➢ Origin and background of Banarasi brocade:

Brocade work can be traced back to the Middle Ages. It was mostly worn by those belonging to
royal families across countries like Greece, Korea, China, Japan and the Byzantine Empire. The
work was introduced to India via the silk route, once the flourishing trade was established
between India and China.

However, techniques similar to brocade were experimented with in the Indian subcontinent and
while the results were not as distinct as brocade itself. Historians have traced back the oldest
version of this fabric in India to the Rig Veda Period (1750 – 500 B.C.E).

➢ Sources of inspirations:

Originally, when this form of fabric was introduced to India, local artisans adapted it to the
predominant Hindu culture that was prevalent by creating motifs of the sun, moon, stars, animals
and plants. However, after the Mughal Period, Persian patterns filled mainly with flowers and
paisleys became the norm.

Both styles of motifs have been in existence for close to 2000 years. They are both used in
contemporary brocade work as well.

➢ Faces behind the Banarasi Brocade

Due to the popularity of the fabric, most of the skilled workers who create this fabric hail from
Banaras itself. The artisans responsible for weaving Banarasi Brocade and the Sarees are known
as Karigars and the workshop is known as the Karkhana. Most of the weavers who work in these
workshops belong to a Muslim community known as Ansaree.

As making this fabric is essentially their bread and butter, the essential skills required to do so
are passed down from generation to generation. As a result, this is one of the most thriving
communities living in Banaras.
 ➢ The Making of Brocade Saree

When a regular silk saree is woven, the waft thread is usually wrapped over the warp thread and
the process continues until a sturdy fabric is created.

When it comes to a Banarasi Brocade saree, an additional set of weft threads that are made of
gold or silver (also known as zari) are woven into the fabric to create different patterns. These
fabrics are hand woven and a traditional loom is used to facilitate their creation.

➢ Style and Variety

Silk brocades are mainly divided into two distinct groups:

Kinkhwab:
Kinkhwab fabrics are characterized by the intricate Buti work done on them. This fabric
is created by using additional layers of wefts for make a thicker and more detailed
surface. These extra wefts can be made of either silk threads or Zari threads and the
number of threads and layers used can even go up to seven.

Pothans
This type of brocade is also known as Katan brocade and is created by twisting together
silk filaments to create the surface. While these are very closely woven with silk threads
and zari patterns, they are still lighter in terms of the texture than Kinkhwabs. This
variant of brocade is used to create rich garments and is usually quite expensive.

❖ Present Day Scenario and Global Influences:

Recognizing the vast popularity of Silk Brocade Sarees from Banaras in India and throughout the
globe, Varanasi (or Banaras) was included in the Integrated Handloom Cluster Development
Scheme in 2006 to further the development of this fabric. Due to this, local artisans were able to
compete with the low-cost versions of the same garments produced by machines in China.

In terms of the contemporary scenario, most consumers prefer owning the authentic, hand-
woven version over the machine woven version from China, even though the latter is cheaper.
Furthermore, in order to ensure authenticity at all times, a Geographic Indicator was introduced.

According to this, only the fabrics and sarees produced in areas such as Varanasi, Mirzapur,
Azamgarh, Jaunpur, Chaundali and Bhadohi are ones that can be labeled as ‘Banarasi Silk
Brocade’. This also protects the rights of the local artisans and ensures continual business for
them.
 ➢ Origin of Baluchari:
In the history of textiles in Bengal, Baluchari or Baluchuri came much after muslin. Two hundred
years ago Baluchari was practiced in a small village called Baluchar in Murshidabad district,
from where it got its name. In the eighteenth century, Murshidkuli Khan, Nawab of Bengal
patronized its rich weaving tradition and brought the craft of making this sari from Dhaka to the
Baluchar village in Murshidabad and encouraged the industry to flourish. After a flood of
the Ganga river and the subsequent submerging of the village, the industry moved to Bishnupur
village in Bankura district. Baluchari Sari made of tassar silk and a thousand years old when
the Jagat Mallaking rule in Mallabhum. This flourishing trend later declined, especially during
British rule, due to political and financial reasons. It became a dying craft as most of the
weavers were compelled to give up the profession.

