Zardozi

d in city of
reams
 d
Zardozi
in city of
reams

National Institute of Fashion and Technology,

Mumbai
Masters Design Space (2016-2018)
 Acknowledgment
We take this opportunity to express our gratitude
to the people who have been instrumental in the
successful completion of this project. Apart from our
efforts, the success of this documentation depended
upon the encouragement and guidelines of many oth-
ers, to whom we are highly obliged.

First of all we want to convey our sincere reverence

to our honourable director, Ms. Nilima Rani Singh, for
Coordinated by : serving as the backbone of our support and inspira-
Mrs. Rashmi Gulati (Course Coordinator, Masters Design space) tion channel. Also our heartfelt gratitude to Course
Mr. Nitin Kulkarni (Cluster Initiative Coordinator) Co-ordinator, Mrs. Rashmi Gulati and Cluster Co-or-
Core Team : dinator, Mr. Nitin Kulkarni, who presented us with
Ankita Rohan this unique opportunity to document- Zardozi (city
Lakshika Gupta of dreams).
Mahi Khare
Rutvi Sheth
Sabina Khan
Sunaina S
Shailja Singh
 Content
1. Introduction...................................................1

2. Origin.............................................................3
2.1 World......................................................4
2.2 India... ...................................................5
2.3 Zardozi in India (Map)...........................6

3. Mumbai
3.1 History....................................................8
3.2 Areas in Mumbai.....................................9

4. Demographics.............................................10

5. Aari and zardozi........................................14

5.1 Difference between Ari and Zardozi...15

6. Zardozi types.............................................16

7. Motifs.........................................................18

8. Tools and Raw Material.............................21

9. Making Process..........................................25

10. Home as workplace..................................29

11. Contemporisation.....................................30

12. Product diversification.............................32

13. Design Development.................................34

13.1 Product Board....................................35
13.2 Conceptualisation...............................36
13.3 Prototype development.....................37
13.5 Prototype Process.............................38
13.6 Final Product.....................................39

