LUXURY PRODUCTS

OF INDIA
Presented by – Aayushi Verma
Khushbu Kumari
Kritika Rani
Saurabh
Tulika Raj
LUXURY PRODUCTS
 Luxury products have more than necessary and
ordinary characteristics compared to other
products of their category, which include their
relatively high level of price, quality, aesthetics,
rarity, extraordinariness, and symbolic meaning.

2
MAJOR CHARACTERISTICS OF
LUXURY PRODUCTS

3
KOKLAPURI AS LUXURY

4
PROMOTED BY CELEBRITIES

5
KOLHAPURI CHAPPAL MAKING
 The patronage of all the crafts of
Kolhapur traced by the royal family.
 Making of Kolhapuri chappals started
even before the time of Chhatrapati
Shahuji Maharaj but exact time
period of its origin is not known.
 It is deeply rooted in the tradition of
Kolhapur.
 Other items made of leather like
bags and wallets were produced
much later in Kolhapur.
 Kolhapuri chappals where locally
tanned using vegetable dyes.
6
PRODUCT RANGE

 The original Kolhapuri is made from

100% cow or buffalo leather & it
mainly available in 3 colors natural,
oil, and, polish.
 The original traditional Kolhapuri is
made of buffalo hide and thread had
thick sole and weighed upto 2 kgs
and was able to withstand even high
degree of heat and hard mountain
terrain.
 Kolhapuri chappals are exquisitely
designed and embellished. Intricately
hand crafted with gold zari, pom-
poms, gota, etc.

7
SIZE OF THE CRAFT

 Presently, almost 10,000 artisans are engaged.

 Nearly 80 percent of the leather artisans manufacture
Kolhapuri chappals for the middlemen who supply raw
materials to them.
 Most craftsmen invest roughly between Rs. 5000-10000
in the leather occupation. One fourth of the craftsmen
invested as much as Rs. 30000.
 The price range of the Kolhapuri chappal is between Rs.
350-400, Rs 700-1000 and Rs. 5000-10000 depending on
the design and material used.

8
 It has been observed that there were 208 small units and
only 10 big units which were engaged in manufacturing
Kolhapuri chappal.
 There is a trend of new models of Kolhapuri chappals
being manufactured with various names such as Sangram,
Devayani on TV serials in order to attract customers.
 Majority of the craft men manufacturer roughly 21 to 40
pairs of chappals per week.
 It is found that most of the craftsmen work almost 10
hours a day.

9
EXPORT
 The Council for leather
Exports (CLE) takes position of
a prestigious place in the whole
economy.
 India's leather and leather
products exports in 2009-10
were US$ 3.40 billion.
 India's export of leather and
leather goods during the first
six months of the year 2010-11
Touched US$ 1864. 27 million.
 Leather footwear alone
contributes to a big share of 44.
67 % and in India's total leather
products export trade.

10
USP
 These are handicraft and
dyed with vegetable dyes.
 It is processed by
performing a series of
mechanical.
 The leather used is hard
enough and thereby
durable.
 They are also very
chunky and rugged.
 It is very suitable for
traditional wear in daily
use.
 It is available in vibrant
colors, different sizes and
patterns.
11
UNIQUE DESIGN

12
 MATERIAL USED
 (Mhasadi) She & He
Buffalo leather
 Gabi (Calf leather)
 Shepati (Leather of tails
of cattels)
 Cotton & Nylon Threads
 Rubber powder
 Sisal leaf (Cactus)
 Seeds (vinchu Tree)
 Chunna (lime stone)
 Vegetables
 Red color flowers

13
SWOT
STRENGTH WEAKNESS

 Low labour productivity

 Easy availability of due to lack of formal
skilled and low cost training
labour  The craftsman tend to
 Handmade product stick to the old ways of
which reduces the craft and are uncertain
competition about using machines to
help make the process
 Low capital investment easier and faster
 Support from  Low number of organized
government association product manufacturers

