion Week.
 Trunk shows and Fashion shows are organized every now and then.
 Newspapers and magazines constantly write articles on gaurang.
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DEBUT FASHION WEEK AND SEASONS
LAKME FASHION WEEK SUMMER / RESORT 2012
GAURANG emerged with the Lakme Fashion Week S/R 2012 wherein he showcased a
collection of 10 garments (7 western attires and 3 saris) in white. The motifs were
inspired by the morphology of various flowers that nature has bestowed on us. This
collection extensively revived the Khadi fabric with Jamdani weaves.
BRIDAL FASHION SHOW CHENNAI
Shortly following LFW S/R, in April, Gaurang participated in an exclusive bridal fashion
show in Park Sheraton, Chennai organized by the “World Telegu Federation Women’s
Wing”. The collection there named “Satrangi” was inspired from the rich concoction of
colors in a kaleidoscope. The motifs were all inspired from the elements of nature during
a rainbow. The allover dancing creepers, the impeccably beautiful full bloomed flowers
and the zigzag geometric lines we would see in a thunderstorm. Here he showcased a
collection of 42 saris styled with blouses in unusual and different patterns. At the show
he imbibed a fresh feel and different approach towards the hand woven saris which are
usually worn very traditionally and are not paid their deserved elegant status. He has
tried to break that taboo and style the hand woven saris with traditional hand
embroideries and trendy blouses to make them perfect ensembles as a gorgeous bridal
and party wear. There were three different sequences. The first sequence of the
beautiful Benarasi organzas, cottons and silk was styled with blouses adorned with
Kutch and chikankari embroidery. The second sequence of silk and khadi uppadas were
styled with Parsi embroidered blouses and the beauty and elegance of the last
sequence of kanjeevarams was accentuated with heavy zardozi embroidered blouses.
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BERLIN LAVERA ECO FASHION SHOW
In July 2012, Gaurang was invited to Berlin to show case his collection at the Lavera
Eco Fashion show at Kosmos. Gaurang was the only Indian designer invited for the
show. At the show Gaurang astonished Berlin with his Khadi Twist. He showcased his
spring summer collection at the Berlin Fashion Week, which is one of the biggest eco
and sustainable fashion show in the world. His collection of 24 outfits included 3 saris
and 21 Indo-western attires. This collection offered the best mélange of India and the
west with its unique outfits and patterns using India’s first fabric- Khadi infused with the
rich Jamdani technique of weaving.
Gaurang used fine khadi of 80 to 100 counts to make the fabric malleable. Though he
prefers to use whites as the base fabric, the collection is far from simple and
predictable. He used vibrant floral blooms, birds, butterflies and foliage themes. And
none of these are prints. Each pattern is meticulously woven, in a combination of
colours. The jamdani weaves with flowers, leaves and birds had a varying tonal quality
with the colours gradually moving from pastels to darker tones through the breadth of
the sari. Off-shoulder flowy dresses with anarkali cuts, layered tunics and short tops
teamed up with dhoti-style pants, part of his collection and the khadi jumpsuit with floral
patterns enamored Berlin.
PRANN
At “prann” which was a charity show held at Hyderabad he showed a three sequence
collection. The first sequence “Satrangi” is an amazing concoction of Kanjeevaram,
Uppada, Benarasi saris. “Satrangi” aims in portraying all the elements and emotions
that a rainbow brings along with it. The motifs are all inspired from the elements of
nature during a rainbow. The allover dancing creepers, the impeccably beautiful full
bloomed flowers, and the zigzag geometric lines we would see in a thunderstorm.
The next sequence “ White Swan “ which is the collection he showcased at the Berlin
Fashion week speaks of the serenity, poise and elegance that a swan carries off with
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attitude and playfulness. It reflects the nature of a swan who is very contented with
everything that nature has bestowed on her and enjoys her life amidst those simple
things. Khadis colorful jamdani weave truly created the Indian aura on ramp making
each and every stylishly tailored ensemble the perfect attire for the refreshing summers.
The final sequence “Gehna” surpasses all the confinement of class, beauty and
richness exuberated from a lady decked up with loads of precious jewellery. The
collection is an interesting fusion of kalamkaris, banarasis, parsi embroidery, chikankari,
zardozi etc in an enchanting range of anarkalis and ghagras. Every piece bejeweled
with pure gold and silver zari is created with the sole intention of making it a priceless
treasure for every woman.
LAKME FASHION WEEK WINTER /FESTIVE 2012
At the Lakme Fashion Week winter/festival in Mumbai, Gaurang dazzled the audience
with his ‘Ardhangini’ collection bringing together a clever mix of beautiful saris, anarkalis
and ghagras appealing to the modern bride.The colors were the ever popular yellow,
orange, red and pink - all very auspicious for that important day in a girl’s life. Working
around the beauty of Kanjeevarams, Kalamkari and zardozi, Gaurang highlighted the
intricate weaving known as Korvai for the magnificent South-Indian sarees.
Gaurang recreated with the beauty of Kanjeevaram silks and splashed them with animal
motifs in bright hues that can mesmerizes any bride bringing back the glamorous 1950’s
and 1960’s retro look. It was a unique combination of hand-painted Kalamkari with the
beautiful brocades that were extremely creative and experimental. Gaurang brought the
different fabrics in hot colours like saffron, gold, red, vermillion, and green, black, blue
for the salwars, cholis, saris, luxurious lehengas, and dupattas. The varied textures of
the fabrics were beautifully brought together in each entry and the discreet zardozi
embroidery appeared on sleeve edges and dupattas. Kurtas were regal and varied from
floor to ankle length, at times panelled or pleated but at the same time allowed the
gorgeous Indian textiles to remain the cynosure of all eyes.Brocades with intricate zari
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and silk weave, glittered under the ramp lights with the prominent detailing being the
giant "latkans" or tassels ending with animal shapes hanging at the back of cholis, or
dupattas.
Gaurang Shah picked the most perfect show stopper for his display – the ever beautiful,
elegant and charming Kirron Kher who glided down the ramp in a rich ivory brocade
sari. Garuang’s show highlighted the rich heritage in textiles and prints in stunning
creations and saris that brought him the best designer award for Indian weaves.
LAKME FASHION WEEK SPRING/SUMMER 2013
Gaurang Shah’s “Gulbadan” collection mesmerised the audience at Lakmé Fashion