➢ Making of Baluchari sarees:

The production process of Baluchari or Baluchuri can be divided into several parts:
❖ Cultivation of cocoons: Since the discovery so many years ago that the fibre or filament
composing the cocoon of the silkworm can be constructed into a beautiful and durable
fabric, silkworms have been bred for the sole purpose of producing raw silk.
❖ Processing of yarns: To make the yarn soft, it is boiled in a solution of soda and soap and
then dyed in acid colour, according to the requirement of the sari. The yarn is stretched
from both the sides in opposite directions putting some force with both palms. This
process is needed to make the yarn crisper.
❖ Motif making: Making of the motifs for 'pallavs' and other part of Baluchari is in itself an
intricate process. The design is drawn on a graph paper, it is coloured and punching is
done using cards. After punching, these cards are sewed in order and fixed in the
jacquard machine.
❖ Weaving: After the jacquard loom has been introduced, the weaving of a Baluchari sari
takes five to six days. Two weavers work on a shifting basis.

➢ Motifs – Themes and variety:

Baluchari saris, or locally called Baluchuri saris, today often have depictions from scenes of
Mahabharat and Ramayana. During the Mughal and British eras, they had a square design in
the pallu with paisley motifs in them, and depicted scenes from the lives of the Nawab of
Bengal featuring women smoking hookahs, nawabs driving horse carriages, and even European
officers of the East India Company. It would take two craftsmen working for almost a week to
produce one sari. The main material used is silk and the sari is polished after weaving.
While there isn’t a lot of variation in the method of weaving used today, balucharis can be
broadly categorized based on the threads used in weaving the patterns:

• Baluchari (resham): The simplest balucharis have resham threads in a single colour to
weave the entire pattern
• Baluchari (meenakari): These balucharis have threads in two or more colours with attractive
meenakari work that further brightens the patterns
• Swarnachari (baluchari in gold), also called Swarnachuri: They are the most gorgeous
balucharis, woven with gold (swarna) or silver coloured threads (often with meenakari work
in another colour) that illuminate the patterns to a much larger extent.

➢ Origin of Chanderi silk:

Since ancient times, Chanderi town is popularly known as one of the best handloom clusters in
India where Chanderi fabric was woven using handspun cotton warps and wefts. But the
evolution of the fabric began in the 1890’s when weavers in the town of Chanderi replaced
hand spun yarns with mill mad yarns. But if epics are to be believed, Chanderi fabric is known to
have its origin way back in the Vedic Period and was founded by Lord Krishna’s cousin –
Shishupal.
In the year 1910, Chanderi sarees were patronized by the royal family of Scindia and it was
during that period when golden thread motif made its presence in the cotton muslin saree for
the first time. But during the Mughal reign, popularity of this fabric reached new heights and
was the most favored choice of queens in India. In the 1930s, Chanderi weavers in Madhya
Pradesh discovered Japanese silk. They began replacing the warps of cotton sarees with it and
that’s how the Chanderi silk variety came into existence.

➢ Motifs or buttis:

The buttis or motifs on Chanderi fabric are primarily hand woven on handloom, with the use of
needles. Separate needles are used to create different motifs. Weavers coat these motifs with
gold, silver as well as copper. Motifs created using chanderi weaving are inspired from nature
and include Swans, gold coins, fruits, and heavenly bodies.

From traditional motifs of flowers, peacock, lotus to modern geometric patterns, today one can
find strikingly beautiful motifs like ‘Nalferma, ‘Dandidar, ‘Chatai’, ‘Jangla’, Mehndi wale haath’
etc. adorning the Chanderi fabrics. Color palette of Chanderi sarees are predominately ruled by
soft pastel hues, however with changing times, vibrant combinations of red and black, turquoise
and navy blue, fuchsia and white also exist.

➢ Characteristics of Chanderi:
Chanderi is a traditional ethnic fabric characterized by its lightweight, sheer texture and fine
luxurious feel. Chanderi fabric is produced by weaving in silk and golden Zari in the traditional
cotton yarn that results in the creation of the shimmering texture. The fabric borrowed its name
from the small town Chanderi in Madhya Pradesh where traditional weavers practice the art of
producing textured sarees in cotton and silk decorated with fine zari work.