15. Sustainability............................................40

16. S.W.O.T. Analysis.....................................42

17. Conclusion.................................................43

19. Glossary....................................................47

20. References................................................49

21. Citation.....................................................50
 Introduction
India has one of the finest textile In this subject we have studied a
traditions in the world with respect local craft and done a research
to dyeing, weaving and surface on its origin , history, techniques,
embellishment. The richness of its materials etc. We have also cov-
crafts is evident in the excavated ered on the aspects of how that
findings of Harappa and Mohen- craft has surrvived over the years
jo-Daro in the Indus Valley, which and is the present scenerio of the
can be dated back to 5000 years. craft relating to contemprorisation.
Indian textile history has been lay-
ered and enriched by nuances of
migratory weavers, foreign inva-
sions and religious influences. The
wide range of design and weave,
specific to the region of their origin,
are masterpieces enhanced by the
skills of the particular craftsmen and
their tradition. The crafts thrived on
the exploration and ingenuity of
the craftspeople and their knowl-
edge of locally available material.
ZARDOZI
Gold Embroidery
The word 'Zardozi' is made up of two Persian terms,
Zar meaning gold and Dozi meaning embroidery.
 metal: it must have been hard work a focus on simple but large motifs.
wearing it in the circumstances. The inspiration for all motifs has
Origin Indian Origin always been nature. From flowers,
Sadly, few ancient pieces of gold- leaves and trees to animals and
Like many other things we take for work and metal thread embroi- Zardozi is a style of embroidery birds, the national ecology of India
granted today, like medicine, irri- dery still exist: many have been that has its earliest mentions in Ve- seeps in to all Zardozi embroidery.
gation, spices and mathematics, destroyed, others lost in the mist dic literatures, the Ramayana, and
decorative goldwork embroidery of time. One of the earliest known the Mahabharata. The original pro-
came from the East. It’s believed
that goldwork embroidery origi-
surviving examples of embroidered
goldwork is the St. Cuthbert mani- Fig. 4
cess, known as “Kalabatun”, used
silk threads wrapped in real gold
Evolution of the Craft
nated in China centuries ago and ple from the 10th century. On this Aurangzeb’s wife Rabia and silver wires to decorate satin
the craft was exported from Asia, maniple the metallic fibres were
(1658 - 1707)
and velvet fabrics. Along with the However, over time, with the rise
via Beirut, Egypt, Assyria and Bab- added on to the surface of the threads, other opulent embellish- of gold and silver prices, the use
ylonia to the Mediterranean by silk fabric rather than woven into it. In ments such as sequins, beads, pre- of such expensive materials be-
merchants following the old spice fact, in subsequent years, they of- cious and semi-precious stones came difficult and artisans resolved
to use synthetic threads or copper
Fig. 1
routes. It subsequently spread to ten used two layers of fabric to English Gothic Opus and pearls were also sewn on. At
North Africa, and then through strength and support the stitch- Anglicanum embroidery its peak, it was used in the Mughal wires polished in gold and silver.
Spain into Italy, and on to the rest es—generally linen for underneath
dating to (ca. 1320-1340).
Era by the royalty to adorn tent In doing so, Zardozi was commer-
of Western Europe, the British Isles, with a richer silk on the surface. walls in the form of tapestries and cialized as a technique, though
Scandinavia and North America. wall hangings, as well as on acces- some of the glory of the tradition-
The first metallic threads were made sories for elephants and horses. al heritage of this craft was lost.
It’s been found on vestments and of pure beaten gold, which was sub- Lucknow became a central hub for The Geographical Indication Reg-
clothes in ancient Egypt, in the sequently cut into strips. These strips this embroidery technique during istry has accorded all Zardosi tex-
tombs of the pharaohs, Italy, Baby- were later wrapped around materi- Aurangzeb’s reign in the 12th Cen- tiles manufactured in Lucknow and
lon, Greece, India, and Persia. It can als such as silk, parchment, animal
Fig. 5
tury, when this imperial art form was its surrounding districts with the GI
also be seen in the beautiful gar- gut or paper. Most goldwork thread Fig. 2 Zardozi under the patronage
encouraged under ruling Mughal tag. Cities like Hyderabad, Delhi,
of Mughal Emperor Akbar,
ments of Japan and China, where was only produced in quantities suf- Stole and maniple of saint 17th century beneficiaries. Their patronage en- Agra, Kashmir, Kolkata, Varanasi and
the emperor’s gowns were richly ficient to make a particular garment.
cuthburt (Durham Cathe-
couraged Zardosi artists to spread Farrukkbadare are also known as
dral) (909-916)
embroidered in gold. Here the gold There was no metal thread manufac- throughout India. However, Luc- Zardozi specialty regions. This has
threads were couched in coiling pat- turing industry to speak of until the know remained the main center differentiated the craft from imitation
terns to embroider five-clawed drag- late sixteenth century. 13th centu- of production due to the high de- products for shareholders and has
ons, birds and beasts, or laid in pairs ry English ladies actually prepared mand from the city of Nawabs. also helped to retain one of the fin-
of fine lines to mimic stylised clouds their own gold thread before work- est and oldest art forms of Lucknow.
or to enhance silk embroidery. ing it. From the written transcrip- Fig. 3