14
SWOT
OPPORTUNITY THREAT

 Growing International  Increasing labor cost

and domestic market
 Entry of multinationals
 Fast changing fashion in the domestic market
trends
 Still competition from
 Product diversification the other countries
 Leather product apart
from chappals needs to
be explored

15
SUGGESTIONS
 To flourish more in future in the
domestic as well as the
international market the craft
should follow these
 Innovation in belts, bags, wallets,
sling bags, and laptop sleeves.
 A whole range of accessories
could be introduced as well, such
as such as jeweler like earring and
chokers or watch straps and even
clip on bow ties.
 Another untapped market is
stationary, Leather covered books
and journals and even passport
covers with traditional.

16
ARANMULA KANNADI

17
 ABOUT ARANMULA KANNADI
 This craft is practiced in Aranmula, Kerala
 It was in use much before the appearance of modern-day
glass mirrors.
 The metal mirror manufactured in Aranmula is a front
surface reflection mirror, which eliminates secondary
reflections.
 A special alloy is used to manufacture the Aranmula
Kannadi.
 Besides making the right combination of the alloy, the
craftsmen get involved in intensive polishing sessions,
which would go on for several days to obtain the desired
reflective surface.

18
 HISTORY OF ARANMULA
KANNADI
 The origins of the Aranmula Kannadi are linked to the
Aranmula Parthasarathy Temple.
 Eight families of experts were brought from Tamil Nadu
to Aranmula for art and craft work of temple.
 They were given the task of undertaking works in the
Parthasarathy Temple.
 While making the crown of lord Parthasarathy, they
accidentally stumbled upon a unique reflective property
of one alloy comprising copper and tin.
 The craftsmen later tried different compositions, which
eventually led to the standards of making the metal
mirror.
19
COMPOSITION OF ARANMULA
KANNADI (MIRROR)

Copper
Tin

20
TOOLS AND RAW MATERIALS

Hollow Frame Chisels Sharp pointed tools

Hand cutting
Compass Tong Hammer machine 21
 Wax
Clay Metal alloy
chunks

Metal Frame Coal Oil

22
MANUFACTURING PROCESS

23
24
 LUXURY
 There is no possibility of duplicating the product.
 The secret behind aranmula kannadi is its method of
making itself.
 The process itself is very sophisticated and time
consuming and it requires high accuracy and expertise.
 Even today, craftsmen use traditional, methods and
materials to produce the reflecting wonder called
Aranmula Kannadi.

25
 If we take two Aranmula kannadi of same model, we can
see lot of differences between them, the two original
aranmula kannadi won’t looks alike.
 The size, weight and designs are different from each
other.
 Each Aranmula Kanandi is unique, and there won’t be any
similar one in the entire world.

26
 GEOGRAPHICAL INDICATION
(GI) TAG
 The name Aranmula Kannadi has been accepted for
registration as a geographical indication under the Indian
Geographical Indication of Goods Registration and
Protection Act 1999 and published in the Geographical
Indication Journal No. 3 dated 1 November 2004.
 According to the description Forming part of the
published extract, the origin of the Aranmula mirror is as
follows, this peculiar mirror is made out of copper and tin
in a precise ration of casting.

27
PROMOTIONAL AGENCIES

 Kerala handicraft Development Corporation

 Apex Society a semi government organization
 I.R.D.P held an exhibition in Ernakulum in 1983
exhibiting a variety of crafts in which Aranmula Kannadi
became the main attraction for the visitors.
 Handicraft Handloom Development Authority of India
 An article in Pennsylvania University, U.S.A gave it a lot
of international publicity.

28
 In 14th October 2017. There was a video about Aranmula
Kannadi in ‘Uden Panam' Program.
 Asianet had a documentary about the metal mirrors.
 Aranmula has been selected among thirty two villages for
the two year Endogenous Tourism Project (ETP), jointly
sponsored by the United Nations Development Program
(UNDP) and the Government of India.

