Yeola workshop report final submission

IDTDP
EMBROIDERY CRAFT– YEOLA, NASHIK
Report By: Avani Chhajlani
[IDTDP EMBROIDERY CRAFT - YEOLA]
1st MAY 2019 – 31st JULY 2019

2 | P a g e I D T D P E M B R O I D E R Y C R A F T - Y E O L A
Contents
Preface ....................................................................................................................................................4
Introduction.............................................................................................................................................7
Role of Handicrafts in Indian Economy .................................................................................................8
Indian Handicrafts and World Market ..............................................................................................10
Issues Faced in Handicraft Sector.....................................................................................................12
About DC (Handicrafts)........................................................................................................................13
About COHANDS ................................................................................................................................14
Vision................................................................................................................................................14
Mission..............................................................................................................................................15
Objectives .........................................................................................................................................15
Main Objectives............................................................................................................................15
Ancillary Objectives .....................................................................................................................16
Aims and Objectives of the Workshop .................................................................................................18
About the Geographical Location.........................................................................................................20
Maharashtra.......................................................................................................................................20
Yeola.................................................................................................................................................21
Crafts of Yeola......................................................................................................................................23
Paithani .............................................................................................................................................23
Shalu .................................................................................................................................................23
Zardosi ..............................................................................................................................................24
Hand Embroidery..............................................................................................................................25
About Hand Embroidery.......................................................................................................................26
Embroidery terms..............................................................................................................................27
Designs and Tracing Methods ..........................................................................................................34
Types of Designs...........................................................................................................................34
Natural Design ..............................................................................................................................35
Floral Design.................................................................................................................................36
Geometric Designs........................................................................................................................36
Abstract Designs...........................................................................................................................37
Mythological Designs ...................................................................................................................38
Architectural Designs....................................................................................................................38
Tribal Designs...............................................................................................................................39
Stylised Designs............................................................................................................................39

Materials ...........................................................................................................................................40
Tracing materials and methods .....................................................................................................40
Workshop Details..................................................................................................................................42
Inauguration Insights ........................................................................................................................42
Workshop..........................................................................................................................................42
Hand embroidery stitches..............................................................................................................43
Raw Materials and Tools ..................................................................................................................46
Tools and Materials.......................................................................................................................46
Threads..........................................................................................................................................52
Initial Product Line Proposal ............................................................................................................56
Final Product Line – Sketches and CAD ..........................................................................................57
Price List with Product Details .........................................................................................................89
Activity Calendar..................................................................................................................................90
Project Brief......................................................................................................................................90
Case study.....................................................................................................................................91
Market Research ...............................................................................................................................91
Market Information.......................................................................................................................91
Market Research ...........................................................................................................................92
Product Survey and Market Visit..................................................................................................93
Products available in the market ...................................................................................................93
Market Survey...............................................................................................................................95
SWOT Analysis ............................................................................................................................96
Design and Product Methodology.....................................................................................................97
Workshop......................................................................................................................................98
Product Design and Selection .......................................................................................................98
Test Marketing and Suggested Product Refinements .......................................................................99
Bag................................................................................................................................................99
Curtains.........................................................................................................................................99
Designer View ......................................................................................................................................99
Designer Profile ..................................................................................................................................101
Master Profile......................................................................................................................................102
Artisan List..........................................................................................................................................103
Photo Gallery ......................................................................................................................................113

Preface
India is one of the important suppliers of handicrafts to the world market. The
Indian handicrafts industry is highly labor intensive cottage based industry and
decentralized, being spread all over the country in rural and urban areas.
Numerous artisans are engaged in crafts work on part-time basis. The industry
provides employment to over six million artisans (including those in carpet
trade), which include a large number of women and people belonging to the
weaker sections of the society.With an idea of getting a complete insight into
one such sphere, I have been fortunate to interact with the bamboo crafts in
detail. This made us sensitive towards the efforts that must have been put into
sustaining the exquisite craft. This document, therefore is our endeavor to make
all aware of the existing state of this craft, and to whatever extent it succeeds in
doing so, We would consider it a pleasant accomplishment. Development of
new designs is a necessary factor for the survival of trend-based industries
In today‘s global markets. Designs in many cases, acts as the distinguishing
factor to position products at the right place in the international market As we
continue tocreate new products and new needs for the people, we also need to
further explore the blending of technology, art and craft. The Indian Handicrafts
sector is not only playing significant role in the country‘s economy but also
providing employment to vast segment of people in rural and semi urban areas.
Besides preserving cultural heritage it is also generating valuable foreign
exchange as the manufacturing is mainly with the indigenous raw material. The
Handicrafts of India through the ages fascinated the world by its creativity,
aesthetics and exquisite craftsmanship. It is highly
decentralized activity, handicrafts of India present rich cultural heritage and
shining example of using local resources, skills and initiatives. India‘s
handicrafts are almost inexhaustible with infinite variety which has been refined
during course of changing history. The cross currents inspire the creative
impulse of our craftsmen. Further crafts are results of years of unconscious
experiment and evolution; skills inherited and passed over generations from
forefathers to sons and grandsons. The Indian Handicrafts sector was given
considerable importance in the developmental plans since early 1950.The
motivating force was the resurgence of interest in the country‘s cultural heritage
and its traditions after independence. Further, more policy makers felt it was
necessary

to support the handicraft sector as a means of strengthening the economy that
too in the semi urban and the rural areas. India like other developing countries
was fortunate to have a strong private sector which was able to convert early
Govt. initiatives into actual business opportunities.
The primary reason for making crafts has been to meet the requirement of
individuals and the communities, apart from a means of livelihood. Unlike
contemporary crafts, traditional crafts have until recently remained fairly
unchanged. Today, they are evolving in relation to market demand. This
demand isfuelled by a desire for unusual, natural, handcrafted ethnic objects,
and by sharply high ended consumer awareness of cultures elsewhere.
Today, the rural and urban crafts continue to make a hefty contribution to the
economy of the country as they did in thepast. Like in many cases this has been
in hidden contribution since these did not necessarily get
reflected in the visiblepart of our economy. For Centuries the rural Artisans
have been providing for the needs of local farmers and other ruralinhabitants in
the form of locally made products and services With the advent of machine
produced goods, many of ourtraditional artisans have had to face intense
competition from growing industrial sector. However, the inventiveness of the
Indian craftsman and the various efforts at development that has been invested
over the years in human resource development and in product innovation and
promotion, has strengthened their ability to face this competition with a great
degree of success. Empowering the women artisans by addressing issues related
to ―gender concerns‖ The implementation of above approach is expected to
pave the way for steady growth in exports, enhanced income of the artisans &
better delivery of services to the sector, apart from addressing the concerns of
welfare of the artisans.With an objective to achieve the above milestones and
targets the O/o Development Commissioner ( Handicrafts) envisaged a detailed
strategy and invited Expression of Interest from the reputed and proactive
organizations for their involvement in the implementation of the gigantic but
most ambitiousintegrated project ever announced by the Development
Commissioner(Handicrafts).
The handicrafts tradition that have been continuously undisturbed over the
centuries have to face the realities ofrapid change brought about by the
inexorable forces of communication and globalization. Today they face many

difficulties from the traditional role of providing all the artifacts of village life,
many crafts have over the years transformed themselves to
becoming high citadels of skill through the active patronage of the state , local
culture and religion etc.In order to maintain the momentum of growth achieved
so far and to further build on inherent strengths of the sector,it has become
imperative to continue with the ongoing key components and recent initiatives.
Keeping in view the scarce resources of the government the need of the hour is
to augment the government resource by seeking partnership with the private
enterprises so that the synergies achieved through sharing of knowledge,
experience & the enterprising skills of the private partner leads to accelerated
growth of this sector. Keeping in view of the above parameters the basic
approach and strategy for the next decade has been envisaged as follows:
• Integrated and inclusive development of the Handicraft sector with focused
approach.
• Greater and pivotal role of private partners and their financial resources to
supplement the government resources and efforts.
• Focused Products and Focused Markets should be the approach.
• Theme based approach for the overall inclusive development by dovetailing
various schemes.
• Customized Capacity Development, Design and Product development,
Targeted Marketing and Infrastructure Development of the facilities at the
clusters shall be developed and implemented in a Theme based approach.
• The Adoption of appropriate technology and creation of the needed
infrastructure to ensure greater competitiveness in terms of quality and prices of
Indian handicrafts.
• Launching of an aggressive brand building initiative and pursuing focused
export promotion strategies to increase share of India‘s exports in the global
markets.Optimum utilization of potentialities of domestic market by
formulating marketing events in a coordinated manner, hosting Sourcing
Shows, promoting handicrafts tourism etc.
• Optimum utilization of the potential of IT and IT enabled Services for
sustainable growth of the Sector.Pursuing suitable capacity building

programmes for entrepreneurship, innovation, training and skill development, to
upgrade the quality of the labour force and make it capable of supporting a
growth process, which generate high quality jobs.
• Ensure increased and easy availability of credit for the sector.
• Creating income generation opportunities for sustainable employment and
socio-economic growth of the artisans in particular and the nation in general.
• Redesign, revamp the ongoing schemes and program & introducing new
schemes/ components to ensure better returns for all stake holders, particularly
those belonging to disadvantaged categories and North East & Tribal and other
backward regions of the country.
• Review and restructure, right size all field formations under the Office of the
Development Commissioner (Handicrafts), Ministry of Textile, State Govts. to
enable them to effectively play the role of facilitator of change and growth in
the context of globalized market economy.
Introduction
The hand embroidery training and workshop was held at Aadgaon, Yeola,
Maharashtra. 40 women who had no background in hand work were trained,
made to practice and create a product line of 30+ products. They were taught
20-30 commonly used techniques and stitches in Indian hand embroidery. The
trainers also gave them feedback and encouraged them to experiment with
complicated stitches, designs and products.
At the end of the period of the workshop the women had successfully created a
range of products – ranging from personal use items to home décor pieces. A
number of women involved looked forward to practicing the craft in order to
financially gain from their knowledge and obtain orders for articles that they
were now confident in being able to create.
Hand embroidery is a delicate, time and labour intensive craft to undertake, but
the women were greatly enthused and would brave extremely hot and humid

temperatures, take care of their children all the while learning and
experimenting with this new art form they were beginning to learn and grasp.
Role of Handicrafts in Indian Economy
The Handicrafts Sector plays a significant & important role in the country‘s
economy. It provides employment to a vast segment of craftsperson in rural &
semi urban areas and generates substantial foreign exchange for the country,
while preserving its cultural heritage. Handicrafts have great potential, as they
hold the key for sustaining not only the existing set of millions of artisans
spread over length and breadth of the country, but also for the increasingly large
number of new entrants in the crafts activity. Presently, handicrafts contribute
substantially to employment generation and exports. The Handicraft sector has,
however, suffered due to its being unorganized, with the additional constraints
of lack of education, low capital, and poor exposure to new technologies,
absence of market intelligence, and a poor institutional framework. In spite of
these constraints, sector has witnessed a significant growth of 3 % annually.
Some of the promising areas in the crafts sector have been:
 Exports continued to grow for high value-added crafts products.
 Consumer tastes changed rapidly on account of economic liberalization.
 Focus on quality and product diversification with increasing consumer
awareness.
 Increasing challenge offered by availability of mass-produced competing
product lines using different raw materials (often man-made) and
mechanized production techniques.
 Government policy envisaged a greater role for NGOs, and participation
of private resources both human & financial.
Even though there are many allied sector of agriculture with excellent growth
but after agriculture if there is any other sector which has shown continuous