References to a cloth of gold are

tions that have been discovered,
this type of gold thread appears to
The Pelican portrait of
Elizabeth I, c. 1575
Sources of
even found in the Bible, linking be almost identical to the thread Inspiration
goldwork embroidery to Egyptian, used today—gold that was twisted
Assyrian, and Babylonian cultures. around a core of flax or silk. Howev- Lucknow Zardozi has more ornate
Fig. 6
One such cloth of gold (which was er, artisans stopped using pure gold and heavy designs, with a 3D qual-
Indian Zardozi work from
woven rather than embroidered) for embroidery as it was so brittle Awadh 19th century ity to their motifs. This is a simi-
was found in the tomb of Empress and extremely expensive. Instead lar style to the Delhi Zardozi work,
Honorius, who died in 400AD. It was they used threads that consisted of Sources whereas Hyderabad and Agra tend
subsequently melted down, and gold laid over silver to help maintain http://www.culturalindia.net/indian-crafts/zardozi.html
http://www.utsavpedia.com/motifs-embroideries/zardozi-weav- to keep patterns minimalistic, with
weighed in at 36 pounds of pure its strength and reduce the costs. ing-in-the-shimmers/
 Zardozi In Mumbai
1.Kashmir

History Population of Evolution in Mumbai

Mumbai is built on what was once an
Mumbai In Mumbai, several such zardozi
workers live and work in cramped
2.Delhi archipelago of seven islands: Bom-
Current Population of Mumbai, the workshops in Santacruz, Dharavi,
bay Island, Parel, Mazagaon, Mahim,
lifeline of Maharashtra is estimated Madanpura and Govandi, where
3.Agra Colaba, Worli, and Old Woman’s Is-
to be over 22 million people. The city traditional embroiderers from Luc-
4.Lucknow land (also known as Little Colaba).
ranks at number 6 spot in terms of know, Allahabad and Bareilly in
After India’s independence in 1947,
5.Ajmer most populated cities in the world. Uttar Pradesh and Kolkata in West
the territory of the Bombay Presi-
According to various Government Bengal come to earn a better living.
dency retained by India was restruc-
sources, Mumbai metropolitan area These men, who earn between Rs
tured into Bombay State. The area
6.Bhopal is one of the most densely populat- 500 and Rs 1,500 a day, are the in-
of Bombay State increased, after
ed areas in India. visible workforce behind the glitter-
7.Ahmedabad several erstwhile princely states that
ing fashion world, showcased dur-
joined the Indian union were inte-
ing the recent Lakme Fashion Week.
grated into the state. Subsequently,
Mumbai-based designers such as
the city became the capital of Bom-
Anita Dongre, Neeta Lulla and Pal-
bay State. Mumbai is the commer-
lavi and Bhairavi Jaikishan — who
cial capital of India and has evolved
showed their works at the recently
into a global financial hub. For sev-
8.Mumbai concluded fashion week — and Na-
eral decades it has been the home
chiket Barve have confirmed that
of India’s main financial services,
9.Hyderabad they employ the services of these
and a focus for both infrastructure
zardozi workers, either outsourcing
development and private invest-
the work or calling them to their
ment. From being an ancient fishing
1. Kashmir community and a colonial centre of
own workshops, paying them at the
2. Delhi same rates.
trade, Mumbai has become South
Two factors are driving them back:
3. Agra Asia’s largest city and home of the
Rising living costs in Mumbai and
4. Lucknow world’s most prolific film industry.
growing demand for their skills
10.Chennai 5. Ajmer in emerging markets such as Luc-
6. Bhopal know, where there is now enough
7. Ahmedabad work and comparative pay, and the
8. Mumbai added advantage of living closer
to home, where the cost of living is
9. Hyderabad much lower.
10. Chennai
 About the areas 6%, while the rest are predominant- class community, home to one of station to the neighbourhood is
ly Hindus (60%), with some Bud- the largest Ganesha idols during Mahalaxmi, while Elphinstone and
Santa Cruz dhists and other minority religions. the Ganeshotsav celebrations. Lower Parel are also the nearest
Among the Hindus, about 20% work railway station from Worli. With the