29
WORLD RECOGNITIONS

A few years back the Olympics Committee selected

Aranmula mirror in the list of gifts to be presented to
those participated in Olympics. But that could not be
materialized because the artisans did not want to suffer
quality due to shortage of time. The Government is trying
to promote Aranmula mirror in the international market.

30
FUTURE CRAFTSMEN AND CRAFT
REVIVAL
 The problem lies in the continuation of the craft, as most
of the younger generation are educated and move to the
bigger cities.
 For popularizing the crafts among all sections of the
society, proper promotions should take place.
 The government should take initiatives in promoting the
craft in school and colleges so that the future generation
is aware of the rich heritage.

31
BHADOHI CARPET
INTRODUCTION TO BHADOHI
•Bhadohi, famous as a carpet-weaving centre, gets its name
from Bhar Raj of the region, which had Bhadohi as its
capital.

33
 The biggest carpet-manufacturing centre in India, mostly
known for its hand-knotted carpet. Known as the ‘Carpet
City’.
 Bhadohi alone employs 22 lakh rural artisans in its 100
percent export-oriented industry, which accounts for
about 75 per cent of the Rs 4,400 crore total carpet
exports from India, exporting carpets worth Rs 2,500
crore (approx) in 2010.

34
TOOLS AND RAW MATERIALS

Machinery and Hand Tools: Type of machinery &

equipment used in the production process are hand looms,
broad looms, dyeing machine, Finishing Machine, Washing
Equipments like scrapping machine.

35
Various types of hand tools like :
 Knife for cutting the yarn
 A comb like tool for packing down the knots of weft
while weaving
 A pair of shears for trimming the yarn
 Tufting machine which resembles a large scissor are
required for the process of carpet making.

36
PROCESS

37
 Washing to dyeing Drawing Warping to trimming

Chemical finishing or washing Latexing and finishing Quality and making

38
LABOUR LIFE IN CARPET
INDUSTRY, BHADOHI

EXPORTER

CONTRACTOR

WEAVE LABOURER

39
TYPES OF LABOUR
Types of labour Earnings/day

Skilled Normally work for ₹200-350

company &contractors

Semi-skilled Work at their home/near ₹100-150

by premises

Unskilled Work for untying the Paid very less amount

wools and transportation
workers

40
MIGRATION

•Low wages in hand-made carpet industry

•Unable to generate sufficient job with growing
population
•Wage exploitation by the contractors
•No job security available

41
SUGGESTIONS
Concept of Cooperative:
A cooperative is “an autonomous association of persons
united voluntarily to meet their common economic, social,
and cultural needs and aspirations through a jointly-owned
and democratically controlled enterprise”.
•The organization could mobilize weavers to form their own
company completed managed by the stakeholders i.e. the
weavers.
•For funding the organization could help the cooperative
secure loan from bank of micro financing agency in a joint
liability mode.

42
ADVANTAGES:
•In this mode of working the weaver and labourer will get
proper wage and also the profit of their work will be
shared among themselves.
•They can further expand their business and employ more
people depending upon the requirement and finance
available to pay the employee.
DISADVANTAGES:
•This model may fail if the intervening organization
withdraws them prematurely. The weavers are normally not
so much to run a company.
•Their next generation may not be interested to work in
this sector. To convince the people to form a cooperative is
hard.