optimistic growth since independence in generating revenue for the nation and
employment for the rural people, that is the handicraft sector. Handicrafts sector
is a sector which is engaged in production of products which are produced
either completely by hand or with the help of tools. The Indian handicrafts
industry is highly labour intensive, cottage based and decentralized. The
industry is spread all over the country from east to west and from north to south
most of the manufacturing units are located in rural and in small towns. The
handicraft sector technically and statistically forms the second largest source of
employment in India. It was having 23 million people engaged around this
industry in the year 2002. Further, the employment increased from 65.72 lakh in
2005-06 to 76.17 lakh in 2010-11 and is growing continuously with employing
mixed population in the sector. Handicraft sector got boost since the new
Economic Philosophy of Inclusive Growth has been initiated as a route to
success towards sustainability by the government of India. The concept of
inclusive growth says for the firmness of Indian economy all sectors of
economy including handicraft must be given equal magnitude and for the
inclusive growth both rural and urban sector must be given proper attention.
While in India rural economy is the backbone as well as the vital of growth of
the economy at all so it must be given most priority. For the purpose of
achieving inclusive growth, India needs to better focus on the agriculture and
agribusiness industries at first as they are main source of employment for the
poor who live in abject poverty. Handicraft sector is one of the indirectly
agricultural linked sectors of rural economy which provides income for the
livelihood with the aim to eliminate poverty and make India self-sufficient in
handicraft needs.
Since 1991 the concept of globalization of India has given rise to new
opportunities for handicraft sector. The global economy can no longer be
viewed from an observer‘s view, countries with rich and flourishing handicraft

sector can itself play a constructive role in leading global market. An example is
an Indian economy which had broken free of the low-growth trap from the early
1980s and is now moving toward the biggest growers of the world economy.
Handicrafts are massively important in terms of balancing balance of payment
and the economic development of the nation. India is one of the important
suppliers of handicrafts to the world market and Indian handicraft products are
demanded all over the world with the help of globalization. The Handicrafts
Sector plays a significant role in the country‘s economy, not only in present
time but this sector has helped people of the country as a source of income
when there were no other means of employment. This sector is continuously
contributing to the wellbeing of the people, and the national economy from the
ancient to Mughal‘s, and from Mughal‘s to British, and from British to
independent India. However there was slow growth of in this sector in the
beginning years of the independence. But from 1990‘s India following the
economic reforms policy, she began to appear as a player of some significance
in the global economy. Handicraft is an important sector not only because of
economy, and employment to locals but it is a foremost source of foreign
exchange earnings for the nation and BOP. Exports of handicrafts have
increased dramatically since 1999 it has taken India to new heights, and further,
this sector is readily fighting to reduce the balance of deficit.
Indian Handicrafts and World Market
Indian handicrafts are famous and competitive in the world market in two ways.
Firstly, Indian handicrafts are rich in nature, and can be supplied in various
transformations, and mixtures, i.e., in smaller sizes, and variety, which is the
greatest strength compared to the neighbouring countries. Secondly, the
inherent craftsmanship is another major advantage to Indian handicrafts.
Besides that there are no restrictions regarding the location for establishing
manufacturing units, and all producers of handicrafts are exempted from

obtaining Industrial License to manufacture. The main importance of this sector
is, it is now being fortified for the manufacture of more designed products to
face stiff competition, instead of supplying the same type of product range.
Although exports of handicrafts appear to be sizeable, India‘s share in world
imports is still minuscule. It is a sector that is still not completely explored from
the point of view of hidden potential areas. Unlike other developed handicrafts
industries in Japan, Europe, Vietnam, China, and the US, the Indian handicrafts
market is still in its growing state with a very large number of craftsmen, and
relatively high interest of customers in high-value products. The important thing
about handicraft is its small setup, and low investment which encourages
individual entrepreneurs, and small vendors to the international market.
Handicraft generally forms a small part of total export but overall it contributes
its best to the foreign inflow to the country. Earlier people in India use to live in
tribes, and they crafted items for their daily needs. With the passage of time
people became more civilized and developed in all aspects, those who were
making handicraft products started trading to their products not only to the local
market but also across the country boundaries (camel craft, n.d). Today,
handicrafts and handcrafted gift items manufactured, and exported from India
are much sought after, and have established an unsurpassable reputation in the
international market. Furthermore the important essence of handicraft is it can
easily be identified by consumer by many features such as the hand made
products can have difference in weight, size, shape, and feel, however, the
machine made craft cannot have that feeling of satisfaction which you can feel
by touching it, and does not exist for a longer time. The Indian handicrafts are
exported to more than hundred countries of the world; Indian handicrafts are
exported across geographies with the top 10 markets being the US, the UK, the
UAE, Germany, France, LAC, Italy, the Netherlands, Canada and Australia.
The main countries where Indian handicrafts have been spread since years have
shown great interest, and likeness towards India work, and craftsmanship.

However, the product exported to the foreign countries gets bit expensive for
the foreign market then the other competitive handicraft items from other
countries like China it is because China has mixed craft with the latest
technology, and India still does not have introduced such an innovative
technology in handicraft sector.
Issues Faced in Handicraft Sector
Presently, handicrafts contribute substantially to employment generation, and
exports. The handicraft sector has, however, suffered due to its being
unorganized, with the additional constraints of lack of education, low capital,
and poor exposure to new technologies, the absence of market intelligence, and
a poor institutional framework. It is because of such bottlenecks this sector is
suffering, and is lagging behind; we have highlighted some of the problems
which this sector is facing.
 The manufacturing process takes a lot of time, as it is handmade and
requires more time to do a good work. Which leads to mismatch between
actual product demanded, and actual product supplied, the gap is filled by
the machine made products which are very fast in production in nature.
 Use of primitive techniques, high manufacturing cost, and poor quality of
products have been one of the great constraints for the growth of this
sector. The people related to this kind of craftsmanship are so poor that
they cannot afford the basic investments and other overhead charges
related to Handicrafts.
 Poor standard of raw materials, lack of standardized vendor, and
suppliers, inadequate technical know-how for product design , and
development, and carrying forward of old design from ancient times does
not match the market requirements of the present world.
 Improper pricing of finished products, the absence of proper incentives,
and schemes by the Government of India, unorganized investment

patterns, and lack of regular investors are also hindrances for the proper
and smooth growth of this sector.
Lack of proper marketing channels and poor access to urban markets has been a
problem which needed to be addressed by the government, and the responsible
persons for the wellbeing of this sector which have not seen yet.
About DC (Handicrafts)
The Handicrafts Sector plays a significant & important role in the country‘s
economy. It provides employment to a vast segment of crafts person in rural &
semi urban areas and generates substantial foreign exchange for the country,
while preserving its cultural heritage. Handicrafts have great potential, as they
hold the key for sustaining not only the existing set of millions of artisans
spread over length and breadth of the country, but also for the increasingly large
number of new entrants in the crafts activity. Presently, handicrafts contribute
substantially to employment generation and exports.
The office of Development Commissioner (Handicrafts) assists in the
development, marketing and export of handicrafts, and the promotion of craft
forms

About COHANDS
Council of Handicrafts Development Corporations (COHANDS) was
established in the year 1983-84 under the aegis of Govt .of India, Ministry of
Textiles, Office of Development Commissioner (Handicrafts). COHANDS is an
apex body of 29 State /Central Govt. Handicrafts Development Corporations
with its well-knit members throughout the country.
COHANDS assists grass-root level organizations, NGOs, Self Help Groups and
small entrepreneurs engaged in handicrafts for promotion of handicrafts.
Vision
 Enhance and adapt skill through design interventions.
 Enhance productivity and income through technical upgradation.
 Assist sustainable development and responsible working conditions
 Assist in marketing through domestic and international channels.
 Provide assistance and guidance for achieving better social environment.
 Provide help and assistance in developing sound environmental regime
/management.
 Preserves and protects the intellectual rights of marginalized regions
/communities.

 Provides a forum for organizations and businesses, both at national and
international levels to interact, leading to a better environment for
development of crafts.
COHANDS, a facilitator, provides necessary impetus, thrust and direction to
trade but does not engage itself in trade directly . But makes concerted efforts
tomaintain high quality and cultural heritage. A catalytic agent for promotion of
handicrafts in the domestic and global markets. It preserves and protects the
intellectual rights of marginalized region/communities.
Mission
 Ensure the sustainable growth and development process through
collective decision making and facilitation to bring about of
transformation in the Handicrafts Sector.
 To uplift socially and economically, the grass root - level artisans of
Handicrafts sector.
 To tail-off the middle man- ship by direct participation of the people
involved in the Handicrafts Sector.
 Assist marginalized craftsmen (especially women craftsperson‘s) of rural
areas to become self-supporting and economically sound.
Objectives
Main Objectives
 To provide and arrange facilities for diffusion of knowledge, exchange of
ideas views and information on subjects of common interest to
Handicrafts
 To promote, protect and develop common interests of the various
Handicrafts Development Corporation ,member organisations and
handicrafts sector in general
 To maintain a technical library and /or reading room
 To co- operate with various institutions and organisations in India and
abroad in the collection and exchange of information pertaining to
Handicrafts
 To undertake professional technical management, marketing and such
other consultancy services for the benefit of Handicrafts
 To undertake studies , surveys, research projects and collection of
mechanical inventions of designs concerning Handicrafts

