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HANDLOOM IN INDIA: AN OVERVIEW

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Strad Research https://doi.org/10.37896/sr7.8/016 ISSN: 0039-2049

HANDLOOM IN INDIA: AN OVERVIEW

Shruti Sudha Mishra*

ICSSR Doctrol Fellow

Dept. of Business Administration
Sambalpur University, Odisha.

Dr. A. K. Das Mohapatra**

Professor
Dept. of Business Administration
Sambalpur University, Odisha.

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HANDLOOM IN INDIA: AN OVERVIEW

Abstract
Indian hand-woven fabrics have existed since beyond the reach of memory. This sector involves
large number of artisans from rural and semi-urban areas, most of which are women and people
from economically disadvantaged groups. Some of the strengths of this industry are availability
of cheap and abundant labour, use of local resources, low capital investment, unique
craftsmanship in manufacturing of the products and increasing appreciation by international
consumers. It is important to note that despite such unique characteristics, the industry comprises
a meager proportion of Indian exports in global market, thus calling for efforts to promote and
channelize the offerings of the industry to tap its hidden potential. The present study is an effort
to bring out the cultural importance of this precious handloom, by giving an overview of its
history, role of handloom before and after Independence, revival of handloom, process and
varieties of handloom prevailing in India.
Keywords: Handloom, India, history, present scenario, varieties

****
1: Introduction
The handloom industry in India has a long tradition of excellent craftsmanship, representing and
preserving the vibrant Indian culture. Indian artists are now distinguished worldwide for their
hand spinning, weaving and printing elegance. The operations of this industry are primarily
household based, wherein various members of the family put in joint efforts for production.
These activities are spread across thousands of towns and villages of the country and involve
transfer of skills from one generation to the next. This sector involves large number of artisans
from rural and semi-urban areas, most of which are women and people from economically
disadvantaged groups. Some of the strengths of this industry are availability of cheap and
abundant labour, use of local resources, low capital investment, unique craftsmanship in
manufacturing of the products and increasing appreciation by international consumers. It is
important to note that despite such unique characteristics, the industry comprises a meager
proportion of Indian exports in global market, thus calling for efforts to promote and channelize
the offerings of the industry to tap its hidden potential. The present study is an effort to bring out
the cultural importance of this precious handloom, by giving an overview of its history, role of
handloom before and after Independence, rivavl of handloom, process and varieties of handloom
prevailing in India.

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2: History

Indian hand-woven fabrics have existed since beyond the reach of memory. Though India was
renowned even in ancient times as an exporter of textiles to most parts of the civilized world, few
actual fabrics of the early dyed or printed cottons have survived. This, it is explained is due to a
hot, moist climatic conditions and the existence of the monsoons in India. Egypt with its
exceptionally dry climate can provide evidence, but India can‟t. The earliest Indian fragment of
cloth (before the Christian era) with a hansa (swan) design was dig from a site near Cairo where
the hot dry sand of the desert acted as a preservative.
Later, chunk of finely woven and madder-dyed cotton fabrics and shuttles were discovered at
some of the excavated sites of Mohenjo-Daro (Indus valley civilization). Indian floral prints,
dating back to the 18th century A.D were discovered by Sir Aurel Stein in the icy waters of
Central Asia. The proof shows that of all the arts and crafts of India, traditional handloom
textiles are probably the aged one. Historical account also reveals it was even before 5000 B.C.
Indian muslin was the choice of Egyptians for dressing their mummies. Scholars like Herodatus,
Meghasthenese and Pliny have spoken in the most laudable terms for Indian cloth. Herodatus
remarked that Indians weave cloths made up of a type of wool which did not come from goats or
sheeps, but was grown like plants. Meghasthenese wrote that Indian textiles were worked in gold
and were decked with costly jewels. Dr. Robertson had said that, gold and silver was brought in
loads to India from other countries owing to her textile industry. Similarly many renowned
persons like Bernier, Tarvenier, Voltaire and Danial Defoe have spoken about the beauty,
sensitivity and uses of Indian handlooms. Even after the inception of textile mills and factories in
England, Indian fabrics were so cheap that the British trade found itself threatened with
extinction. The existence of British textile in jeopardy, the parliament decreed drastic reduction
in the import of Indian cloth and levied more duty on it. But still then Indian textile products
were found to be cheaper. There upon more rigorous measures were adopted to discourage the
use of Indian cloth. Punishment was reinforced to Indian tradesman and Englishmen, who wore
Indian clothes. Above accounts testify to the international reputation of Indian handloom fabrics
in olden times. But later on, during British rule in India and the influence of both the World Wars
removed the vitality of the handloom industry to some extent. Post-independent period, however,
brought a new ray of hope for the industry in general and the weavers in particular.