Santa Cruz is bordered by Vile Par- on animal skin production, tanner- Govandi commissioning of the Sea-link, Wor-
le in north, Khar in south, Juhu in ies and leather goods. Other Hin- li Sea-Face is now better connected
west and Kurla, Bandra in east. It is dus specialize in pottery work, tex- Govandi (South), with Postal PIN with Western Suburbs.
broadly divided in two areas: Santa tile goods manufacturing, retail and Code 400043/400088 has an excel-
Cruz (East) and Santa Cruz (West) by trade, distilleries and other caste lent infrastructure, with close road Madanpura
the Mumbai Suburban Railway line. professions - all of these as small connectivity to the Sion-Trombay
The Milan Subway and Khar Sub- scale household operations. The Highway, on the eastern side. Deo- Madanpura is a km away from By-
way connect the two areas, passing slum residents are from all over In- nar Village is home to the Deonar culla and Mumbai Central stations.
under the rail line. Recently Milan dia, people who migrated from rural Telecom Exchange, adjacent to the The area is mainly populated by
flyover has been built which has im- regions of many different states.The Sion-Trombay Highway. muslims. It is popular for its zari,
proved connectivity between Santa- slum has numerous mosques, tem- Notable landmarks in Govandi footwear, bags and other ladies ac-
cruz East and West. ples and churches to serve people (North) are the Deonar Municipal cessories. Madanpura is a Locality in
of Islam, Hindu and Christian faiths; Colony, Deonar Slaughterhouse, Mumbai City in Maharashtra State,
Andheri West with Badi Masjid, a mosque, as the Tata Nagar, Gautam Nagar Plot 1 India. It belongs to Konkan region
oldest religious structure in Dharavi. to 4, Lumbini Baug, Sankara Colo- . It is belongs to Konkan Division.
Andheri is a suburb of Mumbai, situ- ny, Assisi Nagar, Indian Oil Nagar, It is near to arabian sea. There is a
ated in the west of the city on the Sal- Byculla MHADA Transist Buildings, Shivaji chance of humidity in the weather.
sette Island. Sher-e-Punjab Housing Nagar, Lotus Colony, Gajanan Col-
Society is the single largest co-op- Traditionally, Byculla has been in- ony,Kamla Raman Nagar, Zakir Hus-
erative residential housing society habited by Parsis, Christians, Jew- sain Nagar, Baigan Wadi, and Maha-
in Mumbai with 1,251 members. ish, Marathi and Muslims. Byculla, rashtra Nagar.
The Andheri railway station is the like many other locations of Mum- As population of this area due to
among the busiest railway stations bai have witnessed strong real es- MHADA Transist Building is ex-
in the countryand also on the West- tate growth, particularly in the Moti- pected to be increased by 30% of
ern Line of the Mumbai Suburban sha Lane area where there are lots GOVANDI POPULATION by the
Railway and the expansion of the of tall residential buildings, occu- year 2020, after full allotment of the
metro in the Ve sova-Anderi-Ghat- pied by affluent Jain community. Of premises/Flats in transit buildings
kopar corridor is part of the govern- late, Byculla has also witnessed the some of these MAHDA transit build-
ment’s master transportation plan. increase of population of Dawoodi ings are still under planning, some
Bohra and other traditional Mus- under construction and allotment
Dharavi lims, who are primarily a business stages.
community like most of the Guja-
Dharavi spread over 200 hectares ratis. The Magen David Synagogue Worli
(500 acres), this corresponds to an of Byculla the place of worship of
average population density esti- the Jewish community is one of the Worli is a part of South Mumbai
mate between 1500 and 5000 (600 most beautiful buildings in this area which extends from Haji Ali to Prab-
to 2,000 people per acre). it is well known for the tourist attrac- hadevi. It is bounded by the Arabian
About 33% of the population of tion place as most of the Foreigners Sea to the west and the neighbor-
Dharavi is Muslim,The Christian in this area are in search or related to hoods of Haji Ali to the south, Ma-
population is estimated to be about this place There is also a BIT Chawl, halaxmi to the east and Prabhade-
primarily housing Marathi working vi to the north. The nearest railway
 WORLI SANTA CRUZ ANDHERI WEST