 To develop better co-ordination collaboration, joint participation,
relations and understanding amongst various constituents of Handicrafts
Sector
 To organise common service facilities, courses, seminars, meetings,
tours
 To co- operate with other similar bodies, institutions and associations in
India with the intention of furthering the objectives of the Council and
with his end in view to affiliate groups and bodies and also to get itself
affiliated
 to any other national or international body, organisation or association, if
 considered necessary.
 To organise, conduct and/ or participate in national and international
exhibitions and regional exhibitions
 To seek representation for the Council on the various Committees,
bodies, delegations, teams etc. set up by the Central or any State
Government in connection with the development of Handicrafts
 To establish contacts and relations with trade relations with trade
representatives or trade organisations, associations and chambers of
foreign countries, in India or out of India so as to develop and establish
direct contacts and/ or to sponsor study teams to various countries
 To establish Import -Export Consortia , organise sub- contracting
exchanges, common or joint marketing agencies without any commission
or profit , sponsor or run personal training institute for the efficient
conduct of the affairs of the Handicrafts Development Corporations,
member organisations and other organisations in handicrafts sector
 To generally do all other things incidental to the attainment of the above
objectives.
Ancillary Objectives
With a view to promoting the foregoing objects the Council shall have
following ancillary and incidental objectives:
 To acquire by way of lease ,sub-lease ,gift ,purchase, exchange , hire or in
any other manner , any movable or immovable properties and any rights
or privileges necessary or convenient for the purpose of the Society and
to construct , erect, alter, improve and maintain any building and to
manage , develop , sell, let dispose of , mortgage, or otherwise deal with
all or any part of the assets and rights of the Society with a view to

achieve its objects provided that prior approval of the Central
Government shall be obtained for the acquisition and sale of immovable
property anywhere in India or abroad.
 To accept grants of money, equipment, land, buildings, donations, gifts,
subscriptions and other assistance from the State/Central Government,
International Multi-lateral Funding Agencies or from any other source
and to conform to the conditions on which such grants, other payments
and assistance may be received, provided that no benefaction shall be
accepted by the Society, which in its opinion involves conditions or
obligations contrary to its objects.
 To establish, equip and maintain data bank, libraries, museum for housing
collection of handloom products, film slides, photographs, prototypes,
workshops, institutes, organisations and such other facilities as are
necessary for carrying out the subjects of the Council.
 To establish, maintain, control and manage Branches or Zone or Regional
Chapter of the Council.
 To levy fees or other charges for any services/facilities provided by the
Society to the Subscribers of various schemes or general public at such
nominal or other rates as specified by the Executive Committee.
 To Prepare, print, publish issue, acquire and circularise books, papers,
periodicals, bulletins, exhibits, films, slides, video tapes, gazetteers,
circulars and engage in such other literary undertakings dealing with or
having a bearing on the objects of the Society.
 To create partnership, affiliation and other classes of Professional or
honorary or technical membership of the Council and carrying such
rights and obligations as may be decided by the Executive Committee.
 To retain / employ skilled craftsmen and artisans, designers, professionals
or technical advisors, consultant's workers in connection with the
achievement of the object of the Council and to pay therefore such fee,
honorarium or other remuneration as may be thought expedient.
 To delegate any of its powers to the Executive Committee and to
authorize the Executive Committee to sub-delegate its power to any of
the sub-committee (s) constituted by the Executive committee.
 To assist, guide or collaborate with other organisations or institutions in
India or in any part of the world having objects wholly or partly similar to
those of the Council, in such manner as a may be conducive to the
attainment of the objects of the Council; However, in respect of

agreements involving foreign collaboration, prior approval of the Central
Government shall be obtained.
 To establish, promote, Co-operate with, become a member of, act as, or
appoint trustees, agents or delegates to control manage, superintend or
otherwise assist any associations and institutions and other bodies
engaged in any of the fields for which the Council is established.
 To procure recognition for the Council Vis - a - Vis its objects in India
and abroad.
 To negotiate contracts on behalf of the Society and vary and rescind such
contracts.
 To borrow, raise or secure the payment of any money on such terms and
conditions and on such security as may be deemed fit and proper
provided they are not inconsistent with objects of the Society.
 To depute and join in electing or nominating delegates, advisors etc. to
represent the Council on regional, national and international conferences
and seminars and similar events.
 Institutes and award fellowships, scholarships, prizes and medals towards
recognition of talent and excellence.
 To enter into any arrangement with any Government, Governmental
Authority, Municipal or local authority or otherwise that may be
conducive to attainment of the objects of the Society and to obtain from
any such authority rights, privileges and concessions which the society
may think desirable to obtain and to carry out, exercise and comply with
such arrangement, rights, privileges and concessions.
 To obtain such prerogatives, rights privileges, licenses including patent
rights in relation to any new and useful invention respecting any art ,
process , method or manner of manufacture , machine, apparatus or other
article or substance or any new or useful improvisation of any of them as
result of the society's direct or indirect R & D activities and efforts, as
may be decided by the society
 To do all such other lawful activities as may be necessary, incidental or
conducive to the attainment of the above objects.
Aims and Objectives of the Workshop
The Design Workshop was conducted keeping in mind the existing skills of the
Craftsperson.

By organizing the workshop, they planned to educate the craftsperson in the
craft of hand embroidery to qualify them to meet the ever changing demands of
the hand crafted products in the Domestic and Export Markets.
Further, to educate and expose them to the crafts and techniques that could
expand market avenues for their work, thus making them better socially and
economically.
Better markets could be created to, to fetch better premiums and consistent
production order flow based on the market survey and information shared with
them.
Primary Objective
 To impart technical knowhow and techniques to the attendees
 To develop such products this enhances the chance of sale
 To explore newer markets by creating products the artisans do not have
exposure to
Secondary Objective
 To bring the artisans up to speed with the current market scenario
 To explore the talent for a particular technique/skill/product that each
craftsperson may hold
 To present a dignified and less strenuous way of earning a livelihood
while positively contributing to the handicrafts industry

About the Geographical Location
Maharashtra
Maharashtra is a state in the western peninsular region of India occupying a
substantial portion of the Deccan Plateau. It is the second-most populous state
and third-largest state by area. Spread over 307,713 km2 (118,809 sq mi), it is
bordered by the Arabian Sea to the west, the Indian states of Karnataka and Goa
to the south, Telangana to the southeast and Chhattisgarh to the east, Gujarat
and Madhya Pradesh to the north, and the Indian union territory of Dadra and
Nagar Haveli and Daman and Diu to the north west. It is also the world's
second-most populous sub national entity.
Maharashtra was formed on 1 May 1960 by splitting the bilingual Bombay
State, which had existed since 1956, into majority Marathi speaking
Maharashtra, and Gujarati speaking Gujarat respectively. It has over 112 million
inhabitants and its capital, Mumbai, has a population around 18.4 million
making it the most populous urban area in India. Nagpur hosts the winter
session of the state legislature. Pune is known as the 'Oxford of the East' due to
the presence of several well-known educational institutions.

Yeola
Yeola is 73 kilometres from Nasik on Nasik-Aurangabad Highway and 26
kilometres south of Manmad on the Manmad–Ahmednagar road. Yeola is 36
kilometres from Shirdi and is 260 kilometres northeast of Mumbai. It has a
station on the Ahmednagar–Manmad rail route. Aurangabad Airport,
Nasik/Ozar Airport, Shirdi Airport and Chhatrapati Shivaji International Airport
are the nearest airports.
Yeola is a town, a municipal council and a taluka headquarters in Nashik
District in the Indian state of Maharashtra. Yeola is famous for its 'Kite festival'
which is popular. Its importance is no less than Diwali. In the last day of Makar
sankranti we can see the picturesque moments of cracker. Not even in Diwali
we can see these moments. Followed by Kite festival Yeola is also famous for
'Rangapanchami'.

Yeola is known for work of an holy Sant Raghuji Baba, who was the main
reformer of Yeola City. He built the first mosque in Yeola. People say that
when Mughal King Aurangzeb would pass through any city with his army to
capture India and if he would not find any mosque Masjid (place of prayers for
Muslims), he would destroy the whole city or village. When he was passing
through Deccan south part of India or Aurangabad, he also passed Yeola City.
A fear erupted in small Yeola City. People of Yeola City were worried about
this since no single Muslim live in Yeola City and so there was no mosque or
masjid. Raghuji Baba gathered some people and they built a Mosque. But after
building the Mosque fear was not gone. Because there were no Muslims in city.
He gathered some Muslim from surrounding area, and brought them to Yeola
City. First mosque of Yeola city which called Patel ki Masjid and which is
located in Bhaldar Galli near Samadhi of Raghuji Baba. This mosque was built
by Hindu. Yeola municipal council is one of the oldest municipal councils in
India. It was formed in 1857.

Crafts of Yeola
Yeola is a major handloom weaving center of the Shalu and Paithani silk saris
,Gandhi Topi and pitambers woven there. There are more than thousands of
handlooms on which these saris are woven. The prominent markets of this
material are Gujarat, Karnataka, West Bengal, Uttar Pradesh, and Madhya
Pradesh as well as internationally. It is also famous for gold and silver wire.
Paithani
This town happens to be one of Maharashtra‘s biggest handloom centres, known
particularly for its richly motifed silk-and-gold Paithani saris — part of a 200-
year-old weaving tradition patronised by the Peshwas. The 2,300 looms in
Yeola reportedly outnumber those in Paithan village, the birthplace of the
Paithani sari. Integral to the traditional trousseau of a Maharashtrian bride, the
saris are named after the motifs on them: tota-maina (parrot and mynah), asavali
(flower and vine) and narli (coconut). The Ajanta cave paintings are a visible
source of influence on them: the lotus, a frond of leaves and so on. But the most
classic motif on a traditional Paithani is the peacock.
Shalu
A Shalu is a regional variant of the sari from Banaras (Varanasi), India. It is one
of many types of saris and differs in the fact that it is the end result of combing

Paithani fabric and Banarasi fabric. Paithani, named after the Paithan town in
Aurangabad Maharashtra, is made from very fine silk and is characterized by
borders of an oblique square design, and a pallu with a Peacock design.
Banarasi, also known as Banarasi Silk, is a fine variant of Silk that originates
from the city of Varanasi in Uttar Pradesh, India. One of the biggest differences
with the Shalu Sari, in comparison to others, is that it is completely embellished
at the base with what is called "jari" motifs.
Shalu saris are often worn by brides in Maharashtra.
Zardosi
Zardosi work is a type of embroidery in Iran, Azerbaijan, Iraq, Kuwait, Syria,
Turkey, Central Asia, India, Pakistan and Bangladesh. Zardozi comes from two
Persian words: zar or zarin meaning 'gold', and dozi meaning 'sewing'.Zardozi is
a type of heavy and elaborate metal embroidery on a silk, satin, or velvet fabric
base. Designs are often created using gold and silver threads and can
incorporate pearls, beads, and precious stones. It is used as decoration for a
wide range of applications, including clothes, household textiles, and animal
trappings. Historically, it was used to adorn the walls of royal tents, scabbards,
wall hangings and the paraphernalia of regal elephants and horses.
Initially, the embroidery was done with pure silver wires and real gold leaves.
However, today, craftsmen make use of a combination of copper wire, with a
golden or silver polish, and silk thread.
Along with weaving, there are also many artisans who practice the art of surface
ornamentation with a crewel needle on a ―Khaat‖ and embroider beautiful
designs onto sarees, garments and other fabrics for end use. Though the
community is a dwindling one, there are still artisans who practice and want to
pass down the age old craft of Zardosi to carry it further and maybe have it see
its glory days once more.