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2.1: Pre Independence

Britishers with their knowledge of advanced machine and a vested interest emboldened
themselves to by-pass the age long weaving traditions of India, is undisputable. Weavers were
endlessly subjected to exploitation by all means. As a result, the ancient hand spinning industry
almost died out, making the hand weaver helplessly depend on the machine for supply of yarn.
The tariff policy during 1896-1914 favored the progress of handloom industry in India. Import
duty of 3.5 % was increased to 7.5 % on mill made cloth. But the beginning of World War
became a boon for the millers. Between 1914-1920 the number of mill looms increased by 15 %.
Production of handloom cloth also sharply fell during this period. The situation resulted in
unemployment for weavers. During war period import of cloth was curtailed and internal
demand was increased, which became helpful for mills. Till about the middle of 19th century
textile industry in India meant handloom industry only, with 100% handloom cloth circulation in
the country and a flourishing export market in addition. But the situation changed so rapidly that
before the II World War the ratio was in favour of mill sector, not in favor of the handlooms.
After the first World War, handloom industry recorded some satisfactory progress, mainly
because of the availability of good quality dyes , use of fly shuttle looms by weavers in many
parts of India and emergence of co-operative form of organization. But the Trade Depression of
1930s paralyzed the handloom industry. It is due to the growing competition with foreign cloth,
imposition of protective duty by the Government on imported cotton cloth and mass production
of cloth by powerlooms. Moreover the British Government imposed duty on yarn in 1927 and
hence handlooms had to depend mostly on the yarn spun in India. As a result of the depression
the average earning capacity of the weaver was seriously eroded. By using improvised looms
also the weaver could not help produce more, but the wages he received was not commensurate
with the job. In the early part of 1930s the condition of weavers was precarious. Government of
India was not paying any attention. Only the state governments were trying to help the weavers.
Gradually the state governments realized the urgency of the situation. Government of India also
felt that weavers were hit by the import duty of the yarn. However, financial measures were not
sufficient to ameliorate difficult conditions faced by weavers. Therefore, a Fact Finding
Committee was appointed in 1941 to investigate different problems of the industry, such as
difficulty in getting yarn, marketing of finished products, state of handloom technique etc. It had
the responsibility also to find out a new way of re-organizing the industry and demarcating a
special field for handloom. The All India Handloom Board was set up in 1945 according to the
recommendation of the committee and it was again revitalized in 1952.

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2.2: Post-independence period

Several generations of families of weavers suffered sufficiently long from the maltreatment of
Britishers. After independence the weavers clamored for solid foundations to build up their
industry once again. Thus it was a turning point for weavers. The government was also aware of
the problems faced by the weavers. That is why special importance was given to the industry in
different five year plans. Also, to look into the difficulties of weavers and the industry, different
committees were appointed at different times. Besides, a number of institutions were established
to channelize the financial resources and other managerial assistance to the industry.
The All India Handloom Board was established in 1945, which was reconstituted in 1952 to
advise the Government for development of handloom industry. It was assisting the Government
generally on problems, such as examining the schemes for the improvement and development of
the industry. The role of AIHB (All India Handloom Board) has undergone a radical change
since 1958. Till then the Board was responsible for formulating state plans for development of
the handloom industry after discussion with concerned state governments. But the procedure was
revised by the planning commission that "continuing schemes" should be sanctioned by the state
government and there will be no financial sanction from the centre. In one way the importance of
the Board was reduced. Again the Board was reconstituted in 1978 in response to the
recommendation of Shivaraman Study Team. But in 1982 ultimately it merged with the All India
Handicraft Board to form All India Handlooms and Handicrafts Board. In 1953, decision was
taken to open the All India Handloom Fabrics Marketing Co-operative Society (AIHFMCS) to
look after the internal and external marketing. Later on, it was assisted by Handloom Export
Promotion Council (HEPC).