Week Summer/Resort 2013 with its grandeur and beauty. Working around the regal
splendour of Rajasthan, Gaurang teamed it with the textures of Uttar Pradesh and
highlighted it all with the architecture of Akbar’s lineage. The “Gulbadan” collection
which means ‘a woman with a body like a rose’ was just as the title indicated, aimed at
women who love to adorn their bodies with the beauty of craft.
The 16 creations were regal and majestic in their beauty and textiles with a grandeur
that will give a new dimension to summer glamour.With 400 count fine pure cotton Kota
fabrics, Gaurang enhanced it with Mughal buttis woven in Jamdani and Kota Tussar
with geometric designs. The gorgeous fluid silhouettes floated down the ramp in royal
elegance. The flowing fabrics, at times measuring 28 metres for each creation, offered
the fashionista a great stylish option.
Showing the only black sari with the gorgeous motifs, Gaurang reserved it for sexy
Bollywood star Chitrangda Singh who did full justice to the stunning traditional drape.
When women long for timeless heirlooms then Gaurang Shah’s “Gulbadan” collection
will add that glamorous quotient to their wardrobes.
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LAKME FASHION WEEK WINTER/FESTIVAL 2013
Yarns dyed in intricate patterns, dyes extracted from nature, months of precision and
years of experience! The collection ‘stridhan’ is a revival of the finest fabric of Indian
textile art- patan patola. Patan where this double ikat patalu is made is one of the only
three centers of such technique in the world. Rare to find, and very difficult to weave, a
saree takes upto 1-1.5 years to make. The patan patola requires 100% of precision in
the tie-dye, without which the entire saree will show a defect.
Amalgamating this exotic fabric with his signature fabric- Khadi, Gaurang gives a whole
new dimension to the patolu. Accentuated with parsi embroidery, kanjeevaram borders,
gota’s and fabric textures, the inspiration for his styling has been the roots of kutch.
Patolus are not only considered to be pure in Indian history, but their colours and
patterns are considered to be auspicious. These patolus are a sign of social status,
especially as a part of stridhan, on which the woman can claim as her own property
within a maritial household. Reviving the motifs with which patolu was begun centuries
ago taking inspiration from the ‘rani-ki-vav’ like rattan chok bhat, nari kunjar bhat, fulvadi
bhat, pan bhat, chabadi bhat, popat kunjar bhat are not just motifs woven but stories
and emotions.
Bringing these timeless creations back in vogue, Gaurang has given his twist of
creativity. Anarkalis, lehengas and ghararas with 10-12 meters of flair; sarees draped to
the rural aura and khadi dupattas accentuating the image to a galamazon.
Introducing a glimpse of his mens wear, Gaurang creates four looks for this season,
which is true to its traditional roots and patola essence!
The collection is true to a famous saying in gujarati, “padi patole bhat, faatey pan phite
nahin” meaning, the design laid in the patola may be torn, but it shall never fade.
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ANALYSIS OF THE SURVEY
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10.CONSUMER RESEARCH:
INTRODUCTION:
A survey was carried out among urban women and Gaurang Shah’s loyal customers in
Hyderabad and Delhi with:
Sample Size: 25
Household Income Group: 10 lakhs and above half yearly.
Age Bracket: 25 to 65 years
The women were selected who already had knowledge of extra weft insertion
technique, i.e the Jamdani technique in hand woven saris and varieties of yarns and
textiles.
The survey was done in three parts:
 Preliminary Open ended Questionnaire

 Final Questionnaire
 Visual survey.
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PART A
PART A was a preliminary survey
Open ended questions were asked from 25 respondents at Gaurang Shah’s store in
Jubilee Hills, Hyderabaad and his design studio in Begampet, Hyderabad and Gulaal
Exhibition conducted in Aga Khan Hall in Delhi who were buying Jamdani hand woven
saris to know about their knowledge, feelings, preferences of fabrics and aspirations.
Consumers gave Detailed Comments, Information’s and Suggestions. From the
analysis of responses, closed ended questionnaire is formed.
The questionnaire dealt with the following issues:
 Awareness of different weaving techniques and hand woven saris.

 Knowledge of indigenous fabrics and textiles. ( traditional silks, hand spun and
hand woven khadi, cotton and blends of silk and cotton)
 Customer satisfaction and brand value and identification of the problem areas, if
any.
 Whether they were satisfied with the traditional version of the product or they
want the contemporized one?
 What other features/ experimentations could be added to make the product more
acceptable and attractive.
 Were the customers ready to pay extra if other features or weaving technique or
craft were incorporated in the designs?
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PART B
Part B is the final Closed ended Questionnaire. It deals with getting feedback of
customers preferences in wearing hand woven traditional and contemporized Jamdani
Saris.
The questionnaire deals with the following Issues:

 Understanding Consumer Profile ( Demographic and Psychographic status)
 Demand for the Product in the market.
 Comparative Awareness and the reason of popularity.
 Limitations of the Brand.
 The price range in which the women are willing to spend for hand woven and
crafted Jamdani saris.
 Preferences in terms of fabric types, colour combinations, motifs, amalgamation
of other craft and styles for hand woven Jamdani saris.
Limitations of Closed Ended Questionnaire:
 Respondents may misinterpret certain choices.

 Can draw misleading conclusions without even knowing the
constraints and limitation of the craft.
 It clarified the physical layout of the sari as well as the colour
combinations to respondents.
 It reflected the value added features of the design.
 Greater freedom in expression of ideas.
 Increased the interest of respondents and attracted them.
 Helped in organizing ideas.
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OPEN ENDED QUESTIONNAIRE:
Open ended questions were asked from 20 respondents who are Gaurang Shah’s loyal
customers at “GAURANG” and “GULAAL” sari exhibition who were buying Jamdani
sarees done on different hand woven textiles, mentioned as silks, khadis, blends, kota
doria etc to know about their feelings, knowledge and aspirations and sentiments
towards the label. Consumers gave detailed comments, information and suggestions.
From the analysis of responses, Closed ended questionnaire is formed.
Name: _________________________, Age: ________________
Occupation: _____________________, mob no: ________________
Email id: __________________________________________
OPEN ENDED QUESTIONNAIRE
1. Annual family income?