Hand Embroidery
The process used to tailor, patch, mend and reinforce cloth fostered the
development of sewing techniques, and the decorative possibilities of sewing
led to the art of embroidery. Indeed, the remarkable stability of basic
embroidery stitches has been noted:
It is a striking fact that in the development of embroidery ... there are no
changes of materials or techniques which can be felt or interpreted as advances
from a primitive to a later, more refined stage. On the other hand, we often find
in early works a technical accomplishment and high standard of craftsmanship
rarely attained in later times.
In the last couple of years there has been an exponential growth in the
popularity of embroidering by hand. As a result of visual media such as
Pinterest and Instagram, artists are able to share their work more extensively,
which has inspired younger generations to pick up needle and threads.
Contemporary embroidery artists believe hand embroidery has grown in
popularity as a result of an increasing need for relaxation and digitally
disconnecting practises.
Modern hand embroidery, as opposed to cross-stitching, is characterised by a
more "liberal" approach. Where stitches are more freely combined in
unconventional ways to create various textures and designs.
Hand embroidery practitioners in Yeola are not the youth but the aging
population and hence it is not a widely known art and occupation of the region.
Children and youth have lost interest in the craft owing to the more lucrative
and enticing urban lifestyle they wish to achieve.

About Hand Embroidery
Embroidery is done for making a fabric beautiful with colourful designs with
the help of needle and threads. It may be used to embellish almost everything,
from the smallest handkerchief to big home furnishing like even curtains or
bedcovers. Different types of garments including that of children, furnishings,
such as bed sheets, pillow covers, table cloth, wall hangings, etc. are
embroidered to give a rich look. It is an art to express the creativity using
different types of techniques, like beadwork, metal thread work, appliqué work,
decorative thread work, cutwork, patchwork, zardozi work, etc.
Embroidery is also known as ‗a painting with needle‘. Embroidery can also be
done with other materials, such as pearls, beads, quills, sequins, shells, precious
and semi-precious stones, seeds, etc. The art of embroidery is practised on
different kinds of pliable materials, like cotton, linen, silk, wool and leather,
which can be pierced with the sharp needle. Gold, silver, silk, cotton wool and
many synthetic threads have been used to produce fine and rich looking
embroidered products. Hand embroidery is done by holding the fabric in hand
with or without a circular frame, which holds the fabric in a stretched form, or
the fabric stretched on a horizontal frame known as adda. Some embroidery
designs are stitched on the top part of the garment while some others are
stitched throughout the garments or items. The design location in embroidery
plays an important role to give it an attractive look. Selection of colours of the
thread or material used for embroidery plays an important role in the overall
look of the finished product.
Embroidery is being used from centuries, there are traces of embroidery work
from ancient times from all over the world, more so from the eastern countries.
These design inspirations include natural, floral, geometric, abstract, nursery
designs, tribal, mythological, architectural designs, etc.
Actually, the designs or motifs used for embroidery reflect the culture, tradition
and the way of life of people. Embroidery usually takes the inspiration from
surroundings, nature and environment where it is practised. It can be observed
that the embroidery of Kashmir, India shows its flora in the form of leaves of
chinar (maple leaf) and flowers of saffron, etc., the embroidery of the southern
region of India shows a rich heritage of gateways and arches of temples,
mythological animals and lotus flowers, etc. The colours, fabric, theme and
style of embroidery reflect its uniqueness in terms of region, occasion, type of
wearers, etc. These days, embroidery is commonly seen on people‘s garments

on hats, coats, blankets, denim, etc. It is commonly used to decorate furnishings,
such as bed sheets, table cloths, pillow covers, table runners, table mats,
curtains
It is an art of self-expression, done with patience and hard work. Embroidery
enhances the beauty and style of the object even in the articles of everyday use.
The common hand embroidery stitches are chain stitch, buttonhole or blanket
stitch, running stitch, satin stitch, stem stitch, French knot, bullion stitch, cross
stitch, etc. All types of fabrics such as cotton, silk, linen, crepe, chiffon,
georgette, satin, velvet, canvas, etc., are used for embroidery. Embroidery can
be done on cut fabric pieces as well as on ready garments or ready furnishing
items.
Embroidery terms
Some common embroidery terms are given below:
A
Aari
It is a type of needle with a hook at its tip to do the embroidery. This needle is
used while working on adda. Because of its name aari, the embroidery done by
it is called aari work.
Adda
A wooden adjustable frame with four wooden bars used to stretch the fabric for
embroidery is called adda. The fabric is attached to the adda for doing
embroidery.
Appliqué
It is a fabric cut-out attached to the surface of a larger piece of fabric. There are
various ways in which an appliqué or cut-out can be attached to the fabric
surface. Embroidery stitches such as buttonhole, satin, couching, running and
machine stitching can be used to attach the appliqués. This adds colour and
texture to the fabric surface.
B

Backing
This term is used for the material used to give support to the fabric being
embroidered. Woven or non-woven materials are used to provide support and
stability to the fabric being embroidered. As the name suggests, backing is put
on the back side of the fabric. It is occasionally referred to as a stabiliser in the
hand embroidery. It can be large enough to be lined with the item being
embroidered. Various weights and types of materials are available in the market
that can be either in rolls or in pre-cut sheets. Backings can also be cutaway,
tearaway, or size and/or shape-specific.
Badla
It is a flat gold or silver wire used for embroidery.
Blanket stitch
It is an ornamental stitch mainly used to finish an un-hemmed blanket or any
thick fabric. The stitch can be visible from both sides.
Buckram
It is a coarse, woven backing fabric that is usually very stiff. It is used to
stabilise the fabric for stitching. It is frequently used in caps or panels of
garments to hold the embroidery pattern straight.
C
Chain stitch
It is a very common stitch of hand embroidery. It is made by making loop
stitches. Chain stitch is used mostly to embroider straight lines and big curves.
It is a stitch that looks like a chain link created with one thread from the bottom
side of the fabric. It is done on a manual or computerised machine with a hook
that performs like a needle.
Counted Thread Embroidery
It is an embroidery in which the fabric threads are counted by the embroiderer
before inserting the needle into the fabric.
D
Dabka

It is a tightly coiled fine metallic wire used for embroidery.
Design
In embroidery, the term design is used for motif(s), which is decorated with the
different stitches of embroidery.
Design catalogue
A collection of different types of designs, which may be used for various types
of embroidery. Many times, a design catalogue also gives details of colour
combination, types of stitches and threads for the designs.
Dori
It is a term used for a thick thread which is especially used for hand embroidery.
E
Embroidery
It is an art, using thread and needle to adorn fabric/garment. In embroidery,
different types of stitches are made on fabrics and other pliable material.
Embroidery is mainly done by hand or machines.
Embroidery machines
These machines are specialised for different types of embroidery. They are
manually or motor operated. These days, embroidery is done on computerised
embroidery machines also.
F
Framing
It refers to f ixing of a fabric, tightly in an embroidery frame.
Filling stitches
Long and short, satin, close herringbone, fishbone are considered as filling
stitches in embroidery. Filling stitches cover large areas and they generally have
a flat look.
Finishing

This process is performed after embroidery work is completed. This includes
trimming loose threads, removing stains, cutting or tearing away excess
backing, pressing or steaming to remove wrinkles, etc.
Foam
It is used to add dimensions to an embroidery pattern. It is mainly used on caps,
jackets, quilts, bags, etc. It gives a 3D appearance. Foams are available in
varying thickness.
Frame
It is a device which holds the fabric to be embroidered. It provides firmness and
tightness to the fabric during the process of embroidery. This grips the fabric
tightly between an inner and outer ring. Embroidery frames of different sizes
and material (plastic, metal, or wood) are available in the market. Wooden
frames are very popular for embroidery.
G
Gapping
In embroidery, the term gapping is used for the spaces (fabrics) between the
stitches in design. It is seen through the embroidery design either in the middle
of the design or on its edges.
Gota
It is a narrow ribbon or strip, woven with gold or silver thread used for
decorating the fabrics. These days synthetic threads are also used in gota.
H
Hoop
Embroidery frames are also called hoops.
Hooping
It is also known as ‗framing‘. In this method, the fabric is fixed in a hoop.
I
Ingots

These are the solid blocks of steel, gold or other metal, melted and compressed
to convert into wires/pieces of different shapes. These are mainly used in zari or
zardozi work.
K
Kalabattu
It is a silver glit-thread used in embroidery.
Karchob
The embroidery frame is also known as karchob.
Karchobi
It is a dense metal embroidery done on material using a frame.
Kasab
A gold or silver wire sometimes wrapped around a thread is called kasab.
L
Lettering
When embroidery is done for making beautiful letters or expressions of words,
it is often called ‗keyboard lettering‘.
Locking stitch
It refers to a series of three to four very short stitches done on the back to lock
the stitch. It is used to prevent the stitching from unravelling after the
embroidery is completed.
M
Marking
It is done on the instruction sheet to help the embroiderer initiate embroidery
work on the given design. It is mainly done to instruct the embroiderer
regarding the materials and stitches.
Monogram

A design composed of one or more letters, often intertwined, used as an
identified mark of an individual or institution. Monograms are very attractively
developed by embroidery.
N
Needle
It is the stitch forming device that carries the thread through the fabric. Needles
vary in thickness, length, size of eye, sharpness and shape of point. Needles of
different numbers are available in the market; the higher the number, the finer
the needle.
O
Organdie
It is a fine, translucent, stiff cotton muslin, used mainly for dresses. It is perhaps
the most sheer and crisp cotton cloth.
P
Pencil rub
It is a low-cost method to transfer the design. Place a piece of tracing paper on a
projected or embossed sample design and then lightly rub with pencil. The
design will appear on the tracing paper. The term pencil rub is used for this
process.
Puckering
It results when the fabric is being gathered by the stitches. It is caused due to
incorrect density of stitches, blunt point needle, loose hooping, insufficient
backing, and incorrect thread tensions.
R
Repeat
It occurs when a line, shape, space, etc., is used more than once in fabrics or
materials at different intervals. In fabrics, motifs or designs are repeated in
many different ways producing different end results.
Ruche

It is a strip of fabric which has been pleated.
Running stitch
It is made up of short even stitches. It is mostly worked in straight lines for
seams, or in curves for linear motifs and lettering.
S
Salma
It is a coiled, springy metallic wire used in zardozi embroidery.
Satin stitch
This is a stitch in which every stitch is closely worked parallel to another. Satin
stitches are popular for filling motifs and fancy monograms. It can be laid down
at any angle and with varying stitch lengths.
Scale
In embroidery, the term scale is used to enlarge or minimise the size of the
design without changing the elements of design.
Smudge
It is a dirty mark of dry or wet media on a surface.
Snagging
It refers to a break, pull, or tear in the fabric.
SPI
Abbreviation for Stitch/Stitches Per Inch. It refers to the number of stitches in
1‖. Mostly, this term is used for machine stitching, but the term is used in
embroidery also.
Stitch density
It refers to the number of stitches used to give proper coverage of the design
without creating a thick, hard area in the embroidery that may be uncomfortable
to the consumer. This term is mainly used for machine stitching but is used for
embroidery also.
T

Thread
It is a slender, strong strand, especially designed for sewing or other needle
work. Most threads are made by plying and twisting yarns.
Thread clippers
Small spring loaded scissors designed to operate with just the thumb and
forefinger. These thread clippers are mainly used to cut the threads.
Tilla
It is a simple, flat metal wire, used for embroidery.
Trimmings
Decorating a garment or article using decorative and functional accessories or
details is referred to as trimming. The trim is added to a garment to make it look
embellished and attractive. Beautiful trims can be prepared through embroidery.
Z
Zardozi
The term is used for silver and gold metal embroidery.
Designs and Tracing Methods
Design relates more to imagination, intuition, innovation and creativity. What
inspires a person or designer to be creative and imaginative? Most of the
inspiration comes from learning and experiences of life and nature. A design is
therefore the outcome of all the inspirations. A design for embroidery is drawn
using lines and shapes. The selection of an embroidery design decides how
thefinal output of the embroidery work would look. The appropriate selection of
stitches, fabric, colour and thread type are crucial for a particular design.
Types of Designs
The inspiration for design has mostly been nature — flowers, leaves, trees,
animals, paisley, human figure and birds. The national ecology of India seeps
into most embroidery patterns. Infact, most regions have their respective unique
patterns and colour schemes.