2.3: Decline of Handloom

During British rule, India was turned into an exporter of raw cotton and the country was flooded
with machine made imported yarn. To increase consumption of this yarn, British authorities
resorted to violence and coercion. Summarily, this resulted in a complete loss of livelihood first
for the spinners, and dependence of handloom weavers on machine yarn.
When yarn came from a distance and had to be bought, yarn dealers and financiers became
necessary. As the average weaver had little credit, the industry fell more and more into the grip
of middlemen. Thus the independence of most weavers disappeared, and a great majority of them
came to work under a trader on contract/ wage basis.

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Despite this Indian handloom sustained itself, until World War I when imported machine made
clothes flooded the Indian Market. The beginning of Powerlooms in the 1920‟s, and the
consolidation of the mills and the high cost of yarn, made an unfair competition that led to the
decline of Handloom.
Mahatama Gandhi started the Swadeshi Movement and reintroduced hand spinning in the name
of Khadi which essentially means hand spun and hand woven. Every Indian was urged to
spin the yarn using Charkhas and wear Khadi. This led to the closure of the Mills in Manchester
and a huge turning point in the Indian independence movement. People burnt imported clothes
and chose to wear Khadi. Post Independence, textile mills and spinning mills continued to
function in India. Today, there are many weaving styles that use machine spun yarn and these
fabrics are referred to as Handloom. And fabrics made from Handspun yarn are called Khadi
fabrics. Though the textile and spinning mills continued in Independent India, handloom / khadi
were given a lot of protection from unfair competition. Thus the fabric was widely used and
affordable for everyone. Since 1985, and especially post 90‟s liberalization, handloom sector had
to face competition from cheap imports, and design imitations from powerlooms. In addition
government funding and policy protection also declined drastically. Also the cost of natural fiber
yarn has increased tremendously. In comparison to artificial fiber, the cost of natural fabric has
gone up. This becomes unaffordable for the common people. But the wages of handloom
weavers have remained frozen for the past decade or two. Unable to compete with cheaper poly-
mixed fabrics, many weavers are quitting weaving and going for unskilled labour work. And
many have been reduced to extreme poverty.

2.4: Present Scenario

Indian handloom has been the pride of India‟s tradition and a manifestation of its cultural
brilliance. In fact, handloom sector has been gaining significance since the ancient times. The
basic meaning of Indian handloom is creating designs by keeping traditions intact. And that‟s the
reason; this sector has always been in demand. In earlier times, the weavers, embroiders and
printers used to do wonders with their skills manually. But, the development in this sector has
given birth to various machines that are meant to simplify the tasks. From the ancient times till
now, Indian handloom has travelled steadfastly in the direction of lessening gaps between
countries. Being the second largest sector in the world and a bread earner of over 60 Lakh people
in India, handloom sector has developed techniques to match the ongoing modernity. Indian
handloom is crossing borders to be a part of foreign style also, not just in terms of popularity; but

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also for originality. This handloom sector has seen various developments to match its steps with
the growing demands. No matter it is a foreign customer or Indian, the Indian handloom is strong
enough to meet their requirements. In fact, it has become a fashion statement and is attracting
designers also. The present trend in handloom sector is that of mingling old designs with new
techniques and creating originality out of it. This has also lead the Indian handloom markets to
step out of their country. And that‟s why; export of Indian handlooms is gaining momentum. The
Handloom emporiums and shops are steadfast in giving shape to the ideas of their customers.
Moreover, this handloom sector is high in demand in foreign countries. The use of vibrant colors
and traditions embroidered or pained on finest fabrics in India has been attracting foreign buyers.
And this has encouraged the manufacturers to export Indian handloom materials to other
countries. On the other side of the front, some of the manufacturers import threads and modern
style machinery or looms from other countries to enhance their work efficiency. Even, the first
Jacquard weaving loom was made by Joseph Marie Jacquard in 1801.
It is well known that traditional and customary handloom act as the base of every progress. The
innovation in terms of mechanism has been done to meet the growing demands of contemporary
styles. This has inspired the artists in making fusion dresses and prints on them. The present
outlook on Indian handloom says that it has carved a niche for itself in the world. Indeed, the
foreigners always get attracted to the stylish prints, vibrant colors and bold embroiders that
speaks of Indian tradition in detail. This sector has played a very vital part in bringing the world
close to Indian tradition. The people also get to know a lot of hard work and toil hidden in the
wings of the bird of Indian handloom. Each and every part of Indian Territory brings the gift of
their specialty to the world. One can check out Phulkari of Punjab, Bandhej print of Gujarat and
Rajasthan, variety of pure silk in Assam, finest cotton saris from Bengal with gold and silver
work and lots more. On an overall basis, Indian handloom has been growing and has now
become a trademark that is stylizing the lives of crores.