43
KANCHIPURAM SILK

44
KANCHIPURAM SILK
 Traditionally woven silk from the village called
Kanchipuram in Tamil Nadu, India.
 Mark of culture for every south Indian wedding,
ceremony or occasion.
 Shine and durability of the fabric have made these
saris popular attire among women across the
globe.
 Based on the Pallava temples, palaces and
paintings.
 Simple saris can be prepared in about 10 to 12
days and decorative ones require up to 20 days.
TRADITIONAL DESIGN
PROCESS
THE NEW COMPUTERIZED
DESIGN PROCESS
 SCENARIO PRIOR TO THE
COMPUTERIZATION PROCESS

Features Before After Computerization

Computerization
Number of designs 500 3872
Time required (to 1 Month 15-20 Days
complete a sari)

Time required (to complete 5 Hours 1 Hour

a design)
Exports Rs 7 million Rs 2.6 crore
Effort required (to produce 100% 40%
a good design)
Market acceptability 35% 70%

48
ICT PLATFORM CREATION
 Digitization of processes helps in reducing interface
problems and endows interactivity.
 Helped in improving the business processes, improving
the design productivity, enhancing the market access, and
making the design interactive.
BENEFITS OF ICT
IMPLEMENTATION
 Increased variety
 New designs
 Increased Market acceptability
 Reduced cycle time
 Benefits
 Customized saris
 Better quality
 Increased information levels
 Interactivity in design
TOOLS AND MATERIALS
 Mulberry silk
 Zari
 Dye color
 Rice starch
 Punch cards etc
MANUFACTURING
PROCESS
DYEING
 Water is boiled in a huge copper container.
 Dye materials–washing soda, soap oil, dye colour are added
to the boiling water.
 The off-white silk yarn is dipped into the coloured boiling
solution.
 The yarn is taken out from the container and it is allowed
to dry for 2 to 3 days.
Dyeing process

54
TRADITIONAL SPINNING PROCESS
 The yarn bundle is first spun onto a traditional bamboo
spool locally called as Parivattam.
 Silk strand is reeled to spindle and the spinning wheel is
operated.
 The yarn from bamboo spool is transferred
into spindles.

55
Spinning process

56
WEAVING PROCESS
WARP LOADING-
 The yarn after warping is prepared into warp sheets by
rolling the length of yarn to an iron rod.
 In this process the strands of yarn passes through the
reeds and healds.
 It takes nearly 2-3 days to complete the joining process.

57
Warp loading

58
PUNCH CARD MAKING AND LOADING –
 The image of the motif is first scanned and then it is
traced and filled with bitmaps.
 After that the image is transferred to the punch cards.
 The punch cards are attached in the form of a chain and
loaded into the jacquard machine to start weaving.

59
Punch card making & loading

60
 WEAVING IN HANDLOOMS-
 The weaver interlaces the silk threads of weft and warp.
 The shuttle passes through the opens formed when the
pedal is operated to interlock the threads of warp and
the weft.
 Once the shuttle is passed, the suspended rope from
jacquard is pulled to form the weave. The portion of
woven cloth is wounded to the wooden beam which is in
front of the weaver.
 After weaving of 6 meters of weft, the portion of
unwoven warp is intentionally left before and after the
sari weaving which is later knotted for fringe.

61
Weaving in Handloom

62
PRODUCTS AND MOTIFS

 The most popular motifs used in Kanchi saris are

inspired by temples of Kanchipuram and around
environment.
 Other motif patterns include flowers, natural leaves,
fruits etc. Traditional products include saris and skirts for
teenage girls.

63
Various Motifs design

64
CURRENT STATE OF THE ART
 Kanchipuram saris have been recognized as a
Geographical Indication by the government since 2006.
 Now there are about 5,000 families involved in the
production and there are 15 silk and cotton yard
industries and 60 dyeing units in the region to aid the
production process.
 The government has also introduced a policy to promote
e-marketing of local handlooms. Thirteen e-commerce
entities have partnered with the office of the
Development Commissioner (Handlooms) to market
handloom products from the weavers themselves.

65
PRICE RANGE
 An original sari with pure silk and pure zari can cost
between Rs.7,000 to Rs.2,00,000.

66
MARKETING
 Previously Kanchipuram sarees were marketed only
through co-operative societies.
 New trends in marketing these silk saris i.e, online
marketing, social media marketing etc.
 Worth of today’s Kanchipuram industry is 20 million
dollars.