Natural Design
Any design inspired from nature, like birds, trees, even human figures, animals,
flowers, scenery, etc., are natural designs. Natural compositions may include
floral patterns too.

Floral Design
Natural designs having flowers, leaves, stems and their combination, come
under this group.
Geometric Designs
These include designs made of geometric shapes, like square, circle, oval,
diamond, triangle, rectangle, etc., or any combination of them.

Abstract Designs
Abstraction indicates a departure from the reality in the depiction of imagery
form in art. It is away from what appears in real. It is a kind of modern art
design with a combination of embroidery, designs and stitches

Mythological Designs
These include scenes or designs from mythological epics, or mythology
symbols.
Architectural Designs
These include ancient historic monument designs and any architectural designs
including palaces, buildings, etc.

Tribal Designs
Designs depicting typical characters of any tribe are included in this category,
like tribal wall paintings, Mandana, Warli art designs, etc.
Stylised Designs
These include the modern styles of design, like asymmetrical designs, or a
combination of designs or depiction of designs in different ways by stylising
them.

Materials
Tracing materials and methods
Various materials and methods are used to transfer the design onto the product
or the fabric —
The tracing materials include —
(i) Embroidery design
(ii) Tracing paper
(iii) Pen or pencil
(iv) Carbon paper
(v) Iron
(vi) Piece of glass and lightbox
(vii) Needle
(viii) Chalk powder or Indigo (neel)
(ix) Kerosene oil
(x) Dress maker pins or beaded pins
(xi) Stencils of selected designs
(xii) Design transfer sheet or paper
Those who are good at drawing designs can draw directly on the fabric by free
hand method with the help of a pencil. On lightweight and fine or thin fabric,
designs can be drawn with a pencil, keeping the fabric tight in the embroidery
frame. Direct method of tracing can be used very easily on fabrics like
georgette, lawn, voile, organdie, etc.
Some common methods of tracing are —
Method 1: Transferring design with heat
A common way to transfer images is with heat using design transfer sheet or
paper, found in almost any craft or sewing store in the market. A sheet of
design, an iron and a pressing cloth is required for tracing the design. Designs
can be traced directly if the design is printable on a transfer paper or sheet. To
print the design on the fabric, place the fabric face down and tracing sheet on it.
Then heat it with an iron for an appropriate time to transfer the design on the
fabric. A transfer paper or sheet of printable design is available in the market
with detailed instructions, including time period for heating, on how to transfer
the design. The design will transfer to the fabric or garment perhaps in a few
seconds.

Method 2: Transferring design using light
In this method, an embroidery pattern is transferred, by using light. It allows
tracing each line of the design. Both daylight as well as a lightbox can be used.
To use daylight, find a bright window that receives a good amount of sunlight.
Now tape the design on to the glass of the window and tape the fabric over it as
the sunlight shines through the fabric. Now the design can easily be copied by
way of tracing on to the fabric. Or else, a lightbox can also be used. A lightbox
is a box with a transparent glass on top and a light source (usually a bulb or
small tubelight) attached under it. When using a lightbox, the design is put on
the glass top of the lightbox and the fabric is taped over it. The light will expose
the design and it can be traced and transferred to the fabric easily with the help
of an appropriate light shaded pencil so the design is not smudged.
Method 3: Transferring design using carbon paper
The simplest method of transferring design is by using carbon paper. Carbon
papers of different colours (light and dark) are available in the market. They
may be selected according to the colour of the fabric on which the design is to
be traced. Place the coloured side of the carbon paper on the face of the fabric,
and then put the design sheet on the top of the carbon paper. Then, draw all the
lines of the design with a pointed pencil or pen. Care should be taken to trace
only on the lines of the design, otherwise the carbon will smudge the fabric. The
fabric is placed on a hard surface, otherwise the design will not be traced
properly. Do not press hard on the carbon paper, else the colour from the carbon
paper itself may get transferred on to the fabric, which might be difficult to
remove.
Method 4: Transferring design with prick and pounce
The design is first traced on a tracing sheet and holes are made evenly along the
outline of the design including the intricate lines, using a needle. Holes should
be made evenly and close to each other, so the design can be traced clearly and
neatly. For tracing the design, the fabric is placed on a hard surface, with tracing
paper of perforated designs placed on it. A solution of kerosene and indigo
(neel) is rubbed with a piece of sponge or cotton on the transferring sheet to
transfer the design on the fabric. This rubbing or dabbing is known as pouncing.
Remove the tracing paper to get the final design traced on the fabric. The
tracing paper should be removed very carefully so the solution does not spread

on the design. The pattern pricked on the transparent sheet of paper, that is
pinned to the fabric is called khaka.
Workshop Details
The Embroidery craft workshop was organized by Savitribai Phule Seva Bhavi
Sanstha in joint efforts with the council for handicraft development
corporation, New Delhi and was supported by the development commissioner
(Handicrafts)
Inauguration Insights
The inauguration of the work shop was held on 1st
of May 2019. The
inauguration event was held at adgaon-chothva, Yeola and was an immensely
welcome step in the community.
The inauguration was attended by the Asst. Director (Handicrafts),Mr.
Chandrashekar Singh from the Kolhapur desk of DCH along with dignitaries
from the local community including Mr. Sangram Pardeshi, who is a noted
engineer having worked on various important projects which have immensely
benefitted the community. Mrs. Maya Pardeshi who is the president of
Savitribai Phule Seva Bhavi Sanstha having worked for the betterment and
upliftment of the women in the community for over 15 years and helping over
480 self help groups. Other noteworthy guests included the masters of the craft
of hand embroidery and carpet making working of the workshop with the NGO.
The inauguration was also attended by the trainees who were looking forward to
learning and implementing their new skills.
Workshop
The workshop was conducted over a period of three months which included the
training, guidance and final product line production. The enrolment for the
workshop was very well received and more women wanted to join the workshop
and learn the craft, since it would benefit them and make life less strenuous.

Over the period of first few weeks, the trainers introduced the trainees to simple
hand embroidery stitches like – Running stitch, back stitch, buttonhole stitch,
stem stitch and simple chain stitches to name a few. Once these were perfected
they gradually introduced intermediate stitches like – sating stitch, French
knots, lazy daisy, feather stitch and eventually taught a few complex stitches
like the two shade herringbone stitch, woven wheel stitch and introduced them
to techniques of couching, blanketing and bullion knotting. Other than using
threads they were also taught the use of other material like beads of different
sizes, metallic wires, sequins.
Color co-ordination in a design, sizes of motifs according to the product being
made, neatness of the work, finishing of open threads, economical use of the
material including handling of raw material was also impressed upon the
trainees.
Hand embroidery stitches

Raw Materials and Tools
The initial practice sessions for the trainees was held on a long length of fabric
mounted on a khaat and was then transitioned to smaller embroidery hoops as
the trainees got acquainted with the craft. During the workshop, the trainees
worked on a myriad of materials ranging from chiffon to shimmer to cotton and
mixed fabrics. By the end of the period they were confident about working on
different materials and handling them.
The tools used were – handheld fine embroidery needles, cotton threads,
embroidery hoops, fabric of various types, embellishments of various types,
design paper for tracing onto the fabric, scissors/thread cutters for finishing.
Tools and Materials
Materials
Embroidery is practised on all kinds of pliable material which can be pierced
with a needle and thread. The quality of embroidery depends not only on the
workmanship, but also the quality of the fabric, threads, the intricacy of the
design, the closeness of the stitches, and the colour combinations. Almost all
types of fabric can be used for hand embroidery. However, the commonly used

fabrics for hand embroidery are linen, satin, cotton, silk, crepes, georgette,
chiffon, velvet, terri-cot, polyester, etc. Counted thread embroidery (in which
the fabric threads are counted by the embroiderer before inserting the needle
into the fabric) requires an even weave fabric, meaning, a fabric that has the
same number of threads vertically as well as horizontally. Such fabrics are
described by the number of threads or blocks per inch, usually known as the
count. This count will determine the finished size of the design. A wide variety
of even weave fabrics like matty for cross stitch, is available in the market for
counted needlework. Embroidery will enhance the beauty of the fabric only
when it is done on a suitable fabric using appropriate design, needle, thread,
backing and other materials. The fabric should be chosen according to the use of
the end product, for example, for garments, medium or lightweight fabrics are
suitable, such as cotton, silk, georgette, terry-cot, chiffon, satin, organdy, etc.
Fabrics used for home furnishings are heavier than the fabrics used for
garments, such as cambric, glazed cotton, raw silk, jute, velvet, etc. The stitches
of embroideries are used according to the weight and thickness of the fabric.
Mostly, running stitch, stem or satin stitch, lazydaisy, etc., are used on medium-
weight fabrics, while herringbone, chain stitch, jaali work, etc., are used on
lightweight and thin fabrics. Button-hole stitch, blanket stitch, cross stitch,
running stitch (long stitches), etc., are mostly used on heavy fabrics. There is no
rigid rule to select the stitches according to the fabric but the hand embroiderer
should select the fabric according to the end use of the fabric, design and
stitches of the embroidery, construction of the fabric, thickness, crispness,
softness, and weight of the fabric.
Following are the fabrics commonly used for hand embroidery:
(i) Linen
It is a fabric made from natural fibres, like from vegetables or animals
and insects like silkworm. It is relatively soft, smooth, lustrous and is
very strong textured. It is used for shirts, safari suits, kurtas, kurtis,
and children‘s wear. It is also used for aprons, bags, upholstery and
many home furnishing items.
(ii) Cotton
It is a fabric made from cotton which is obtained from the cotton
plant. It is soft, smooth and absorbent. Cotton is suitable for
garments worn close to the skin to keep the body cool in summers,
since it aids air circulation. A large variety of kurti, lehenga-choli,