3: Handloom is Timeless
Handloom refers to the different types of wooden frames which are used by skilled artisans to
weave fabrics being extracted from natural fibers like Cotton, Silk, Wool, Jute etc. It is a cottage
industry where all the family members are being engaged in the production of cloth. Right from
spinning the yarn, coloring, to weaving on the loom, each activity is done by them. Fabric
produced from these looms is also referred to as Handloom.

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The equipment needed for this entire process is made from wood, sometimes bamboo and they
do not require any electricity to run them. The complete process of fabric production was totally
manual. Thus, this is the most eco-friendly process of producing clothes.
In India there are different styles of handloom in different parts of the country, there are Madras
checks from Tamil Nadu, Ikats from Andhra and Orissa, tie and dye from Gujarat and Rajasthan;
brocades from Banaras, jacquards form Uttar Pradesh, Daccai from West Bengal, and phulkari
from Punjab. Yet, despite this regional distinction there has been an appreciable deal of technical
and stylistic interchange.
The famed Coimbatore saris have developed while imitating the Chanderi pattern of Madhya
Pradesh. Daccai saris are now woven in Bengal, not Dhaka. The Surat tanchoi based on a
technique of satin weaving with the extra weft floats that are absorbed in the fabric itself has
been reproduced in Varanasi. Besides its own traditional weaves, there is hardly any style of
weaving that Varanasi cannot reproduce. The Baluchari technique involves plain woven fabric
brocaded with untwisted silk thread. This began in Murshidabad district of West Bengal but has
taken root in Varanasi. Their craftsmen followed the jamdani technique.
Woolen weaves are as subtle, if not more. The Kashmiri weavers are known the world over for
their Pashmina and Shahtoosh shawls. These shawls are incredibly light and warm.
Kashmir and Karnataka are popular for their mulberry silk. It is in India only that all four
commercially known silks - mulberry, tasser (tussore), eri and muga are produced. The
popularity of tasser is found in the remote forests of Madhya Pradesh, Orissa, Bihar, Andhra
Pradesh, West Bengal and Uttar Pradesh and it is also grown in the USA & Europe. Another
kind of raw silk is eri. Eri is soft, dull and has wool like finish.
Assam is home to eri and muga silk. Muga is durable; it has a natural tone of golden yellow and
rare sheen which becomes more lustrous with every wash. The designs used in Tripura, Assam
and Manipur are mostly stylized symbols, the galaxy of stars, and cross borders. Weavers of
Assam produce beautiful designs on the borders of their riha (traditional garments used by the
women), mekhla, gamosa (towel) and chaddar. In Assamese society it is a custom for a young
woman to weave a silk bihuan (cloth draped over the chest) for her beloved which is presented as
a token of love on Bohag Bihu (New Year‟s Eve).
Andhra Pradesh, Gujarat and Orissa specialize in the ikats. This technique in India is commonly
known as pagdubandhu, buddavasi and chitki in Andhra Pradesh, patola in Gujarat and bandha in
Orissa. The ikat constitutes tie and dye process, wherein the designs in various colors are formed
on the fabric either by the weft threads or the warp threads or by both. Threads forming designs

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are tied and dyed separately, this gives the desired color. The simple interlacement of the threads
produces a very intricate design which appears only in the finished weaving. Ikat of Orissa is a
much older tradition than Andhra Pradesh or Gujarat. Their more popular themes are stylized
fish and the rudraksh beads. In this version of ikat the color is built up thread by thread. In fact,
Orissa ikat is known as yarn tie and dye. Andhra Pradesh ikat design is made by bunching some
threads together and tying and dyeing. They also have total freedom of design. It is believed in
some circles that ikat was an innovative technique which was first created in India. This was
later carried to Indonesia, which is the only other place in the world having a strong ikat
tradition.