2. Do you frequently buy from ‘GAURANG’ and how many ensembles per year do
you buy?
3. Especially on which occasions do you wear GAURANG?
4. Do you find any other outlet which gives similar kind of work as Gaurang has?
Where?
5. If yes, what are the features you like in Gaurang over other brand?
6. Are you aware of the jamdani technique, (extra weft insertion) which is done on
the textiles?
7. If yes how many types of jamdani work you are aware off, name them.
8. Do you prefer the traditional style of doing Jamdani or would prefer
contemporized version done by Gaurang?
9. When it comes to Indian Traditional Textiles and weaves, what makes you think
about Gaurang?
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OPEN- ENDED ANALYSIS QUESTION FORMULATION
QUESTIONNAIRE FOR CLOSED ENDED
QUESTIONNAIRE
Annual family income Income 10 Lakhs

and above
Repeat orders are

Do you frequently buy from
usually much, and
“Gaurang” and how many
are mostly for
ensembles per year do you
occasional
buy? ( Hand-woven
purposes, festivals,
Jamdani Saris with extra
etc.
weft insertion technique)
Marriages, Baby
Especially on which
shower, festivals,
occasions do you wear
any other traditional
GAURANG?
occasions, gifting
near and dear ones.
Kalanjali Imitating Gaurangs work in their

Hyderabad, weaving farms
Do you find any other outlet
which gives similar kind of Kalaniketan
work as Gaurang has? Hyderabad,
Where?
RmKV silks-
Chennai,coimbatore
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No, Gaurang is
much conscious in
If yes, what are the features
using good quality
you would like in Gaurang
ground yarns, better
over other Brands?
quality silk yarns
almost sourced
from all over india,
contemporisation,
intricate weaving,
color and aesthetics
Gaurang has only

Are you aware of the
make us aware of
jamdani technique, (extra Vanaras brocade weaving,
the jamdani
weft insertion) which is uppada jaal style of doing
technique which is
done on the textiles? jamdani, paithan typestry work,
interesting.
khadi saree weaving with
dobby borders.
If yes how many types of
Uppada jamdani, Dacca Jamdani
the jamdani work you are
aware off, name them Bengal jamdani, Tanda Jamdani
Vanaras Jamdani Shantipur jamdani
Neelambari Jamdani
Awadh Jamdani
Bengal Jamdani
a). Tangail
b). Dhaniakhali Jamdani
Kodali Karuppur Jamdani.
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Tanjore Jamdani
Uppada Jamdani.
Etc.
Do you prefer the traditional

style of doing Jamdani or Customers are very Sometimes subtle and mild
would prefer contemporized satisfied with the colors are preferred, saris are 6
version done by Gaurang? motifs used mts long instead of 5.25 mts
basically inspired by which we generally get in
flora and fauna, but normal saris, and 1 meter
in terms of co blouse piece woven in contrast
temporization colour, saris are even broad in
customers don’t like width and borders are
wearing abstract broad,sometimes customers
motifs, the motifs prefer wearing sarees with thin
are well explored border.
with 3d effects,
combination of two
three different crafts
When it comes to Indian in the same fabrics,
traditional textiles and warm and bold
weaves, what makes you colours.
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think about Gaurang? Fabrics, master
craftsmanship,
themes, intricate
weaving,
handcrafted saris,
bold colours, revival
of Jamdani in a If contemporary then please
contemporary way. answer the below questions
? would you like to
contemporize the Motifs?
Yes
No
What colour combination

would you like?
Monochrome
Black and White
Tints
Earthy
Warm colours
Cool colours.
What would you like the

location of the motifs to be?
Border
Pallu
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Overall
Asymmetric
Other
Customers are Are you ready to pay extra if

ready to pay around any other features or
20%-40% extra if weaving technique are
the saris are incorporated along with the
contemporized and jamdani Technique?
designed
Yes
innovatively.
No
TABLE :1 Analysis of open ended questionnaire
CLOSED ENDED QUESTIONNAIRE
1. Which income category best describes you?

2. In Jamdani sarees ,what ground fabric you usually go for?
 Kota Doria/ Kota cotton Jamdani.
 Khadi Jamdani.
 Jamdani on Organza
 Uppada Jamdani
 Jamdani on Silk.
 Others/ blends.
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3. What all are the features you like in the label ‘Gaurang’ over other labels?
 Contemporisation in the weave.
 Colours.
 Motifs
 width of the border in the saree.
 length of the saree.
4. Are you aware of the jamdani Sarees from other regions?

 Dacca Jamdani.
 Tanda Jamdani.
 Shantipur Jamdani.
 Neelambari From Varanasi.
 Awadh Jamdani.
 Bengal Jamdani.
a). Tangail
b). dhaniakhali Jamdani.
 Kodali karuppur Jamdani.

 Tanjore Jamdani.
 Uppada Jamdani.
 etc.
5. Are you satisfied with the fabrics and the aesthetics of those products which are
available in the market or would you like to change them?
 Yes
 No
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6. What type of ensembles adorned with Jamdani would you like to buy?
 Sarees
 Duppattas.
 Churidar
 Anarkali
 Lehangas.
 Others.
7. Will you prefer the traditional technique of doing Jamdani and colours used or would
prefer the contemporized version?
 Traditional
 contemporized.
8. Would you like to contemporize the motifs?
 Yes
 No

9. What color combinations would you like most?
 Monotone.
 black and white.
 Tints.
 Earthy
 Warm colours
 Cool colours.
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10. What would you like the location of the motifs to be?
 Border
 Pallu.
 Overall.
 Asymmetric
 other.
11. Are you ready to pay extra if any other features or weaving technique are
incorporated along with the Jamdani technique ?
 Yes
 No.
Suggestions
 These questionnaires will be followed by the analysis of survey with pie chart
representation.
 Followed by the visual survey and photo documentation of the different Jamdani
explorations.
 Ethnographic Research and documentation of the weaver community and the
present scenario of the craft.
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ANALYSIS OF SURVEY:
Age of women
Age of women
10
0
25-35 35-45 45-55 55-65
Fig
Which income category best describes you?
House hold Income (in lakhs)

10
0
10-12.5 12.5-14 14.5-16 16 and above
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Occupation
6
6
5
4
2
1
Consumer Profile: The majority of the women surveyed lie in the age group of 35-60
with house hold income 12-16 lakhs half yearly. A good number of women were from
creative profession, intellectual like theatre and television artists, socialite, dancers etc.
These women were conscious about the very art form and rich Jamdani craft and were
already buying garments or products.
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 Khadi Jamdani.
 Jamdani on Organza.
 Uppada Jamdani
 Others/ blends.
Jamdani Ground Fabrics
0% 16% 12%
Kota doria
16% Khadi Jamdani
Jamdani on organza
8% 48% Uppada Jamdani
silks
others
The question was asked to all of the buyers to know their consciousness about the
ground fabric which they prefer to go for, buyers are mostly attracted towards Gaurang’s
Khadi Jamdani and not much into the silks as Jamdani itself is such an expensive craft
and sometimes intricate motifs with the shine of silk makes it tacky.
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3. What are the features you like in the label ‘Gaurang’ over other labels?
 contemporisation in the weave.
 colours.
 Motif
Features of Preference
contemporisation of the
weave
8% 8%
28% colours
motifs
36%
20%
width of the border in the
saree
length of the saree
Asking these question become an experience in knowing that hardly people know about the
traditional motifs of Dhaka Jamdani, its look, aesthetics and colour, people in down south are
more attached to bright colours and Uppada technique of Jala Jamdani, with bold and colorful
motifs comparatively bigger in size. Most of the people are attracted towards the breath taking
like motifs intricately weaved on the fabric. Few are fascinated towards the colours and length
of the saree.
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 Dacca Jamdani.
 Tanda Jamdani.
 Neelambari From Varanasi
 Awadh Jamdani.
 Bengal Jamdani.
a). Tangail
 Kodali karuppur Jamdani