saree, salwar-suit, shirt, kurta-pyjama, jackets, safari suit, trousers
and children‘s clothes are made of cotton, and decorated by hand
embroidery. It is also used for home furnishings like bed sheets,
pillow covers, table cloths, table runners, curtains, etc. Cotton is
suitable for embroidery as it is easy to pull a needle and thread
through it. When the weave is loose, it is easy to pass the needle
with the thread, but when the weave of the fabric is tighter, it will
be difficult or even painful for the fingers of the embroiderer while
pulling the needle and thread through. The weave of the medium-
to-heavy weight coarsely woven cotton is a little loose, hence
making it easy to pull the needle and thread through the fabric.
(iii) Crepe
It is a light-to-medium weight fine fabric and is used for making
flowing garments since it drapes very well. It has crinkled surface
due to the high-twist silk yarn or chemicals. This look can also be
given by a special weave called the crepe weave. Crepe fabric was
originally made using only silk, but nowadays different kind of
fabrics, such as chiffon, cotton, and rayon, etc., are commonly used
to create crepe fabric. Fur, silk and original leather, blended silk,
crepe, linen, chiffon, etc. are being liked and used in the fashion
industry. Among the contemporary fabrics, crepe is well-liked by
customers and designers. Mostly, crepe has a creased or grain
surface that has very small folds or ridges. It can be embroidered,
embellished with different designs to create a more ethnic,
traditional look for the end product. Different types of crepe
include Moroccan crepe, wool crepe, plisse crepe, crepe de Chine
and crepe georgette.
(iv) Satin
It is a fabric woven in warp-faced stain weave and has a smooth
and shiny surface. Satin is a smooth, delicate and medium-weight
fabric. It falls gently down the surface it has been draped on
enhancing the natural shape of the surface. It has a lot of shine,
which makes it suitable for use as garments as well as home
furnishing. Because of its gentle shine and draping qualities, satin
is mostly used for evening wear, bridal wear and party wear. Even
though most embroidery stitches can be easily done on satin,
special care needs to be taken while fixing the frame. Because of

its delicate and slippery nature, it‘s very easy to damage the cloth
or the embroidery while putting the frame.
(v) Velvet
It is a medium-weight, mostly silk or synthetic filament yarn fabric
with a cotton backing. It has a short, soft, thick warp pile surface
that stands up vertically. There are various varieties of velvet fabric
differing in their weight. Velvet is a type of woven and tufted
fabric. In velvet, the cut thread fibres are evenly distributed over
the surface, with a short and very dense pile weave which gives it a
unique and lustrous feel. Velvet can be made from synthetic or
natural fibres. Velvet‘s nap (the layer of fibre ends raised from the
ground weave of the fabric) gets damaged when pressure is applied
on it. An embroidery frame can damage its delicate surface, so
velvet is not framed. Embroidery designs with complete filled
areas and a filling stitch work show the best on velvet. Running
stitches and narrow satin columns will sink into the velvet‘s pile,
so they should be avoided. Velvet is used for making evening wear.
It is also used for home furnishing.
(vi) Silk
The strength, lustre and softness of silk makes it the most attractive
textile. Silk fibre is considered to be the perfect natural substance
in all respects for yarn making. Silk is the longest of all natural
fibres and is very smooth. It is said to be the most lavish, lustrous
and rich fabric. Silk is one of the most popular fabrics for designer
party wear because of its rich look. It is soft and comfortable,
hence suitable for draping. It is also lustrous and luxurious. The
embroidery on silk is mostly done with silk threads.
(vii) Gabardine
It is a twill-weave fabric made of a variety of natural and synthetic
fibres. It is a medium-weight fabric made of fine yarns. Gabardine
is commonly used for making garments, such as coats, jackets,
skirts and trousers, due to its nature of holding a steady crease.
Even though it is thick and stiffer than materials described earlier,
it is comfortable and soft to wear.
(viii) Georgette
This fabric is a thin, transparent, lightweight fabric and is mainly
made of highly twisted silk yarns. The twisted yarns are used in

both warp and weft directions. Like silk and satin, this also has a
soft feel and drape well.
(ix) Jean
It is a durable cotton fabric. It is made of fine cotton yarn in twill
weave. It is mainly used for making trousers, skirts, jackets and
shirts, etc. Note: The term jean here refers to the fabric while
popularly ‗jeans‘ refer to the trouser-like garment made of denim
fabric.
(x) Organdy
It is a thin, light and transparent cotton fabric in plain weave with a
stiff finish. It is made from good quality combed spun yarns. The
yarn is made from long staple cotton and is spun with many twists.
This, along with the finishing process, produces its characteristics
of transparency and crispness. Its sheerness and crispness are the
result of an acid finish given to lawn fabric in gray state. It is used
for making saree, kurtis, tops, and other children‘s garments. This
fabric is mostly used for summer and evening wear.
(xi) Poplin
It is a fine and tightly woven cotton fabric of plain weave. It is the
fabric with fine cross-ribs created by finer warp yarns and heavy
weft yarns. Poplin is mainly used for making shirts, kurtis and
children‘s garments. Many times, it is used for home furnishing
items also.
(xii) Rubia
It is a thin muslin, slightly thicker than the voile fabric. It is
always made of ply yarns in a yarn count of 150–200s constructed
with plain-weave. It is used for making blouses, kurtis and other
dress material.
(xiii) Chiffon
It is a lightweight, sheer, shiny, and plain-weave fabric. It is made
from highly twisted yarns. It has good drape and is used for making
evening wear and party wear garments.
(xiv) Cambric
It is a closely woven plain-weave cotton fabric which is finished
with a little gloss on one side. It is a mediumweight fabric. It is
used mainly for making children‘s and adult garments. It is thicker
than rubia.

(xv) Voile
It is a sheer, transparent, soft, lightweight, plain-weave fabric. It is
made of highly twisted spun yarns. It is used for making children‘s
wear, blouses and dupattas, turbans and sarees.
Needles
The most essential tool without which hand embroidery is not possible is the
needle. It has three parts, namely the eye, shaft and point. Needles are available
in different thickness, length, size of eye, sharpness and shape of point. The
number indicates the size of the needle— the higher the number, the finer would
be the needle. Different brands of needles some time offer different numbers to
the needles. Mostly, embroidery needles are available in assortment packages.
For example, an embroiderer can purchase different types of needles in
packages of assorted sizes 1–5, 3–9 and 5–10, etc., to have a variety of sizes
available while embroidering. The selection of the size of the needle is done
based on the weight or thickness of the material, the required fineness of the
embroidery and the kind of thread to be used, e.g., if silk thread is being used on
chiffon or silk-like soft material, a very fine and high numbered needle would
be required.
(i) Crewel needle
It is the basic embroidery needle most often used for hand
embroidery. They are sometimes also known as embroidery
needles. Except for its long slender eye, it does not differ
materially from the sewing needle in shape, and it comes in the
same size numbers. For embroidery, crewels should be used unless
some other kind of needle is specified. The long eye helps inserting
and accommodating embroidery threads easily. The sharp tip of the
needle helps the needle pierce the tightly woven fabrics more
easily. Crewel needles come in different sizes but most popular
sizes to embroider are size 7 and 9.
(ii) Tapestry needle
It is very useful for wools, matty and open weave fabrics. It
enables the embroiderer to avoid the splitting of threads. This
needle‘s rounded point allows it to slip between the threads of the
materials rather than through them. Tapestry needle point is blunt
and it has a large eye; it is inserted between the threads of the
fabric without piercing them. These needles are commonly used in

counted thread work such as cross stitch, pulled and drawn thread
work, and lacing on composite stitches. Tapestry needle has a
shorter shaft than a crewel needle but it has a much longer eye,
which is slightly larger than the shaft. Due to the open holes in the
weave of the fabric, even the blunt tip can pierce through it easily.
Tapestry needles are the most appropriate tool for any type of stitch
that involves lacing for surface embroidery. The blunt tip of the
needle prevents it from snagging other stitches on the fabric.
Tapestry needles are available in the local market in different sizes
mainly from 13 to 28, with 13 being the largest and 28 being very
fine.
(iii) Milliner needle
This is also called a straw needle. The milliner needle has a shorter,
almost round eye. It has very long shaft and a sharp tip. The eye
and the shaft on a milliner needle are the same size, which makes
these needles appropriate for working any wrapped stitches such as
bullion knot, French knots, etc. They are also used for pleating and
creating fancy stitches. In bullion knots and French knots, the shaft
and the eye of the needle are of the same size, making it easy to
pull the milliner needle through the wraps and make the knots on
the fabric. It makes these wrap stitches so easy to work and the
stitch comes out looking neat.
(iv) Chenille needle
This is a big needle with a long thin eye and a sharp point used for
thick threads. This needle is appropriate for stem stitches, lazy-
daisy stitches, straight stitches, mirror work, etc. It is also useful
for tacking couched threads to the back of the fabric.
(v) Sharp needle
It is mainly used as a sewing needle and has a small eye. It may
also be used for embroidery.
(vi) Between needle
It is same as the sharp needle, but shorter.
(vii) Beading needle
It is a long, very fine needle with a tiny eye for small beads
Threads
Like the selection of fabric, needle and style of design, it is important to learn
about the selection of thread used for embroidering a particular design. The

factors to keep in mind while selecting a thread are colour, texture, length,
thickness and suitability to the final effect of the embroidery pattern. Threads
are one of the basic materials needed for embroidery. The most commonly used
threads are stranded cotton threads. These threads have mostly six separate
strands which can be used together, or separated and used singly or in groups.
These threads, often referred to as ‗stranded silk‘ though they are actually
mercerised cotton, are lustrous and suitable for most types of embroidery. The
benefit of stranded cotton thread is that the strands can be separated and
recombined in any number to achieve differing thickness and effects.
Sometimes, different brands offer different numbers to the thread. The
embroiderer can select the threads according to his/her requirements. Wonderful
effects can be achieved by using different threads, like pearl cotton, silk threads,
metallic thread, fine wool thread, and viscose rayon thread—the list is endless.
(i) Pearl cotton
This type of thread is very commonly used for hand embroidery. It
is a highly mercerised and twisted thread. It is a smooth, single ply
embroidery thread with a shiny and lustrous look. Pearl cotton
threads are available in skein or a ball with differing thickness,
colour and shade. They are available in different weights. The
higher the number, the finer would be the thread.
(ii) Metallic threads
This category of threads is an innovation in embroidery work. The
use of metallic threads adds shine and glamour to the embroidery
work. These are available in the market in colours like gold, silver,
platinum, copper and antique or aged versions. Metallic threads are
quite durable and require less care.
(iii) Satin and rayon threads
It is a term used for synthetic threads which give a brighter and
shimmery look in the embroidery. These threads have a satin-like
shine and are usually packaged as floss that can be separated in
different ply.
(iv) Overdyed threads
These are shaded threads. These threads have more than one colour
in a single strand. They can be hand dyed or mass produced in
cotton or silk embroidery floss. These threads are available in
different weights. Using these overdyed threads gives the

embroidery pattern a totally different look because of changes of
colour at short intervals.
(v) Wool threads
These are used in some special embroidery forms where a thick
woollen look is required in the embroidery. These threads are
available in a variety of weights and colours. These threads are
most commonly used in counted thread work.
(vi) Novelty threads
These include a wide range of styles, textures and material.
Novelty threads can be fuzzy, metallic textured, leather, plastic,
etc. They are used to give the embroidery pattern a special look.
(vii) Pure silk sewing thread
Embroidering on fine fabrics such as silk, a silk sewing thread can
be used for fine embroidery such as faggoting, pin stitch and hem
stitch, etc. Many other types of threads with special characteristics
are available in the market with different brand names. These
threads can be selected according to the suitability of the fabric,
design, liking of the user, etc. Now, we are almost set for starting
embroidering. We have even read the about threads now. Let us see
how we can hold all these material together for a neat outcome.
Other Tools
i. Embroidery hoop or frame
This tool is required to hold and stretch the fabric to a desired
firmness and tightness while doing embroidery. A frame is a set of
two rings; each ring fits inside each other, so that the material
placed between them is held firmly and the fabric surface becomes
tight and smooth to embroider. The most common type of frame
for hand embroidery is the ring frame. It is always advisable to use
a frame or hoop while doing embroidery to give the embroidery
pattern a beautiful, neat and finished look. These frames are made
of wood, plastic or metal and are easily available in the market in
different sizes. Their size is measured by diameter, mostly ranging
from 7.5–30 cm (3–12 inches) they are suitable for doing
embroidery on small designs. The hoop usually has a nut and a bolt
for tightening of the fabric between the two rings of the frame.
While stretching the fabric on the frame, it should be kept in mind
that unnecessary tightening by the nut bolt can damage the fabric.