4: Inter-state variations

Indian Handloom Fabric has gradually lost its ground as international fashion brands are
establishing their way on the shelves of our nearest malls. The last century has seen increasing
awareness of handloom Fabrics. August 7th has been designated as the National Handloom Day.
Indian Handloom Fabrics have gradually found their place in the international fabrics market.
Indian Handloom Cotton Fabrics are being gradually recognized by International fashion brands.
An outline of the different kinds of handloom fabric popular in India has been given here under:

4.1: Chanderi work from Madhya Pradesh

Chanderi works from Madhya Pradesh is one of the prominent Indian Handloom Fabric. It is a
traditional work from Madhya Pradesh with a related mythological connection. It is widely
believed that Lord Krishna's cousin Shishupal introduced this work. Cotton and silk are the
primary material used for this type of work. This Handloom Fabric has been very popular since
the Mughal period and is known as „woven air'.

4.2: Khadi from Bengal

Khadi from Bengal has made its mark in the Indian Handloom Fabric industry. This hand or
machine woven cloth is well known for its light texture. Its unique characteristic of being cool in
summer and warm in winter has won it international name and fame. Natural dyes are rendered
more attractive when used on this fabric. This Handloom Fabric is very popular not only in
India but across the whole world.

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4.3: Muga Silk Assam

Muga is the silk contributed by Assam and is well known for its nice texture and durability. It is
known as "the golden fiber" because of its natural golden yellow tint. It is hand washed and the
shine increases with every wash. Muga was earlier reserved for royal use and now is extolled as
one of the finest silk in the nation. It is used to make traditional Assamese outfit, the mekhla
chador. Nowadays Muga silk is one of the most proclaimed Indian Handloom Fabrics.

4.4: Kanjeevaram from Tamil Nadu

From the dozens of wide range of Handloom Fabrics, Kanjeevaram silk fabric is unique and
distinctive. The material is hand woven and it is the most expensive silk found in India. This
hand woven fabric is manufactured in the Kanchipuram region of Tamil Nadu and it is a famous
silk saree of South India. It is mainly known for the detailed zari work and extraordinary fabric.
Kanjeevaram sarees are popularly known to use gold in its weaving process to date.

4.5: Sambalpuri from Odisha

In Odisha, Ikat has mastered the art of weaving on Sambalpuri. Ikat weavers in Odisha work in a
community called as the Bhulia or Meher, as they have inherited the art form over the years.
Sambalpuri fabric is being produced in Boudh, Bargarh, Sonepur, Bolangir. The weavers have
mastered the art over the years and presently, they are undertaking various processes to expert in
the rich cultural heritage. The unique dyeing style is being used to apply contemporary designs
such as Bhoomi and Vraj. The Ikat design has gained a lot of popularity and is woven both on
silk and cotton. This traditional Indian Handloom Fabric has gained quite popularity in the
Indian fashion industry.

4.6: Kalamkari from Andhra Pradesh

The term Kalamkari derive from the Persian word „qalam' implying pen and „Kari' meaning
craftsmanship. This popular Handloom Fabric from Andhra Pradesh exhibits great stories from
Hindu mythology with the presence of Hindu deities. This was used in the courts of Mughals. It
is popular for its block prints on sarees, dupattas and other materials as well.

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4.7: Bandhani or tie and dye, Patan Patola from Gujrat

The Bandhani handlooms dates back to the times of Indus Valley Civilization. Dyeing technique
was in use as early as 4000 BC. Bandhani is derived from the Sanskrit word „bandha' which
means „to tie‟. This traditional Gujrati Handloom Fabric is made by tying and coloring using
white. The Khatri communities of Gujrat are traditionally involved in its production. Cotton or
silk textile is used and is found in various colors as black, blue, red, yellow, green and many
more. White dot patterns are used to form interesting patterns on the fabric.