1. Name : Siklajhar Pahi 1. Name : Motia rehman Sheikh 1. Name : Asgar Jamadar
2. Age: 26 2. Age: 35 2. Age: 24
3. Hometown: Kolkata (Birlapur) 3. Hometown: Kolkata (Midnipur) 3. Hometown: Kolkata (Shaida)
4. Education: 8th 4. Education: 8th 4. Education: 8th
5. Family members: 4, Parents into 5. Family members: 5, Parents into 5. Family members: 4, unmarried
farming, married farming, married 6. Experience: 12-14 years, learned
6. Experience: 10-12 years, learned 6. Experience: 15 years, learned craft from Mumbai
craft from Mumbai craft from Mumbai 7. Area of work space: 20x12x7 ft
7. Area of work space: 12x15x6.5ft 7. Area of work space: 8x22x7 ft 8. Income: 30,000-40,000 during
8. Income: 10,000-15,000 during 8. Income: 10,000-15,000 during seasons (October- February),
seasons (October- February), seasons (October- February), least earnings during June and
least earnings during June and least earnings during June and July
July. July 9. Number of labours: 4-5
9. Number of labours: 2, Sabir (25) 9. Number of labours: 5-6 10. Labours pay: Pays artisans on
and Suragi (26) 10. Labours pay: 30-40rs per hour daily basis depending upon
10. Labours pay: 30rs per hour, 11. Working hours: 14 hours a day their work (Nafti)
labours earn 6000-7000 per 12. Material Sourcing: Paiduni and 11. Working hours: 14 hours a day
month. Malad 12. Material Sourcing: Paiduni and
11. Working hours: 14 hours a day 13. Designer and Brands: Libaas Malad
12. Material Sourcing: and Manish Malhotra 13. Designer and Brands: Libaas
13. Designer and Brands: Biba, Nee- 14. Health issues: Symptoms of and Manish Malhotra
tika Shah and Krishna Mehta weak eye sight after the age of 14. Health issues: No health issues.
14. Health issues: Weak eye sight 40. Back problem for the work- 15. Exhibition: Aware about the ex-
due to intricate work, issue for ers who are at learning stage. hibition but don’t go directly.
artisans who are initially learning 15. Exhibition: Aware about the ex- 16. Promotion: mouth to mouth and
and a problem with older age hibition but don’t go directly. advertisement on Just Dial.
Demographics group artisans.
15. Exhibition: Not aware of any ex-
16. Promotion: mouth to mouth