This fabric can be classified into three types – Chanderi silk cotton, pure silk and Chanderi cotton.
Traditionally, Chanderi fabric was primarily used in weaving Sarees and Salwar Kameez material.

➢ Origin and history:

Tanchoi Silk was is said to have been brought to India through Chinese traders in 19th century
which was later adapted to suit preferences of Indian wearers. Also, three Parsi (Persian
immigrants to India) brothers are said to have traveled to China in the 19th century and were
enamored by the technique. After learning the skill, they came back to Gujarat and trained the
weavers in the technique and then innovated the Tanchoi weaving technique into Indian
versions.

➢ Characteristics of Tanchoi:

Tanchoi is one of the weaving techniques involving a single or double warp and two to five colors
on the weft which are often of the same shade, on Silk fabric. Famed for the intricate and small
weaving patterns over the fabric, the commonly used patterns used are those of flowers, small
birds in flight, peacocks and parrot motifs. In fact Tanchoi sarees are one of a kind which have
spots all over the surface and are woven with a dual color wrap. Another stand-alone feature of
the Tanchoi sarees is that the fabric texture background has a Satin finish. Some extra threads
are added to give the saris an appearance of being embroidered.

➢ Variety:

Tanchoi’s innovation can be credited to the weavers of Banaras who brought in zari work into
the already complex art. Banarasi Tanchoi has several different varieties:
 Satin Tanchoi – As the name suggests, it is based on a Satin fabric base of a single color
and the weft threads of one or more colors. The additional weft colors can also be used
as a body weft.
Satin Jari Tanchoi – This is an extension of Satin Tanchoi wherein the weft is a
combination of either one Silk and one Gold thread or two Silk threads and one Gold
thread.
Atlas or Gilt – The fabric surface is pure satin. In comparison to other fabrics, Atlas or
Gilt is heavier and has more shine because of the extra use of zari.
Mushabbar – This version stands out with its net woven design to appear as bushes or
branches of a tree. The Mushabbar design is often associated with a jungle or nature’s
greenery.

➢ Origin & History

A famous king of the Chola dynasty ruled Kanchipuram between the years 985 and 1014, who
took an initiative of silk trade. It was during the reign of Krishna-Deva Raya, when the famous
weaving communities of Andhra Pradesh, the Devangas and Saligars, migrated to Kanchipuram.
Thus, occurred the historical migration of the entire silk industry in the 15th century, to this city.

The two weaving communities were exclusively acknowledged for their skills at weaving silk. The
weaving industry was temporarily halted during the French invasion in the 17th century. It
rejuvenated and revamped its style in the 18th century. Today, it ranks among the most popular
silks in the world. Very few stand out in the competition against Kanchipuram silks. The British
translated the Kanchipuram silks to Conjeevaram silks, also known as Kanjeevarum silks.

➢ The making and style:

The silk that is obtained from the sericulture of the mulberry worm is finely converted to produce
the Kanjeevaram silk. These handwoven sarees hold their charm in the double warp and double
weft and are known for the 1.2 inches of the warp frame that can hold up to about 60 holes
through which would be woven the 240 warp threads.

Around 250-300 threads would be woven into the wept. This eventually allows the saree to
remain sturdy. Generally, the Zari used in a Kanjeevaram silk saree would be in gold and silver
with silver running in first, coated with gold later.

The sarees woven hence from this silk are mostly hand woven to design the best collection. The
famous weavers of the city of Kanchipuram have developed the art of converting this fabric into
beautifully designed sarees. The designs are inspired by the scriptures and art of the temples in
Kanchipuram.

➢ Variety:
Kanchipuram silk initially started with the 9-yard sarees that were woven to blend well with the
culture of designing and patterning temple stories. Over a period of time, these sarees were
converted to 6 yards with gold zari weaving. To make it available for every budget, these days
there are Kanchipuram silk sarees woven in artificial gold zari, without losing upon the shining
glory of this textile.