When embroidery is to be repeated on different parts of the fabric,
the frame may be fixed on different parts of the fabric according to
the placement of the embroidery design. When embroidery is to be
done on a large design, an adda (a big adjustable frame using
mostly wooden bars) may be used. Plastic frame is a good option
for embroidery work, because it is durable and it doesn‘t stain the
fabric. Many times, metallic frame stains the fabric because of the
rusting. Wooden frames may draw the yarns of the fabric, hence
damage the fabric or the embroidered pattern. Sometimes when the
surface of the wooden frame is not smooth, fine wooden strands
may be pricked in the fingers of the embroiderer.
ii. Needle threader
It is a small handy tool with a wire loop to thread the needle. It is
very helpful for those who have difficulty in threading needles.
iii. Fabric glue
This kind of glue is used only for fabrics and does not damage it. It
is used to attach beads, sequins, pearls or different decorative
material on the fabric.
iv. Seam ripper
It is a small tool to open or unsew the stitches in case of faulty
stitches.
v. Thimble
It is used to protect the fingers from getting pierced or discoloured
during embroidery. Metal, rubber and plastic thimbles may be
available in the market. The embroiderer must take care of his/her
hands and use thimble while doing hand embroidery. Thimbles can
be worn in any of the fingers or the thumb of the hand. Mostly, it is
worn in the index or middle finger which holds the needle. It must
be comfortable and should be light in weight. It is used to push the
needle to the fabric painlessly without harming the finger.
vi. Ruler
A simple ruler of 6 or 12 inches may be used to measure the
accuracy of embroidery as per the motif and design whenever it is
required. Wooden, plastic and metallic rulers are available in the
market.
vii. Trimming materials

These are used to decorate the embroidered patterns made on any
fabric, sample or garment. They may be selected according to the
embroidery design, type of fabric, end use of the product or
material, liking of the user, etc. Different variety of trimming
materials such as stones, mirrors, gota patti, beads, dori, etc., are
available in the market. The embroiderer can select them according
to his/her requirement.
viii. Scissors for hand embroidery
Small scissors of a 3–5 inch length, are mostly used by the hand
embroiderer to cut the threads, edges of the fabric, etc. Mostly,
scissors with metallic or plastic handles are available in the market.
The embroiderer can use it according to his/her comfort or
requirement. It is advisable to use sharp scissors of stainless steel.
Handle the scissors carefully to avoid any accident.
ix. Micro-tip scissors
It is a sharp tip pointed small scissor, mainly used to cut fine
threads very near to the embroidery pattern.
x. Pinking shears
These have blades which give a zigzag edge to the fabric. It is used
to cut the fabric to prevent fabric edges from unravelling.
xi. Embroidery designs
The embroiderer can select the design according to his/her
requirement. Designs may be taken from the catalogue, Internet,
magazines, etc.
Initial Product Line Proposal
Proposed Theme –
 Mandala
 Mughal floral
 Vintage – automobiles + architecture

Proposed Product Line –
 Box clutches
 Laptop bags
 Handbag
 Wallet
 Long jackets
 Buttons and latkans
 Packing boxes
 Bangles
 Footwear
 Pouches/favor bags
 Table set (mats and runners)
 Wall hanging
 Yokes
 Sarees/dupattas
 Curtains
 Cushion covers
Final Product Line – Sketches and CAD
15 products with 2 designs each
 Box clutch
 Wallet
 Laptop bag
 Handbag
 Curtain
 Bed sheet set
 Sari

 Kurta
 Potli
 Table mat
 Wall hanging
 Cushion cover set
 Jacket
 Pouch
 Button

Price List with Product Details
Sr.No.
Pr.
Code Pr. Name Size Quantity Costing
Retail
Price
1 PRN - 1 Box clutch
H: 9CM W: 15CM
D: 4.5CM
2
200 350
2 PRN - 2 Box clutch
H: 9CM W: 15CM
D: 4.5CM 2 180 300
3 PRN - 3 Wallet
H: 10CM, W:
18CM 2 150 300
4 PRN - 4 Wallet
H: 10CM, W:
18CM 2 150 300
5 PRN - 5 Laptop bag
H: 12IN W: 17.5IN
D: 4IN 2 350 550
6 PRN - 6 Laptop bag
H: 12IN W: 17.5IN
D: 4IN 2 380 570
7 PRN - 7 Handbag
H: 14IN W: 14IN
D: 4IN 2 250 375
8 PRN - 8 Handbag
H: 14IN W: 14IN
D: 4IN 2 300 500
9 PRN - 9 Curtain H: 5FT W: 4T 2 200 300
10
PRN -
10 Curtain H: 5FT W: 4T 2 180 270
11
PRN -
11 Bedsheet set
SHEET: H: 85IN,
W: 96IN
PILLOW: H:17IN,
W: 27IN 2 450 800
12
PRN -
12 Bedsheet set
SHEET: H: 85IN,
W: 96IN
PILLOW: H:17IN,
W: 27IN 2 560 840
13
PRN -
13 Saree - 2 600 1000
14
PRN -
14 Saree - 2 1450 2000
15
PRN -
15 Kurta - 2 450 650
16
PRN -
16 Kurta - 2 400 600

17
PRN -
17 Potli H: 8IN, W: 7IN 2 30 70
18
PRN -
18 Potli H: 8IN, W: 7IN 2 50 90
19
PRN -
19 Table mat
H: 30CM, W:
45.5CM (Set of 2) 2 300 500
20
PRN -
20 Table mat
H: 30CM, W:
45.5CM (Set of 2) 2 320 500
21
PRN -
21 Wall hanging H: 8IN, W: 6IN 2 140 300
22
PRN -
22 Wall hanging H: 8IN, W: 6IN 2 460 700
23
PRN -
23
Cushion cover
set -3 H: 12IN, W: 12IN 2 690 1000
24
PRN -
24
Cushion cover
set -3 H: 12IN, W: 12IN 2 600 900
25
PRN -
25 Jacket - 2 900 1500
26
PRN -
26 Jacket - 2 800 1200
27
PRN -
27 Pouch H: 6IN, W: 13IN 2 120 200
28
PRN -
28 Pouch H: 6IN, W: 13IN 2 140 200
29
PRN -
29 Button - 2 15 20
30
PRN -
30 Button - 2 13 20
Activity Calendar
The activity for any workshop begins way before the actual workshop is
launched. So was the case with this one as well, the following activity calendar
gives an idea of the timeline of the entire project.
Project Brief
To design 30 products while using hand embroidery techniques with 40 women
artisans.

Case study
Group: The group of 40 women are there at Yeola
Background:
 Ages 19-45
 Most of them are married and with children
 Most of them are uneducated and are employed as farm workers
 They have learnt their skills from childhood – working on farm, raising
children, household work, cooking etc.
 They all are keen to learn more about hand embroidery.
 To begin with they are given training in basic stitches before moving on
specifically to complicated or dual stitches.
 The samples they make during the course are retained by the NGO
Observations:
 They hope to earn a living through this skill and most of them are wary of
working tirelessly in fields
 They need still more training to make more intricate designs.
 They need to be informed ,that what a demand in the market of their
skills is.
 The kinds of samples they prepare during the training are designed
according to the new market.
Market Research
Market Information
It is an organized effort to gather information about markets or customers.
It is a very important component of business strategy. The term is commonly
interchanged with marketing research; however, expert practitioners may wish

to draw a distinction, in that marketing Research is concerned specifically about
marketing processes, while market research is concerned specifically with
markets.
Market Research is a key factor to get advantage over competitors. Market
research provides important information to identify and analyze the market
need, market size and competition. Market research is for discovering what
people want, need, or believe. It can also involve discovering how they act.
Once that research is completed, it can be used to determine how to market your
product.
Market Research
Phase: 1
Initial search involved data collection in the entire chain starting from - Material
supply, production in the village/ semi urban areas, distribution channels, visual
merchandising, sales, and interviewing customers.
Phase: 2
Including screening document on hand embroidery. Other published articles on
the related craft and web information search.
This was to understand the relevance of the craft, when it was originated and
now – in a more contemporary context.
Phase: 3
To analyze and summarizing the trends, opportunities
Ahead Research includes these following areas-
• Craft study
• Raw material
• Production process

• Existing range of products
• Skill level of the artisans
• Marketing linkages
• Socio-economic aspect
Product Survey and Market Visit
Market visits involved visiting large format retailers who stock handmade
articles and small entrepreneurs who would be interested to create a market
presence with the strong range of products from the artisans.
Embroidery being an essential part of Indian culture is widely used in a variety
of products and we came across exquisite hand embroideries right from flea
markets to huge designer stores.
Stores like Fab India, Anokhi, Artisans cottage, Okhai Handicrafts and few
exhibitions had been visited to collect some recent information and design trend
about embroidery. These all stores are famous for their craft oriented image and
products too. These brands target the elite class. By analysing their products, it
is reported that, they mostly use hand embroidery in home furnishing. In home
furnishing products application of motifs are broader and scattered, so costing is
decreased. And new artisan is even able to do that work.
At Dili hatt, there were many shopkeepers except artisans were selling many
machine made embroidery products too .So, that is again another thing to work
on. Those products are much cheaper than handmade articles because they need
less manpower.
Products available in the market

Market Survey
In order to the product survey we have asked some questions to number of
people.
There were two groups basically
First was a group of students who are pursuing design from NID(National
Institute of Design) and NIFT .
Some working women‘s and households.(Areas like: Mumbai, Delhi and
Bangalore)
The questions were as follows-
1. Do you know about Hand embroidery?
 Yes
 No
 No, but I would like to know more
 No, I don‘t care much about it
2. Which would u prefer between machine embroidery over hand
embroidery?