 Uppada Jamdani. etc.
Awareness about Jamdani sarees

7%
0% 7% Dacca jamdani
7% 0% Tanda jamdani
21% shantipur
58%
Neelambari
Awadh
0%
0% Bengal jamdani
Jamdani is the weave which has a strong connection with Bengal and Bangladesh because
Dhaka is the place where these weave was first practiced on Gangetic muslin during Mughal
patronage and even though it has a rich history behind this of its expansion and demand
throughout India and eastern part. Still common people are not aware of the beautiful craft.
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5. Are you satisfied with the fabrics and the aesthetics of those products which are available in
the market or would you like to change them?
 Yes
 no
Fabric preferences
20%
yes
no
80%
Gaurang is very particular in using best quality yarns and organic dyes; he uses yarns of high
counts which fall nicely when a person drape it and gives pleasure to wear it. This question has
got almost a diplomatic response from the mass as people were satisfied yet want the best.
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6. Will you prefer the traditional technique of doing Jamdani and colours used or would prefer
the contemporized version?
 Traditional
 contemporized.
Aesthetics and colors
32%
Traditional
68% contemporised
When concerned to aesthetics and colors , Gaurang is more concerned in using warm and bold
colours and he just love playing with colours, The motifs he uses on the sarees are very intricate
and life like, he is not at all into implementing the traditional motifs of Jamdani, instead he’s
contemporizing the designs and placements of the motif with the same weaving weaving
technique. The response was mostly in favor of Gaurang’s contemporized form of Jamdani as
most of the people were not aware of the traditional Bengal or Dhaka jamdani, people were
aware of the Uppada jamdani which is from Andhra Pradesh.
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 Yes
 No
Contemporisation of Motifs
23%
Yes
No
77%
Contemporization of the motif is preferable by the niche client of Gaurang, they consider that
end piece as Gaurang’s saree as it has a Gaurang touch which is highly ornate with motif and
weave all over the saree and gives a special Gaurang look to the end piece. Morever people
were not much aware of the traditional style of doing Jamdani, its motifs and colur and also the
type of fabric on which it use to be done.
106
a). Monotone.
b). black and white.
c). Tints.
d). Earthy
e). Warm colours.
f). Cool colours.
Colour Preferences
14%
24%
5%
Monotone
Black and White
24% Tints
Earthy
33% Warm colours
Cool colours
The survey tells about the color preferences of the customers in which it has been observed
that women prefer Earthy shades for summer and warm colors for festive occasions. Some of
the women from corporate backgrounds even prefer tints of shades which goes with the time
yet gives a traditional look and should look exclusive and one should be able to carry it with
enormous pride and pleasure.
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 Border
 Pallu.
 Overall.
 Asymmetric
 other.
Motif Placements
8% 12%
24%
Borders
Pallu
Overall
Asymmetric
56%
other
As the weaving technique is a very time consuming process and takes 7-8 months to weave a
single saree if the motif is implemented all over. As far time is concerned, in that time period
more number of sarees can be get weaved if the motif is only done on the pallav and few places
in the saree instead of doing it all over. 56% of women’s prefer the jamdani work done on the
pallu, 24% prefer overall.
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10. Are you ready to pay extra if any other features or weaving technique are incorporated
along with the Jamdani technique ?
 Yes
 No.
Extra Payment
29%
Yes
71% No
As far payment is concerned, most of the customers are not willing to pay extra as the products
are already expensive, because the weaving technique is very tiring and takes a lot of effort and
time, and nothing has been done on machine. Every single thread is hand woven and done
manually by the weavers, and Gaurang’s believe in paying them back their dues. He pays
extremely good wages to his weavers to generate more passion and respect for the
sustainability of the craft. Consumers are highly convinced and interested in buying indigenous
weave rather of going for modern textile experimentation and according to them Gaurang is
the perfect place to look for indigenous weave and fine fabrics, some consumers are very
fascinated with Gaurang’s wardrobe and they never negotiate the amount, they buy as Gaurang
price them, some tends to bargain even if they feel the product is highly priced. Few
consumers even want something different from Gaurang in terms of weave and fabric
exploration. They are willing to pay if the exploration is worth paying. Even some want the price
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of his high end saris should be little cheaper which can only be done with design intervention or
making product lines which is little less expensive.
10.1 DESIGN INTERVENTION TO OVERCOME SCOPE OF MARKET EXPANSION DUE
TO THE LACK OF PRODUCT VARIATION AND TIME CONSUMPTION:
PRODUCT 1
Fig:44 ( jamdani on the pallav and batik all over the saree)
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PRODUCT 2
Fig: 45 ( saree with Jamdani pallav and block print all over the body)
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PRODUCT 3
Fig:46 (sari with jamdani pallav and batik prints all over the sari)
112
PRODUCT 4
Fig:47 ( sari with Jamdani Pallav and Batik prints all over)
113
PRODUCT 5:
fig 48: ( sari with jamdani plain pallav and Batik motifs all over)
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10.2 SWOT ANALYSIS - GAURANG
STRENTHS:
 The yarn quality used by gaurang is pure and organic in and the jamdani
technique he uses is very stylized and contemporary yet rooted to its originality.
 Gaurang uses only pure Zari yarns, hand spun and hand woven yarns, dipped in
organic and natural dyes, he rarely uses synthetic dyes.
 Hand woven saree using Jamdani Technique with intricate weaving and designs.
 The normal width of his sarees is 48-50 inches which is more than the normal 44
inches. Length of the sarees is 6metres+ 1 metre blouse wherein the length of
others is 5.5 metres.
 Gaurangs forte is Jamdani saris. His saris are well wearable and fall nicely, the
colour combination and the softness of the fabric.
 Gaurang, expert in varied textures and rich borders in weaves, he makes even
khadi look exquisite.
WEAKNESSES:
 He cannot hold copyrights for each and every single piece of saree coming out
from the loom.
 He cannot stop his designs from being copied in powerloom.
 Not being able to restrict other weavers from copying from his weavers.
 He cannot take specific orders for weaving since no samples can be produced to
Show the client as his products take long period(months) to be produced.
OPPORTUNITY:
 Fashion weeks and other shows.
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 Fashion journals constantly write articles on Gaurang giving more recognization
and popularity.
 International Trade shows and exhibitions.
THREAT:
 Competition from other local designers doing embroidery.