Patola sarees are the ultimate weaving prowess of this age. In Patan, Gujrat the artisans have
perfected the weaving process over centuries. It is weaved into silk cloth using a double Ikat
pattern and then the workers weave it into a Patola saree. The extrinsic dyeing and weaving
process is used which adds to the authentic exoticism of the fabric.

4.8: Bhagalpuri Silk from Bihar

Bhagalpur in Bihar is known for its silk weaving industry. It is known as the Silk City since a
century. It produces the finest quality of tussar silk with the handloom fabric made from tussar
cocoons. Bhagalpuri silk sarees are popular throughout India and beyond for their color, luster,
texture, and design.

4.9: Kosa Silk from Chhattisgarh

Kosa silk from Chhattisgarh is famous for being desi tussar. It is made of the rarest silk weaving
worms. It is extremely difficult to extract and weave this Kosa silk sarees. It takes anywhere
between three and five days. Kosa silk is extremely durable. It is considered to be one of the
finest silk in the world. It is produced in the Champa district of Chhatisgarh.

4.10: Kunbi from Goa

Kunbi handloom fabric is from one of the oldest tribes in Goa, the Kunbis. It is a cotton fabric
draped like a saree below the knees by tribal women in the paddy fields. The usage of Kunbi
sarees declined after Goa was invaded and occupied by the Portuguese. It almost halted till the
20th century. However, this Indian handloom fabric has been revived by designer Wendell
Rodricks. Various designer dress and saree were designed from traditional Kunbi saree by him.

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4.11: Panja Durries from Haryana

The Panja Durries is well-known for its rich handloom tradition. This particular handloom style
originates from the ancient town of Panipat in Haryana. This town is known for producing Panja,
a unique way of weaving, that derives its name from the weaving tool used panja. The handloom
fabric is generally not worn, due to its texture. The handloom fabric is used for durries, carpets,
rugs along with all other types of floor covering. It is made from thick thread and is found in
almost all village homes in Haryana. Its feature is beautiful and can be made into beautiful
patterns.

4.12: Brocades from Uttar Pradesh

Benarasi sarees from Uttar Pradesh ranks as India's most prestigious precious handloom textile.
Wearing a benarasi is considered as wearing a piece of art itself. The weavers and artists
of Benarasi weave gold and silver metallic threads for creating exotic designs and delectable
brocades. This handloom fabric is well-known globally and the high-quality weaving process
has sustained itself through years of downturns in the Indian textile industry.

4.13: Lepcha from Sikkim

Sikkim has various tribes, but the Lepcha tribe is the most well-known for its handloom
tradition. The Lepcha handloom fabric is used for making traditional garments, shoulder bags,
cushion covers, napkins, table mats, and many more things. The handloom fabric on which the
matter is woven is the basic fabric of cotton or wool and motifs are then woven into this textile.

4.14: Kullu Shawls from Himachal Pradesh

The Kullu shawls from the Himalayas are an integral part of the rich cultural heritage of
Himachal Pradesh. Kullu shawls are hand woven from three different types of wool, Angora
wool, Merino wool, and Local sheep wool. The shawls can be worn both by men and women.
These shawls earlier did not have much design but now some common design patterns of
geometric shapes are done using bright colors. It is usually in high demand in India and foreign
countries in spite of their high prices.

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4.15: Pachachuli Weave from Uttarakhand

The famous Panchachuli range in the Himalayas in the northeast of Uttarakhand is known for its
beautiful peaks internationally. The Tibetan rural women weave wonderful outfit using sheep
wool and Tibetan cashmere. Their source of income depends on the sale of high-quality woolen
products like stoles, shawls, wraps, sweater and other garments. The Panchachuli cooperative
set-up in 1990 is encouraging the sale of these materials in foreign countries, apart from selling
in different parts of India.

4.16: Pachra from Tripura

The handloom fabric from Tripura is termed as the Pachra. It is basically a long cloth piece,
worn as a lower garment by women of the region. The handloom fabric has intricate stripes and
embroidery using various colors and extends just below the knee. The Pachra garment is worn
with a risa, and it is a short cloth covering the upper body.

4.17: Naga Shawls from Nagaland

Weaving is mandatory in the Naga tradition. Shawls of Nagaland are made by multiple number
of tribes in the State. The Naga shawls are made mainly using black and red wool. Each Naga
tribe has its extraordinary shawl patterns and some shawls have pictures of tigers, human head,
elephant, cock, and spear representing their age-old traditions.