 Yes
 No
 I don‘t know
3. If Machine embroidery, then why?
 Quality of work
 Cost effective.
 I don‘t know
4. Have you ever met any artisan?
 Yes
 No
 No, but I would like to
 No, I don‘t care much about it
5. Which type of product will you prefer made of embroidery?
 Home Furnishings
 Apparels
 Both
SWOT Analysis
STRENGTH WEAKNESS
Indian Handicrafts Industry has a
diversified and potential market in
domestic & international platform.
Industry is lacking with
infrastructure and communication
facilities.
It provides large product variety and
range as it is full of diversified culture.
There is unawareness among
craftsmen about international
requirements and market.

Industry is facilitated by diversified and
supportive retail infrastructure across the
country
Lack of co-ordination between
government bodies and private
players.
Industry provides services to different
market (Handicrafts, Stone Jewellery)
because of diversified product range.
Inadequate information of new
technology, developments and of
current market trends.
Labour rates are cheap and it results to
competitive prices
Industry is still confined to rural
areas and small cities and not able
to reach untapped market.
Industry needs low capital investment.
OPPORTUNITY THREAT
Rising demands for handicrafts. Competition in domestic market.
Developing fashion industry requires
handicraft products.
Balance between high demand and
supply.
Development of sectors like retail, real
state that offers great requirements of
handicraft products.
Quality products produced by
competing countries like: china and
south Africa.
Development of domestic and
international tourism sector.
Better trade terms offered by
competing countries.
E-commerce and internet.
Increased and better technological
support and R& D facilities by
competing countries.
Design and Product Methodology
The following methodology was implemented on Embroidery and Technical
Development workshop.

Background Survey and Networking: A detailed market survey of the importers
and exporters of dress materials and readymade garments, home furnishings and
accessories industry was done and it‘s found that there is an immense potential
of this craft of Indian hand embroidery in the international market of USA,
EUROPE, AFRICA, AUSTRALIA and some other countries. It was also
established that the generic trend world over is to buy articles which are both
decorative as well as utility based.
Workshop
The workshop was conducted at Adgaon, Yeola, Distt. Nashik from the 1st
of
May 2019 to 31st
July 2019. The workshop was focused on the training of the
artisans towards new designs and product development and development in the
quality of workmanship. The women were exposed to do the different types of
embroidery and bead work for the suitable end uses. The designs were such that
they can use it for their sale in the domestic market and fairs and exhibition that
they participate in all over India.
Product Design and Selection
• The present market range consists of Bed covers, Table covers and Curtains,
bags, Table mats and apparel (appliqué is added to readymade covers)
• Home furnishings are very much in demand now days, and they don‘t even
need very intricate designs too.
They can earn more with home furnishing products.
• The patterns are derived from random sources like animal and flower motifs,
from which they are very much familiar.
• The kind of fabric differs according to the end use and weight of the fabric
will also change the type of needle and thread count used
• Colour options are applied according to market and mostly bright, but some
of them are designed especially for upper class,(so in those products mostly
bright colours are used against dark or dull background )

• Limited variety of materials used.
• Deriving patterns and colour combinations
• Contemporizing the patterns and icons used
• Understanding of colour and combinations (when given a free hand- very
random right now)
Test Marketing and Suggested Product Refinements
During a private exhibition of the work it was seen that customers have some
new views about some products. Which were noticed and gave some new points
to work on? Customers were the asked about the product quality, designs, their
adaptations and even about artisans. It was found that some easy modifications
could be made to the products in the future to better them
Different customer belongs to different culture and classes too. Their demands
and likings do vary from each other. So, we took some very common points
which we have to work on.
Bag
The design of the fabric is fine. But, there should be chain with a mobile pocket.
Which mostly used gadget is in today‘s world. Even the layering of some
colourful fabric should be done to make it more vibrant
Curtains
Embroidery on curtain is definitely beautiful, but they all are mostly in light
colour. According to customers it should be in dark colour so that maintenance
can be done easily
Designer View
As part of our workshop planning, the workshop was conducted in a
demonstrative mode so that

The participants were able to understand the practical ways of new designs
development and product diversification. Other modes of workshop were.
Lectures
Discussions and interacting
Guided as well as self initiated experience.
Sample and prototype development
The workshop began with interacting with participants about the objectives and
proposed methodology. Issues related to embroider Products were discussed in
relation to the prevailing market scenarios. It was explained to them in what
ways such workshop is going to benefit them.
The artisans are also skilled and only need direction for making if the products
and colour combinations.
It is suggested that with their existing skills and after the workshop they may
Make products such as:
 Table covers
 Laptop bags
 Cushions
 Co-ordinated table mats
 Napkins & coasters
 Pillow covers coordinating with bed covers
 Curtains
 Experiment with fabrics and colours, yarns, textures, hand feel etc.

Designer Profile

Master Profile
Personal Details
Name: Akil Shabbir Shah
Date of Birth: 12/04/1981
Address: R.No.13,
Kacheri Road,
Near Water Tank,
Taluka Yeola, District Nashik.
Nationality: Indian
Email: akeelshah9066@gmail.com
Contact No: 9970739066
Languages know: Marathi, Hindi, Urdu and English.
Education Qualification
1 SSC PASS
2 HSC PASS
Extra Qualification
 Apparel training & design operator basic and advance.
 Diploma in Paithani Handicraft &Modern Garments.
Experience:

15 year of experience in handwork teaching.
Career objective: To Be Associated with an Organization. To Collect and to
Apply my Knowledge for Achieve Professional Growth.
Hobbies:
Watching TV, Playing cricket, Volleyball.
Artisan List
DETAILS ARTISANS PARTICIPATED IN INTEGRATED DESIGN &
TECHNICAL DEVELOPMENT PROJECT UNDER DTU SCHEME ON
HAND EMBRIODREY CRAFT (SC) AT NASHIK FROM 01-05-2019
TO 31-07-2019 UNDER JURISDICTION OF HSC, KOLHAPUR
Sr
.N
o.
Benificiar
y Name
DOB
(dd/mm/y
yyy)
Ge
nde
r
(M/
F)
Social
Group
(SC/S
T/
OBC/
Gen)
Aadhaa
r No
Home
Address
Artisan
ID card
No.
1 2 3 4 5 6 12 18
1
Kavita
Raju
More
09-02-
1999
F SC
4800
4279
4169
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363046
2
Bharati
Ramnath
Pawar
01-01-
1996
F SC
7867
6481
3803
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
WRKPC
363052

Nashik,
Maharashtr
a-423401
3
Sunita
Raman
Pawar
01-01-
1982
F SC
3817
5161
0427
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363057
4
Vishali
Chagan
Nikam
16-04-
1993
F SC
3258
1509
0744
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363062
5
Swati
Nitin
Pawar
01-01-
1997
F SC
9403
7579
2752
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363072
6
Rohini
Sanjay
Gangurde
01-01-
1983
F SC
8804
3573
5257
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
WRKPC
363082

Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
7
Savita
Somnath
Mali
01-01-
1982
F SC
7941
8222
4783
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363087
8
Mangal
Bhanudas
Mali
01-01-
1978
F SC
3561
3728
2170
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363095
9
Yogita
Prakash
Mali
01-01-
1998
F SC
3457
1646
5346
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363099

10
Lata
Pandit
Mali
01-01-
1983
F SC
8096
8563
7357
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363112
11
Sangita
Nana
Nikam
21-06-
1989
F SC
9070
5571
9962
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363120
12
Yogita
Sravan
Nikam
F SC
3896
8557
4781
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363126
13
Rupali
Bhulal
Nikam
30-06-
2000
F SC
7663
5642
4952
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
WRKPC
365690

a-423401
14
Durga
Balu
Jadhav
02-12-
2000
F SC
8078
6019
7945
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363620
15
Jyoti
Vijay
Mali
01-01-
1990
F SC
6720
4441
7588
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363610
16
Kavita
Bajrang
Sonawne
01-01-
1990
F SC
9370
9385
2654
Bhulegoan,
Raste
Suregoan,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401.
WRKPC
363601
17
Sarla
Sandip
Gore
01-04-
2000
F SC
5942
8699
3694
Bhulegoan,
Raste
Suregoan,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363598

18
Shital
Ravsaheb
Surashe
01-01-
1993
F SC
4966
5002
3570
Bhulegoan,
Raste
Suregoan,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363596
19
Pooja
Laxman
Salunke
01-01-
1998
F SC
7944
7706
2285
Bhulegoan,
Raste
Suregoan,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363680
20
Sangita
Dipak
Gore
31-10-
1989
F SC
8101
5422
7257
Bhulegoan,
Raste
Suregoan,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363567
21
Mai
Kailas
More
19-12-
1994
F SC
3964
0702
3213
Devalane,
Post Office
Bokate,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363545
22
Savita
Navanath
More
27-01-
2001
F SC
7107
4445
9470
Devalane,
Post Office
Bokate,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363133

23
Suverna
Somnath
Mali
07-04-
1999
F SC
9715
4506
5559
Devalane,
Post Office
Bokate,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363147
24
Sangita
Sonand
Gangurde
01-01-
1992
F SC
9799
3726
9986
Dugalgoan,
Post Office
Bokate,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363525
25
Taibai
Anil
Pawar
01-01-
1994
F SC
9923
5236
8747
Deothan,
Post Office
Bokate,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363520
26
Shital
Sharad
Pawar
04-11-
1998
F SC
3130
9340
0893
Changoan,
, Post
Office
Kusur,
Taluka
Yeola,
Nashik,
Maharashtr
a-423401
WRKPC
363512
27
Latabai
Raju
More
01-01-
1986
F SC
6094
9508
5279
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
WRKPC
363700

a-423401
28
Indubai
Balu
Jadhav
02-06-
1985
F SC
5320
7875
6725
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363615
29
Shital
Ambadas
Pawar
19-12-
1994
F SC
9945
6319
3116
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365681
30
SIMA
NIVRUT
TI
MAILI
01-01-
2000
F SC
6548
6181
0197
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
363843
31
SUREKH
A
SUBASH
GORE
01-01-
2001
F SC
6572
0850
6188
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
WRKPC
363841

Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
32
Sarala
Navanath
Ghoderao
03/36/198
9
F SC
9010
9530
7479
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365675
33
Punam
Santaram
Mali
27-04-
1993
F SC
3064
6323
2690
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365702
34
Anjali
Daulat
Mali
01-01-
1991
F SC
4152
1143
5292
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365699

35
Alka
Kacharu
Nikam
01-01-
1985
F SC
2298
7840
1413
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365710
36
Maina
Prakash
More
02-06-
1982
F SC
7706
6878
6506
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365697
37
vanita
Ramnath
Jire
02-05-
1997
F SC
3980
6076
0275
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365704
38
Joyti
Revannat
h More
25-12-
1990
F SC
7666
3437
1927
Nandear,
Post Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365714

39
Asha
Devidas
Sonawane
01-05-
1999
F SC
7131
6975
9770
Kusur, Post
Savargoan ,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365716
40
Thakuai
Santosh
Ghoderao
01-01-
1988
F SC
4225
0396
0898
Adgoancho
thwa, Post
Office
Pimpalgoan
Jalal,
Taluka
Yeola,
District
Nashik,
Maharashtr
a-423401
WRKPC
365706
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