➢ Origin and history:

The weave is said to have originated somewhere from the West Asia around 19th century. The
weaving of Mashru fabric is an old tradition in India and it was a popular trading textile to the
Ottoman empire and Gulf countries. The word Mashru is said to have come from the Muslim
community, where Silk fabric was banned since it was made by killing the cocoons and
silkworms. This led to the production of Mashru fabric as it had a Silk exterior but the inner
fabric which stays in direct contact with the skin was made of Cotton. Mashru became very
popular in Turkey, Persia and many Mediterranean countries as it gave them the freedom of
wearing Silk clothing without breaking their religious laws.

The Mashru slowly found its place among the Hindu community as well and the fabric became
an integral part of the wardrobe of Kutch Nomads.

➢ Characteristics of Mashru:
The Mashru fabric is a vibrant, handwoven mix of Silk and Cotton textiles. The word ‘Mashru’
means ‘permitted’ in Arabic and its Sanskrit variation ‘Misru’ means ‘mixed’. Mashru has a
characteristic fine satin finish, bright contrasting stripes in vibrant colors and striped Ikat
weave. The fabric is mainly manufactured in Patan and Mandvi in Gujarat, India. Mashru is an
important part of the bridal trousseau in a variety of Hindu communities like sarees and
Lehengas.

➢ The making:
The weaving of this fabric was practiced across the country in different forms; from Deccan to
Lucknow to Bengal. Nowadays, only weavers from the small towns of Gujarat, mainly Patan and
Mandvi practice this craft.
The expert weavers have excelled in this exquisite craft by learning from their ancestors.
Mashru fabric is made of silk and cotton where silk is used as the vertical yarn and Cotton
makes the horizontal yarn. Each Silk weave goes under the Cotton yarn once and about five or
eight times above the Cotton yarn.

After complete weaving of the fabric, it is washed with cold water and beaten with wooden
hammers for about one minute while it is still moist. Then a paste of wheat flour called glazing
is applied on the folds of the fabric. The fabric is later beaten with wooden hammers and
compressed with hard press. Finally, color is added to the fabric using natural vegetable dyes.

This intriguing weave technique results in a shiny surface that resembles Silk fabric from the
outside, with the comfortable of Cotton in the inner side of the clothing. The interweaving of
Cotton and Silk makes the Mashru fabric more durable.

➢ History and origin:

According to historians this art originated in Persia, though it has not been proved, himroo is
associated with the times of Mohammad Tughlaq who ruled in the 14th century. When
Mohammad Tughlaq shifted his capital from Delhi to Daulatabad many weavers came and
settled here. During the migration, the weavers instead of returning to Delhi chose to stay back
here. They did not want to go back to Delhi. During the reign of Malik Ambar many people were
attracted to the city and came and settled here from far and wide. Aurangabad during
Aurangzeb's Governorship and the times of Mughal became the capital and the weavers had a
gala time making money and becoming prosperous. The handicraft industry in Aurangabad
attracted hundreds of craftsman and artisans. Members of the royal family and an elite few
used the famous Aurangabad himroo. Himroo weaving is very characteristic and different.
Fabrics and shawls from Aurangabad are much in demand for their unique style and design.

➢ Characteristics:

Himroo is a fabric made of silk and cotton, which is grown locally in Aurangabad. Himroo was
brought to Aurangabad in the reign of Mohammad Tughlaq, when he had shifted his capital
from Delhi to Daulatabad, Aurangabad. The word himroo originated from Persian word Hum-
ruh which means 'similar'. Himroo is a replication of Kinkhwab, which was woven with pure
golden and silver threads in olden days and was meant for the royal families.
Himroo uses Persian designs and is very characteristic and distinctive in appearance. Himroo
from Aurangabad is in demand for its unique style and design. Some historians believe that
Himroo was the innovation of local craftsmen with very little Persian influence. Himroo Is
woven near Delhi Gate and Zaffar Gate neighborhood in Aurangabad.