 Other stores selling copies made in low quality fabric and in cheaper price.
 Other weavers copy designs from the internet, facebook, social media and also
go to the villages where his weaving is carried to copy his design.
11. GAURANG SHAH’S INITIATIVE IN SUSTAINING WEAVING TRADITION OF INDIA:
REGION AND REACH: ANDHRA PRADESH
The alikam village of srikakulam District and the puttapaka village of the Nalagonda
district of the state of Andhra Pradesh in particular, are the areas of production. Alikam
village in turn is comprised of three sub villages namely Kothapalli, Kutukudumalli and
Vakathippa.
Thus, jamdani technique is followed by the craftsmen’s of both the villages mentioned
as Alikam and Puttapakka. have total 120 handlooms operating on jamdani technique
out of which handlooms are present in alikam and the rest handlooms in other 6
villages. Among the potential, Mulapeta has the highest potential of production as well
as growing as a community.
Srikakulam district once famous for its handloom weaves, saris and kurtas from Alikam
village in Srikakulam rural mandal, 15kms away from srikakulam district headquarters
which is facing large scale migration of the skilled weavers .In Srikakulam district
116
several villages like Ponduru, Rajam town , Singupuram etc are known for its cotton and
handloom sarees. But Alikam weavers were quick to adapt advanced designs and skills
and began producing expensive saris in the range of Rs. 2,200- Rs. 2,00,000 and and
kurtas worth Rs. 5,000 to Rs. 10,000. Manufacturing handloom clothes is more
painstaking and time consuming as it involves weaving, colouring, and designing,
making them more expensive then powerloom clothes and other readymade clothes.
Hence,most weavers are switching to other more lucrative professions. Some weavers
from Alikam, Ponduru, Laveru, etc are adopting the latest techniques and designs and
purchasing quality yarn from Mangalagiri mills, Zari, muga, essential for designing saris
at Rs. 18,000 per Kg and is available only at Guwahati in Assam.
Gaurang Shah gives all the designs and colour palate on the basis of requirement and
he only provides the investments to the weavers and they supply the saris to him as per
the requirements. Konapala Annaji Rao, master weaver from Alikam said that Gaurang
only monitors the weaving, colouring and designs of saris via web cameras and
contacts every weaver on payment made by the master weaver and on which he offers
the 12 percent margin on every sari. Annaji Rao also told that Gaurang sells saris to
customers in China, France, Dubai, USA and UK on orders.
Filmstars like Tapsi, Aishwarya Rai, Kiron Kher, members of the Ambani family, models,
leaders are customers of handlooms. Powerloom produced clothes are fast capturing
the market and sly traders are peddling them off to gullible consumers as handloom
products.
To weave a costly sari of Rs. 90,000 it takes five months time and of Rs. 2 lakh nearly a
year and needs more skills. Powerlooms are posing a threat in the open market as
some of the traders making sarees on powerlooms and selling them as handloom saris
to customers who do not have sufficient knowledge of it. Due to the traditional weavers
are forced to look at other sources of livelihood.
Earlier there were about 20,000 weavers in Srikakulam but now their number has been
reduced to 4,000. Of the 4,000, only 2,000 are active weavers. In total 42 weaving
societies are there in the district and the government is providing life and health
117
insurance, financial aid for the children’s education, houses, ration cards. To encourage
the weavers, the government issued orders in 2008 that every government employee is
required to attend duty in cotton and handloom clothes every Saturday.
In the very Alikam village more than 10 families are only working for Gaurang Shah in
making handwoven Jamdani sarees, which is not the technique of weaving they have
inherited from their forefathers but which they have adopted from the weavers of
Uppada and become master in that. In signifies the introduction of Jamdani on Khadi for
the first time. The weaver community is spreading around 5-7 kms, and every single
hpuse has a loom which is a age old tradition of that village. Both men’s and womens
are equally expert in the weaving and other practices related to weaving such as rilling,
dying, gumming of the yarns etc. Children’s and the humid climate of Srikakulam is also
a blessing for these weavers. Spinning with the nimble hands of the childrens in the
humid climate makes the yarn finer, and ponduru khadi is known for its fineness and
versatility, it is cool in summer and warm in winter.
The weaver community belongs to the ‘Devanga’ caste, who are the followers of shiva.
since the time of their forefathers, these weavers are into weaving, initially it started with
weaving Khadi sarees and dhotis with a decorative dobby border. And the saree is use
to be plain all over the body and an elaborate pallu with stripes. Annaji Rao, the famous
and the master weaver of the Alikam village came into influence with ‘Jagadarajappa’, a
famous exporter of khadi from ponduru and that’s how he insisted Annaji Rao to tie up
with Gaurang Shah in making high end jamdani sarees, and it became a huge success
with the effort taken by Gaurang Shah.
List of weavers interviewed:
Annaji Rao, Kalidasu (brother of Master weaver), Sundaramma (Wife of Kalidasu),