67
CURRENT TRENDS
 Implementation of Computer Aided Design (CAD) /
Computer Aided Motif (CAM) has given rise to
exploration of new modern designs in borders and pallu.
 Due to the demand of light weight Kanchi saris, weavers
blend cotton and kora while weaving these sarees
 In the modern world consumers prefer less costly,
weightless, light colours and simple designs.

68
DIGITALLY EMPOWERING THE
WEAVERS OF KANCHIPURAM

 Nokia and DEF announced the launch of Kanchi Loom,

a cluster development programme to digitally empower
the weaver community and connect them to technology
and the marketplace in three villages within
Kanchipuram, Tamil Nadu.
 The project primarily involves the use of Information
Communication Technology (ICT) and other digital tools.

69
 The project aims to touch the lives of over 5,000
community members, including 500 handloom weavers
who are known for traditional hand-woven
Kanchipuram silk saris but are exploited due to poor
wages and poor market access.
 The ‘KanchiLoom’ initiative was launched at an event in
Chennai on November 27, 2017 by DEF, Nokia and the
Government of Tamil Nadu.

70
 The project aims to develop the traditional skill-based
weaver community in these three villages —
Kalakatoor, KSP Nagar and Kuruvimalai into an
integrated digitally enabled cluster for socio-economic
prosperity.
 It will enable weavers to embrace new technologies,
designs, and scale-up traditional weaving methods by
employing ICT tools and digital connectivity for
marketing and sales. The Cluster Resource Centre
(CRC) an integrated digital resource centre will allow
weavers to access advanced design software.

71
CHIKANKARI EMBROIDERY
 Embroidery work done
with the white cotton
thread on fine white cotton
material.
 5000 families involved in
chikankari embroidery
around villages of Lucknow.

73
 FACTORS RESPONSIBLE FOR
INCREASE IN DEMAND
 Large domestic market as well as increase in export
opportunity
 High competitions among manufacturers
 Variety in availability of raw material
 Availability of designer work catalogue
 Garments are available in all price ranges
 Government support for promotion of craft

74
TOOLS AND RAW MATERIALS

Different colours of silk threads Cloth frame, scissors and needle

75
Wooden block Cotton cloth

76
MAKING PROCESS
BLOCK PRINTING

The design to be stitched is block Separate blocks are used to create

printed type of motif work
78
EMBROIDERY WORK

Printed fabric being fitted into the Ulti-bakhiya stitch

frame

79
Sequins being stitched on the Thread-cutting
embroidered fabric

80
WASHING
 Fabric after embroidery work is first soaked in water and
then washed to remove the block printed blue colour.
 Then it is starched and ironed to obtain stiffness.

81
PRODUCTS

Georgette sari Kurti

82
Table mat Table cloth with Crochet work

83
STITCHES

Bakhiya stitch Ghass patti stitch

84
Bijli stitch Pechani stitch

85
PRODUCT RANGE

 It starts from Rs. 500 and goes upto Rs. 70,000.

86
ISSUES FACED BY THE
ARTISANS
 Highly under-paid
 No concept of incentives
 Low Standard of living
 Illiteracy
 Unaware of any association where they can register their
complaints
 No vocational training or skill enhancement training
 No social security

87
INITIATIVE TAKEN FOR
SUSTAINABLE DEVELOPMENT
OF CHIKANKARI CLUSTUR
 Non-government organizations
 U P trade promotions authorities Kanpur
 Export promotion bureau Lucknow
 Financial institutions

88
DESIGNERS INTERVENTIONS
 Designers like Abu and Sandeep, Manish Malhotra , Ritu
kumar, Tarun Tahiliani , Sabyasachi added a new charm to
this elegant embroidery.
 Introduced designs or motifs having a fashionable touch of
value addition like sequins, mirror work, zardozi etc.

89
THANK YOU