hibitions.
16. Promotion: mouth to mouth
DHARAVI(1) DHARAVI(2) DHARAVI(3) BYCULLA
1. Name : M.T. Jilani
1. Name : Meeraj 1. Name : Ajmeer Sheikh 1. Name : Chameli Arts Both ex-
2. Age: 33
2. Age: 30 2. Age: 21 port and retail
3. Hometown: Bihar
3. Hometown: UP (Mughal Sarai) 3. Hometown: Kolkata (Vardha- 2. Experience: 14 years
4. Education: 8th
4. Education: 12th man) 3. Number of labours: 20
5. Experience: 9 years
5. Family members: 4, unmarried 4. Education: 5th 4. Labours pay: 600 per day
6. Area of work space: 8x15x7 ft
6. Experience: 15 years, learned 5. Family members: 6, Family into 5. Working hours: 8-9 hours
7. Labours pay: 35-40 per hour
craft from Mumbai farming, unmarried 6. Material Sourcing: Paiduni
8. Working hours: 14 hours
7. Area of work space: 2 units , one 6. Experience: 8 years, learned 7. Designer and Brands:Retail-
9. Material Sourcing: Dharavi local
Conclusion
in Dharavi other in Byculla craft from Jaipur. Manish Malhotra; Export- Gucci,
stores and Paiduni
8. Number of labours: 8-10 in 7. Area of work space: 15x15x7 ft Armani, Roberto Cavelli
10. Designer and Brands: Few show-
Dharavi, 40-50 in Byculla 8. Labours pay: Charge 200 per 8. Health issues: Eye sight prob-
rooms in Mumbai (Bhumi Plaza,
9. Labours pay: 50rs per hour, hour including material lem; Tie up with local doctor to There is a fall in the market due to
Dadar) and Pune(Jeenam show-
costs on the amount of time in- 9. Number of labours: 8-10 in resolve this problem recession, that is why many of the
room)
vested in the making with 10% Dharavi, 40-50 in Byculla 9. Exhibition: Not aware of any ex- artisans have left this craft and ei-
11. Health issues: Weak eye sight
profit margin 10. Working hours: 14 hours hibitions. ther went back to their native places
due to intricateEye sight prob-
10. Working hours: 9am to 10pm 11. Material Sourcing: Dharavi local 10. Promotion: mouth to mouth or have switched to other industries.
lem
11. Material Sourcing: Paiduni and storesDesigner and Artisans prefer working inde-
12. Exhibition: Not aware of any ex-
Malad 12. Brands: Libaas and showrooms pendently as a separate unit as per
hibitions.
12. Designer and Brands: Neeta in Mumbai their convenience, they take orders
13. Promotion: mouth to mouth
Lulla and Rohit Verma. Also into 13. Health issues: eye sight problem from various designers and don’t
export (Ricama and Armani) 14. Exhibition: Aware about the ex- get any kind of recognition as such
13. Health issues: No health issues. hibition but don’t go directly. Ladies don’t get involved in these
14. Exhibition: Aware about the ex- 15. Promotion: mouth to mouth activities as many artisans get to-
hibition but don’t go directly. gether and work; they also live from
15. Promotion: mouth to mouth their place of work. The infrastruc-
ture is such that it is suitable for one
gender only. Females work from
their home.
 Aari Zari
• Aari work traces out its emer- • Zardozi the traditional art of
gence way back in the 12th court embroidery is the sheer
century, which marked the rule magic of nimble fingers and im-
of the Mughal emperors. Floral aginative designs, envisaged by
motifs, traditional designs and the ensemble of lustrous metal-
fascinated the Mughal royals lic wire, wire was traditionally
during that period. the silver wire coated/ plated
• The original aari work is Kutch, with gold, silk threads, beads
which is called as aari bharat and stones.
(embroidery). • The original embroidery of Zari
• Aari is done with colored anchor was done with pure silver wires
threads or silk threads as well coated with real gold known as
using colour gradations to make Kalabatun.
the motifs and figures highly rep- • Zari work done with metal wire
resentational, No replacement and metal pieces or sequins on
in the thread but the colours has velvet, satin and heavy silk bas-
changed acoording to choice. es.
• In Aari work tool used is called • In Zari work tool used is called
Aari. Sui.
• Products like clothing, bags, • It is used to make exquisite
purses, accessories, shoes etc. is evening dresses, coats, fashion
made out of Aari embroidery. accessories like purses, hand-
• Today, with the help of advanced bags, belts, shoes, ceremonial
stitching procedures, and the adornments like badges and
role of more artisans, it takes insignia, furnishing accessories
lesser time to complete the em- like cushion covers, wall hang-
broidery work on an outfit. ings and boxes etc.
• Now- a- days Silver and gold
threads have been replaced with
synthetic and artificial threads.

Fig. 7

Ari and Zardosi Embriodary

Fig. 8
Fig. 10 Aari Embroidery Fig. 11

Fig. 12
Zardozi needle
Fig. 9 Aari needle Zardozi Embroidery called as sui
 Gota Work : The woven gold bor-
Multiplicities in Zardosi embroidery der is cut into various shapes to
Kamdani : This is a lighter needle- create a variety of textures in the
work which is done on lighter mate- patterns. In Jaipur the border of the
rial like scarves, veils, and caps. Or- material or sari is cut into shapes of
dinary thread is used and the wire birds, animals, and human figures,
is pressed down with the stitching attached to the cloth, and covered
producing a satin-stitch effect. The with wires of silver and gold”;” it is
effect produced is glittering and is surrounded by coloured silks. The
called hazara butti (thousand lights). work resembles enamelling.