Eswar Rao, Sandya, Ramana Venkata, Lakshmi, Parvatisam, Padma, Dali Raju,
Sharada, Lakhman Rao. The most experienced and the oldest weaver of the community
is G. Venkat Rao.
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The village mostly consist of people of weaver caste, i.e- Devanga. Segidi, Telaga and
Yelamas are another caste of the same vilaage who performs agriculture for the
livelihood , Golla’s are the schedule caste people who rear sheep. There is only one
Brahmin family in the whole village who performs puja in the temple and other places
during festive occasions. Baiswas do business of salt, pepper and oil, Mangali is the
barbar caste and Chakali are the ones who washes clothes.
Traditional Mens Jewellary of the weavers of Devanga Caste:
Fig 49 : ‘Lingkai’ holding a shiva linga inside the silver pendent.
119
Fig 50 : Astashata ‘Rudraksham’ chain.
Saviour of Weaves:
Gaurang’s signature style makes use of high-quality fabrics and technical depth. The
colour palate is his playground. Known for his easy drapes and immaculate styling.
Gaurang always designs with a cause in mind, he plays with intricacy of the designs
and colours and his sarees are longer than the regular ones. His fabrics are ultra-soft
and the contrasts make the design stand out. He works with more than 450 weavers all
over India, Almost a total of 40 families work on kalamkari for him, He pay them
whatever they ask for. He does not suffocate them with anytime or monetary
restrictions. Khadi weavers who use to earn hardly Rs 600 to Rs 800 for a saree is now
earning close to Rs 1 lakh per saree, he has taken an ought to take up the cause of
supporting indianart and craft and the traditional artists.
120
12. LIMITATION
Every research has its own limitation. The limitation of this project is the inability to
communicate in vernacular language with the weavers i.e.- ‘Telegu’ and as the designer
is only focused towards a niche client group including celebrities, film actors and
women's belong to page3 society, I had to limit my sample size, which is comparitively
less in number for a proper design research.
Comaparitive study of jamdani and visual analysis of its contemporisation involves case
study of Gaurang Shah while other varieties have been studied through their images
and secondary written text.
121
13.CONCLUSION:
Gaurang supports more than 450 weavers across India from the states of Andhra
Pradesh, Maharashtra, Tamil Nadu, Uttar Pradesh, etc. He works with the handloom
saris with a subtle and contemporary flair in the weaves, working with the weavers is an
ode to the rural weaves, he does it for his inner, creative self and that’s what gives him
immense satisfaction. He takes inspiration from the mother nature, its elements from
which he try to bring out imagination of flowers, leaves and grass on the fabric. Every
end piece is a masterpiece to him. His forte is Jamdani saris which are bold, bright and
dramatic saris, which the old and the young connect with. Contemporisation is a term
which means something which is very today and modern yet rooted to its tradition, and
which has been brought down to its minimal essence. Gaurang in terms of
contemporisation is very particular about the motif and placements, as he never do
experimentation with abstract forms, his representation of flowers and other natural
elements on the saree is very direct and stylized, life like motifs. He believes in paying
the weavers their due as weaving is a tradition which we have inherited from our
forefathers, thus we are privileged and we must respect our age old arts and crafts and
take initiatives to sustain it so that it nurtures more. Weaving is the sentiment, weaving
is the pride, weaving is the art of expressing one’s own soul on the fabric. Weaving
jamdani is a repetitive method, with a extra weft passed across the warp for hours to
form the motif, It takes months to create a jamdani saree. The research is totally
centeredin archiving Gaurang Shah’s endeavor in the field of reviving saree, an unique
art piece of Indian Traditional Textiles.
A representation becomes work of art by its medium and material used, infact made by
someone and directed to someone, thus a textile designer should make sure to keep
the viewer ar the wearer as an integral component of the sari design process. However
when the weavers get involved in the process of dress designs, but they have a clear
outlook of the contemporisation and the role play in fashion.
122
A case study on Gaurang Shah suggest that weaving tradition is a religion, he supports
more than 450 weavers all around India who serves him by making high end Jamdani
sarees in every possible ground surfaces, say whether it is khadi, silk, cotton, blends
etc. According to Gaurang sari can create revolution in the Indian and abroad market
and Indian weaves are its strength. A women look graceful and beautiful in a sari and
in-turn, a weaver stands to benefit. Gaurang Shah took the past to a promising new
future when he set out to create exclusive Khadi saris, more versatile supple and
elegant. He tried different counts in the weaves. Jamdani in a burst of hues with delicate
motifs drawn from Nature’s pulchritude gave the fabric an added appeal. He even uses
three-shuttle technique to get different colours for the borders. He proposes to explore
the craft as a prospect with which it can bring a new revolution.
123
Appendices:
 List Of Pictures
 List Of Tables
 Questionnaires
124
125
LIST OF FIGURES:
List of Fig: TITLE Page No:
126
1. Map : Eastern Region 17
2. Map: Eastern Region (17th century) 18
3. Jamdani : Red on Grey 21
4. Jamdani Motifs 30
5. Natural dyes 31
6. Weaver on Loom 32
7. Handkerchief 35
8. Scarf 36
9. Sari 37
10. Stole 38
11. Sari 38
12. Dhakai Jamdani 40
13. Tangail Jamdani 41
14. Uppada Jamdani 42
15. Bibi Russell 46
16. Ritu Kumar 48
17. Ritu Kumar collection 49
18. Rahul Mishra 50
19. Rahul Mishra’s Colection 50
20. Soumitra Mondol 52
21. Soumitra Mondol’s Collection 53

22. Tapsi Pannu wearing Gaurang Shah’s Khadi sari
52
127
23. Ancient Dhaka Jamdani 57
24. Dhaka Muslin 58

25. Jamdani Hat
58
26. Tanda Jamdani
59
27. Muslin Embroidary
59
28. Contemporised Khadi Saree: Sari 1
29. Sari 2 60
30. Sari 3 61
31. Sari 4
62
32. Sari 5
62
33. Sari 6
63
34. Sari 7
35. William Morris Wallpaper Sari 64
36. Tree of Life saree 64
38. Mughal Flower muga saree

66
39. Uppada Sari
66
40. Mughal Flower kota doria sari
67
41. Benaras sari
42. Organza Jamdani Saree 68
43. Paithan Jamdani 69
44. Design Intervention: product 1 110

45. Product 2
111
112
46. Product 3
128
47 Product 4 113
48. Product 5 114

49. Lingkai Silver Pendent
119
120
50. Rudraksham
129
LIST OF TABLE :
OPEN- ENDED ANALYSIS QUESTION FORMULATION

QUESTIONNAIRE FOR CLOSED ENDED
QUESTIONNAIRE
Annual family income Income 10 Lakhs

and above
Repeat orders are

Do you frequently buy from
usually much, and
“Gaurang” and how many
are mostly for
ensembles per year do you
occasional
buy? ( Hand-woven
purposes, festivals,
Jamdani Saris with extra
etc.
weft insertion technique)
Marriages, Baby
Especially on which
shower, festivals,
occasions do you wear
any other traditional
GAURANG?
occasions, gifting
near and dear ones.
Kalanjali Imitating Gaurangs work in their

Hyderabad, weaving farms
Do you find any other outlet
which gives similar kind of Kalaniketan
work as Gaurang has? Hyderabad,
Where?
RmKV silks-
Chennai,coimbatore
130
No, Gaurang is
much conscious in
If yes, what all are the
using good quality
features you would like in
ground yarns, better
that other brand over
quality silk yarns
GAURANG
almost sourced
from all over india,
contemporisation,
intricate weaving,
color and aesthetics
Gaurang has only

make us aware of
Are you aware of the Vanaras brocade weaving,
the jamdani
jamdani technique, (extra uppada jaal style of doing
technique which is
weft insertion) which is jamdani, paithan typestry work,
interesting.
done on the textiles? khadi saree weaving with
dobby borders.
Uppada jamdani, Dacca Jamdani