➢ Origin and history

The name Jamdani is of Persian origin and is strongly suggestive of Mughal influence. It is a
compound word wherein “jam” means flower and “dani” means vase. The name is suggestive
of the beautiful floral motifs that adorn these gorgeous sarees. The Bengali version of the
name, Dhakai, comes from the place of its origin - Dhaka in Bangladesh. Interestingly, the
earliest mention of Jamdani sarees can be found in Chanakya’s Arthashastra, dating back to the
3rd century BC. The book refers to it as some fine cloth from “Bangla” and “Pundra”
region. Significant mentions of Jamdani can also be found in the book of Periplus of the
Erythraean Sea, besides the accounts of Arab, Chinese and Italian travellers and traders. In the
first half of the 19th century, James Taylor described the flowered Jamdani.
Though Jamdani has enjoyed immense popularity right from the beginning, the art form
bloomed during the Mughal period. However, colonisation by the British saw a decline in the
production of this fabric. Export of cheaper yarn from European countries in the 19th century
was one of the primary reasons for the decline of Jamdani. Also, with the decline of Mughal
rule in India, producers of Jamdani were deprived of their most influential patrons. Villages like
Madhurapur and Jangalbadi, once famous for the intricate Jamdani industry, faded into
oblivion. Post the partition, many weavers migrated to present day West Bengal, and that
marked the beginning of the art form in India.

➢ Production process:

The base fabric for Jamdani is unbleached cotton yarn and the design is woven using bleached
cotton yarns so that a light-and-dark effect is created. The process is extremely time consuming
as it involves a tedious form of hand looming. The making of Jamdani involves the
supplementary weft technique along with the standard weft technique. With the latter, the
base sheer material is made on which thicker threads on used to create designs. Each of the
supplementary weft motif is then added manually by interlacing the weft threads with fine
bamboo sticks using individual spools. This process results in the vibrant patterns that appear
to float on a shimmering surface, which is a feature unique to Jamdani sarees.
Jamdani weaving is somewhat like tapestry work, where small shuttles of colored, gold or silver
threads are passed through the weft. Designs range from the “butidar”, where the entire saree
is scattered with floral sprays, to diagonally striped floral sprays or the “tercha” and a network
of floral motifs called “jhalar”. Today, however, price constraints have forced weavers to
simplify their designs. The most remarkable part of this technique is that the pattern is not
sketched or outlined on the fabric. Instead, it is drawn on a translucent graph paper and placed
underneath the warp. The fabric is not just limited to sarees; scarves, handkerchiefs and
dupattas made out of this fine muslin are also extremely popular.

➢ Motif:
The most remarkable part of about the Jamdani weaving technique is that the motifs are not
sketched or outlined on the fabric. Instead, they are drawn on a translucent graph paper and
placed underneath the warp. Though Jamdani technique is famous for sarees, it is also used to
make scarves, handkerchiefs and dupattas. Popular motifs include panna hajar (thousand
emeralds), kalka (paisley), butidar (small flowers), fulwar (flowers arranged in straight
rows), tersa (diagonal patterns), jalar (motifs evenly covering the entire saree), duria (polka
spots) and charkona (rectangular motifs).

➢ Muslin also mousseline or Malmal, is a cotton fabric of plain weave. It is made in a wide
range of weights from delicate sheers to coarse sheeting. Muslins were imported into
Europe from the Bengal region, in the eastern part of the Indian subcontinent, during
much of the 17th and 18th centuries and were later manufactured in Scotland and
England. While English-speakers call it muslin because Europeans believed it originated
in the Iraqi city of Mosul, its origins are now thought to have been farther east — in
particular Dhaka, the capital of what is now Bangladesh. Dhaka’s jamdani muslin, with
its distinctive patterns woven in layer by layer, was one of the Mughal Empire’s most
prestigious and lucrative exports. Early muslin was handwoven of uncommonly delicate
handspun yarn. In 2013, the traditional art of weaving Jamdani muslin in Bangladesh
was included in the list of Masterpieces of the Oral and Intangible Heritage of
Humanity by UNESCO.

➢ Dress-making and sewing:

When sewing clothing, a dressmaker may test the fit of a garment, using an inexpensive muslin
fabric before cutting pieces from expensive fabric, thereby avoiding potential costly mistakes.
This garment is often called a "muslin," and the process is called "making a muslin." In this
context, "muslin" has become the generic term for a test or fitting garment, regardless of what
it is made from.
Muslin is also often used as a backing or lining for quilts, and thus can often be found in wide
widths in the quilting sections of fabric stores.