5: Materials and Techniques used in Handloom

1. Cotton
Cotton was traditionally the single largest natural fiber used in clothing. Today India
occupies the second position in cotton production in the world. Many varieties of cotton
were produced in our country, the majority being the short staple variety which is ideal
for hand spinning. We have moved away from growing short staple varieties but still
produce good amounts of cotton both for domestic use and for export. Heavy use of
pesticide has led to many problems and now there is a shift to organic farming. Over 500
indigenous varieties of cotton are now available through organic farming.
2. Yarn
Yarn is a long continuous length of interlocked fibers. Staple length of cotton determines
the thickness of yarn spun and this is referred to as “yarn count”. Standard measure for a

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length of cotton yarn is “hank”. A hank measures 840 yards. Hank yarn is used typically
in handloom production as opposed to cone yarn which is used in mill production.
3. Hand Spinning
The process of converting cotton fiber to yarn is complex and the strength and fineness of
yarn is dependent on the staple length of the fiber and the skill of the spinner. Yarn can
be hand spun in two ways- cotton fiber to yarn by hand, cotton to silver by mechanical
process which is then spun by hand in various thickness. Srikakulam is north coastal
Andhra remains the only hand spinning belt in the country where fine yarn upto 100s
counts are spun.
Mill Spinning
Mechanical spinning of yarn in the west began with the industrial revolution in the 17th
century. During colonial rule, the British introduced mill spinning in our country. Large
spinning mills were initially located in Mumbai and later most of the activity shifted to
Tamil Nadu and a few pockets in Andhra Pradesh. Today mill spun yarn is used
extensively by handloom weavers across the country. The Bombay Spinning and
Weaving Mill at Tardeo, Mumbai, was one of the first mills set up in India in 1854 to
supply yarn to local handloom weavers.

4. Dyeing
Textiles can be dyed in the yarn form or at the fabric and garment stages. Hank yarn
dyeing is a predominant practice in South India unlike in the North where fabric is dyed
for developing prints in the craft sector. The dyeing process involves “scouring” to
remove natural oils and dirt present in cotton after which natural or chemical dyes are
used for coloring. Dyeing for handloom is done in and around weaving villages by local
experts. In the past, sarees had very little color in them. Color was used mainly in the
borders and pallu.
Natural Dyeing
Dyes extracted from natural materials such as the bark of trees, flowers, leaves and
minerals are known as natural dyes. Vegetable dyes are a sub-category of natural dyes,
referring to colors that come from plant matter only. Mordants, which are usually
minerals, are used to fix dyes on cotton. All natural dyes generally yield lasting colour
though some colors are sensitive to sunlight.
Chemical Dyeing

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The discovery of the structure of benzene in 1865 in Europe heralded the shift from
natural dyes to chemical dyes. Chemical dyes- direct dyes, Sulpher dyes, napthol dyes,
vat dyes and reactive dyes- that are used today were developed during the period 1878-
1956. They offered a wide range of colors with an ease of application along with the
properties of fastness that sited modern day usage.
5. Bobbin Winding
Yarn in the hank form is wound on to bobbins in this process. This is the first step in
transforming the yarn from the hank form to a linear form. Dyed hank yarn is wound on
to bobbins with the help of charkhas. This process enables the laying out of yarn lengths
for weaving. Bobbin winding is done by women in the weaver households. Typically 19
to 20 bobbins are required for five sarees „wrap‟ length of 34 meters.
6. Warping
The warp is asset of threads attached to the loom lengthwise before weaving begins.
Warping is the process of creating the base yarn that runs along the length of fabric
through which the “weft” yarns are filled in to make the fabric. For a 46-inch wide fabric,
over 3,200 individual yarns run along the warp of the fabric. Typically, 1,96,550 yards of
yarn are aligned by wrapping them around the circular warping drum. Traditionally warp
lengths and widths varied according to the draping styles of the sarees of a particular
region.
7. Street Sizing
The warps are stretched out onto two beams and natural adhesives are applied to add
strength to the yarn and lubricate it to withstand the rigors of weaving. In most handloom
centers, rice starch/gruel is mixed with coconut /groundnut oil and applied as “size”
material. Sizing is carried out by weavers or specialists in the village. Since this activity
is done on the street, it is called “Street sizing”.
8. Attaching the warp onto them
Individual wrap threads are drawn through heddles taken through a set of reeds and tied
onto beams located on both ends of the loom. The heddles separate the wrap into two
sections which allows the weft threads to pass between them easily. Checks and stripes
are created by segmenting the warp and weft yarn. For motifs, looms are equipped with
“dobbies” or “jacquard” cards which help in lifting segments of warp yarn into the weft.