If yes how many types of
the jamdani work you are Bengal jamdani, Tanda Jamdani
aware off, name them
Vanaras Jamdani Shantipur jamdani
Neelambari Jamdani
Awadh Jamdani
Bengal Jamdani
a). Tangail
b). Dhaniakhali Jamdani
Kodali Karuppur Jamdani.
131
Tanjore Jamdani
Uppada Jamdani.
Etc.
Customers are very Sometimes subtle and mild

Do you prefer the traditional
satisfied with the colors are preferred, saris are 6
style of doing Jamdani or
motifs used mts long instead of 5.25 mts
would prefer contemporized
basically inspired by which we generally get in
version done by Gaurang?
flora and fauna, but normal saris, and 1 meter
in terms of co blouse piece woven in contrast
temporization colour, saris are even broad in
customers don’t like width and borders are
wearing abstract broad,sometimes customers
motifs, the motifs prefer wearing sarees with thin
are well explored border.
with 3d effects,
combination of two
three different crafts
in the same fabrics,
warm and bold
When it comes to Indian
colours.
traditional textiles and
132
weaves, what makes you Fabrics, master
think about Gaurang? craftsmanship,
themes, intricate
weaving,
handcrafted saris,
bold colours, revival
of Jamdani in a If contemporary then please
contemporary way. answer the below questions
? would you like to
contemporize the Motifs?
Yes
No
What colour combination

would you like?
Monochrome
Black and White
Tints
Earthy
Warm colours
Cool colours.
What would you like the

location of the motifs to be?
Border
Pallu
133
Overall
Asymmetric
Other
Customers are Are you ready to pay extra if

ready to pay around any other features or
20%-40% extra if weaving technique are
the saris are incorporated along with the
contemporized and jamdani Technique?
designed
Yes
innovatively.
No
TABLE: 1 Analysis of open ended questionnaire
134
QUESTIONNAIRES
OPEN ENDED QUESTIONNAIRE:
Open ended questions were asked from 20 respondents who are Gaurang Shah’s loyal
customers at “GAURANG” and “GULAAL” sari exhibition who were buying Jamdani sarees done
on different hand woven textiles, mentioned as silks, khadis, blends, kota doria etc to know
about their feelings, knowledge and aspirations and sentiments towards the lebel. Consumers
gave detailed comments, information and suggestions. From the analysis of responses, Closed
ended questionnaire is formed.
Name: _________________________, Age: ________________
Occupation: _____________________, mob no: ________________
Email id: __________________________________________
OPEN ENDED QUESTIONNAIRE
1. Annual family income?

2. Do you frequently buy from ‘GAURANG’ and how many ensembles per year do you
buy?
3. Especially on which occasions do you wear GAURANG?
4. Do you find any other outlet which gives similar kind of work as Gaurang has? Where?
5. If yes, what all are the features you would like in that other brand over Gaurang?
6. Are you aware of the jamdani technique, (extra weft insertion) which is done on the
textiles?
7. If yes how many types of jamdani work you are aware off, name them.
8. Do you prefer the traditional style of doing Jamdani or would prefer contemporized
version done by Gaurang?
9. When it comes to Indian Traditional Textiles and weaves, what makes you think about
Gaurang?
135
CLOSED ENDED QUESTIONNAIRE
7. Which income category best describes you?

 Khadi Jamdani.
 Jamdani on Organza
 Uppada Jamdani
 Others/ blends.
9. What all are the features you like in the lebel ‘Gaurang’ over other lebels?
 Contemporisation in the weave.
 Colours.
 Motifs
 Dacca Jamdani.
 Tanda Jamdani.
 Neelambari From Varanasi.
 Awadh Jamdani.
 Bengal Jamdani.
a). Tangail
 Kodali karuppur Jamdani.
136
 Uppada Jamdani.
 etc.
11. Are you satisfied with the fabrics and the aesthetics of those products which are
available in the market or would you like to change them?
 Yes
 No
12. What type of ensembles adorned with Jamdani would you like to buy?
 Sarees
 Duppattas.
 Churidar
 Anarkali
 Lehangas.
 Others.
7. Will you prefer the traditional technique of doing Jamdani and colours used or would
prefer the contemporized version?
 Traditional
 contemporized.
 Yes
 No
137

 Monotone.
 black and white.
 Tints.
 Earthy
 Warm colours
 Cool colours.
 Border
 Pallu.
 Overall.
 Asymmetric
 other.
11. Are you ready to pay extra if any other features or weaving technique are
incorporated along with the Jamdani technique ?
 Yes
 No.
138
BIBLIOGRAPHY
ONLINE SOURCES:
http://bdnews24.com/lifestyle/2013/12/06/unesco-recognition-for-jamdani
http://www.craftandartisans.com/jamdaniweaving-of-uttar-pradesh.html
http://en.wikipedia.org/wiki/Jamdani
http://www.sundarisarees.com/cart/history-tradition.htm
http://www.bpedia.org/J_0049.php
http://www.thehindu.com/features/magazine/article917314.ece
http://www.dawn.com/news/630713/jamdani-weaving-history
http://www.bibirussell.org/fashion.html
http://handloom.fibre2fashion.com/product-promotion/jamdani/
http://shalinindia.hubpages.com/hub/Jamdani-Weaving-in-Varanas-India
http://dhakaisharee.com/content/history-pride
http://archive.thedailystar.net/newDesign/news-details.php?nid=257887
http://articles.timesofindia.indiatimes.com/2013-12-06/uk/44862205_1_intangible-
cultural-heritage-unesco-weavers
https://www.google.co.in/#q=abor+tribe
http://www.craftrevival.org/CraftArtDetails.asp?CountryCode=india&CraftCode=002836
http://www.craftclustersofindia.in/site/index.aspx?Clid=596
http://www.info.com/jamdani?cb=79&q_csr=0&cmp=2875
http://in.peeplo.com/search/?q=dhakai%20jamdani%20saree&type=web&from=adw9
139
http://educators.mfa.org/textile-and-fashion-arts/length-cotton-muslin-tanda-jamdani-
36487
http://www.parinita.co.in/jamdani-cotton-
silk.html?gclid=CO6zy6bDpbwCFWlT4godyR4A1w
http://www.parinita.co.in/jamdani-cotton-
silk.html?gclid=CO6zy6bDpbwCFWlT4godyR4A1w
http://www.indianetzone.com/7/abor_arunachal_pradesh.htm
http://handlooms.in/uppada-weavrsworld.aspx
http://www.indiaafricaconnect.in/index.php?param=news/4638/cinema-fashion/110
http://www.rediff.com/getahead/slide-show/slide-show-1-achiever-interview-with-
fashion-designer-gaurang-shah/20120911.htm
http://expressindia.indianexpress.com
http://tehelka.com/padma-awards-to-rajesh-khanna-sharmila-tagore-rahul-dravid/
http://www.indiatimes.com/more-from-india/padma-awards-list-of-awardees-57530.html
https://www.facebook.com/gajamanjaiah
http://www.thehansindia.info/News/Article.asp?category=1&subCategory=2&ContentId=116
090
http://articles.timesofindia.indiatimes.com/2013-04-06/designers/37684681_1_indian-
handloom-many-weavers-indian-fashion-industry
http://www.potomitan.info/ki_nov/pagnes-saris.pdf
http://indiaunlimited.se/program-2014/
http://www.thehindu.com/todays-paper/tp-national/padma-bonanza/article4347000.ece
140
BOOKS AND JOURNALS:
1. Indian saris- Traditions-perspectives-designs
By: Vijai Singh Katiyar
2. The Sari
By: Linda Lynton
3. Jamdani Fabrics of Dhaka

By: Shahid A. S. M. Textile horizons,may 1986, Vol.6
4. G.I Tag- A boost for uppada sarees

Textile trends, vol. 53, issue 8
5. Criteria for analysis of Indian handlooms
Textile industry of india, sept. 1997,vol.36
6. Neeru Kumars Creations:
Textile trends(00405205), sep2005,vol.48,issue 6
7. Versatile Woven fabrics of india.
By: Ranganathan,kamala,Amasamani,S. textile magazine,aug2005.vol.46
8. Bangladesh trade fair in assam and Tripura.
Asian textile journal,dec2006, vol. 15.issue 12.
9. Silk Brocades by Yashodhara Agarwal.
10. The sari By Linda Lynton.
11. Handwoven Jamdanis Of Tanda and Benaras
By pupul Jyakar, Ed. By Jasleen Dhamija and Jyotindra Jain.
12. Indian Textiles By Pupul Jayakar.
13. Handcrafted Indian Textiles, Gen editor : Martand Singh, Text: Rita Kapoor Christi,
Rahul Jain.
141
14. Saris Of India : Compiled and Edited by Rta Kapur Chishti.
142

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TITLE: Case study on the textile revivalist and entrepreneur desig ner.

“Gaurang Shah’s approach in contemporising Jamdani (extra weft insertion

Submitted to NIFT in partial fulfillment for the degree of Master Of Design.

Faculty Guide: Ms. Kavita Yadav

DEPT OF P.G DESIGN

NATIONAL INSTITUTE OF FASHION TECHNOLOGY, DELHI

NEW DELHI, INDIA 110016

9th MAY 2014

____________________ ________________________ ________________

____________________ ________________________ ________________

____________________ ________________________ ________________

____________________ ________________________ ________________

____________________ ________________________ ________________

____________________ ________________________ ________________

Remarks regarding fulfilling further requirements , if any:-

Signature of Course Co-ordinator/ PG Design Space: Date:

A project work is never an accomplishment of an individual; rather it is an amalgamation of

3. SCOPE OF THE RESEARCH………………………………………………………11

4. OBJECTIVES OF THE RESEARCH……………………………………………….12

6.1: THE EASTERN REGION……………………………………………………….17-18

6.1.1: BENGALI DESHI MUSLIN……………………………………………...19-20

6.2.1: DACCA MUSLINS……………………………………………………….20-21

6.2.2: JAMDANI MUSLINS…………………………………………………….21-23

6.3: THE EARLY HISTORY…………………………………………………………23-25

6.4: THE MUGHAL ERA……………………………………………………………25-26

6.6: MANUFACTURING TECHNIQUE…………………………………………...27

6.11 SOME TRADITIONAL JAMDANI PIECES FROM

BANGLADESH AND INDIA…………………………………………………35-38

6.12 TYPES OF JAMDANI………………………………………………………...38

7.12.1 DHAKKAI JAMDANI…………………………………………………40-41

7.12.2 TANGAIL JAMDANI…………………………………………………41

7.12.3 SHANTIPUR JAMDANI……………………………………………..41

7.12.4 DHANIAKHALI JAMDANI…………………………………………..42

7.13.5 UPPADA JAMDANI…………………………………………………42

6.13 THE DECLINE AND FALL………………………………………………….43

6.14 CURRENT PROBLEM………………………………………………………43

6.15 (A) HIGHLIGHTS OF INDIAN TEXTILE INDUSTRY (GOVT. DRIVEN)..43-44

(B) HIGHLIGHTS OF INDIAN TEXTILE INDUSTRY (PRIVATE DRIVEN)..45

6.16 INITIATIVES TAKEN BY RENOWNED DESIGNERS IN SUSTAINING

7.16.1 BIBI RUSSELL………………………………………………………46-48

7.16.2 RITU KUMAR………………………………………………………..48-49

7.16.3 RAHUL MISHRA……………………………………………………50-51

7.16.4 SOUMITRA MONDOL……………………………………………….52-53

7. TEXTILE DESIGNER GAURANG SHAH’SINITIATIVE IN

SUSTAINING THE CRAFT……………………………………………………...55

7.2 INDIAN AND INTERNATIONAL…………………………………………....57

8. VISUAL ANALYSIS OF JAMDANI………………………………………………57-69

9. GAURANG SHAH’S ENDEAVOUR …………………………………………..70-71

9.1 – 4 P’S OF MARKETING………………………………………………….71-85

10. ANALYSIS OF SURVEY BY CONSUMER RESEARCH…………………….86-110

10.1- DESIGN INTERVENTION……………………………………………….110-114

10.2- SWOT ANALYSIS………………………………………………………..115-116

11. GAURANG SHAH’S INITIATIVE IN SUSTAINING

WEAVING TRADITION ……………………………………………………..116-120

Case study of the textile revivalist and entrepreneur designer, “Mr.

Case Study: Gaurang Shah

3. SCOPE OF THE PROJECT

To gather information regarding Jamdani weaving “extra weft insertaion” in different

To identify the amalgamations of the colors, aesthetics and craftmenship in Gaurang’s

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