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Heddles are made out of rods or cords, each with an eye through which the warp thread is
drawn. Reed is a comb like frame that pushes the weft yarn firmly against the finished
cloth after each insertion.
9. Weft Winding
Hank yarn for weft is wound onto a pirn. The weft yarn is then inserted into a shuttle.
Weft preparation is done on the charka, using the finger tips to give the correct tension to
the yarn. This operation is normally done by women.
Pirn is a small bobbin.
Shuttle is a device used in weaving to carry the weft thread back and forth between the
warp threads.
Changing colors in the weft allows for the creation of „shot‟ color which makes the fabric
lustrous and vibrant.
10. Weaving
The process of weaving is the interlacing of two sets of yarn – the warp and the weft. The
equipment that facilitates this interlacement is the loom. A „handloom‟ is a loom that is
used to weave fabrics without the use of electricity. The manipulation of the foot pedals
to lift the wrap has to be in sync with the throwing of the shuttle which carries the weft
yarn. A perfect weave demands co-ordination between mind and body. The weaver
achieves a harmony of motion and rhythm to create a unique product. Depending on the
complexity of design, a weaver weaves between half meters to five meters of fabric a
day.

6: Key milestones for the sector

August 15, 1947 marked a turning point for the handloom weavers of India. Mahatma Gandhi‟s
use of Charkha, the spinning wheel, as a symbol of national regeneration and the subsequent
focus on the handloom weavers during the freedom movement was largely responsible for the
breakthrough. The dawn of Independence provided an opportunity to accord priority treatment to
the handloom sector. At the time of Independence, there were about three million handlooms in
India, largely of poor quality because of inferior raw material and ill-organized marketing
infrastructure. The situation worsened in 1952 due to a slump in the textile market. The All-India
Handloom Board was reconstituted seven years after its dissolution in 1945, to advise the
Government and propose schemes for the development and survival of handlooms. With a view
to raising funds for the sector and organizing weavers‟ cooperatives, Parliament had passed the
Khadi and Other Handloom Industries Development Act in 1953. To facilitate marketing of

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fabrics made in the handloom cooperatives, a national level apex body called the All India
Handloom Fabrics Marketing Cooperative Society was set up in 1955. The Weavers Service
Centre and the Indian Institute of Handloom Technology were set up to provide infrastructure
back up in the vital areas of applied research, service and training. The Handloom and
Handicrafts Export Corporation of India Ltd (HHEC) was set up in 1958 to promote export of
handlooms. In 1976, the Government appointed a high powered study team and on its
recommendations the Office of Development Commissioner for Handlooms was created at the
Centre to ensure a scientific growth of the handloom sector. Since then the Office of the
Development Commissioner for Handlooms has been implementing various developmental and
welfare schemes for the benefit of the handloom weavers. To ensure a steady supply of raw
materials such as yarn, dyes and chemicals to the handloom sector, the National Handloom
Development Corporation (NHDC) was set up in 1983.

7: Conclusion
Despite such adversity, Indian artisans have stood the test of time and have kept this great craft
alive. Over the centuries, handlooms have come to be associated with excellence in India‟s
artistry in fabrics. Fabrics and designs were influenced by geographic, religious and social
customs of a region. Different parts of India have produced distinct styles – muslin of Chanderi,
Varanasi brocades, Rajasthan and Orissa have given tie and die products, Patola sarees from
Patan, himroos of Hyderabad, phulkari and Khes from Punjab, Daccai and Jamdani from Bengal,
traditional designs from Assam and Manipur like the Phenek and Tongam. Indian handloom
designs and weaves have been famous world over and it is important to ensure sustenance of our
cultural heritage

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