Makaish : This is one of the oldest

styles and is done with silver wire
or badla. The wire itself serves as
a needle, piercing the material to
complete the stitches. A variety of
designs are produced in this man-
ner.

Kinari Work : A small variation is

Mina Work : This is thus called ow- kinari work where the embellish-

TYPES ing to its resemblance with enamel ments are done only at the edges
work. The embroidery is done in in the form of tassels. This is done
gold. mainly by men and women of the
Muslim community.
Design is an important device to
make the textile look more beautiful
and attractive. Motif is an element
of pattern, image, or part of one, or
more themes. Motifs include lines in
Tilla or Marori Work : This is the
various forms, such as vertical, hori-
kind of embroidery where gold
zontal, diagonal and curved. Motif
thread is stitched on to the surface
means a design that consists of re-
with a needle.
curring shapes or colours. A design
starts with a motif. When a motif is
repeated at certain intervals over a
surface it is called a pattern. Repeti-
tion of this pattern creates a design. Kataoki Bel : This is a border pattern
made of stiff canvas and the whole
surface is filled with sequin edging.
A variation of this border technique
is lace made on net and filled with
zari stitches and spangles.
 Classification of were replaced by the floral ones,
though the motifs of animals and
of squares of four different colours. were added to them. The Mughal
designers borrowed floral motifs
chine in zardosi embroidery took
place which consumes less time in
Motifs under the birds continued to some extent. Re- Abstract Motifs: such as Iris, Tulip, Nargis, Marigold, the production process and var-
ious designs can be explored in
alistic representation of flowers and The natural motifs of a leaf will look Bela (Jasmimum sambae ), Chameli
Zardosi embroidery plants are often classed as botani- like a leaf but an abstract motif of (Jasmimum officinale), Malti, Lotus, less time. There are designers who
cal. Among the animal figures, the the same can be created by only us- Lily, Rose, Champa from Persia. always work on new design inter-
most popular were tiger, cheeta, ing its texture, veins, patterns or col- ventions and come up with new and
and elephant, known as gaja-sim- our to produce an attractive motif. Mughals invited the Iranian artists innovative designs as per the con-
The motifs or units of a textile de- ha, in Indian mythology. Among These are also called non-figurative and craftsmen to India, which led to sumer needs in the field on zardosi
sign may be classified as birds the most common is simurg design. the development of the style com- embroidery. In Mumbai lot of export
• Geometrical , a mythological bird of the Persian bined with the naturalism of pre-Is- houses make zardosi designs and
• Realistic or Natural epic, which is perhaps equivalent to lamic India. In the early seventeenth motifs given by the foreign com-
• Stylized the Indian Garuda, vehicle of Vish- century, Mughal designs shifted panies which are geometrical and
• Abstract nu. Maturation in Designs and Motifs away from idealized Persian floral more structural. Designs such as
motifs to naturalistic ones, most like- florals, veils, big butas, small butis
Beween1620 to 1670 a number of During the reign of Shahjahan the ly as a result of travelling European and overall patterns are prominent
Geometrical Motifs: botanical paintings of Mansur (fa- floral motifs were arranged in a merchants, emissaries. in Mumbai. Now days, two different
Design and motifs created by using mous painter in Mughal court) went more delicate manner with high textile design technique are used
various geometrical shapes, such to Kashmir and had drawn paint- ornamentation of zari wire. Plants, Though the Mughals copied Persian together such as block printing and
as lines, circle, squares, rectangle, ing which were successfully trans- foliage, sprays, blossoms and flo- motifs, no one can make difference zardosi on a same fabric, which is
triangle etc. are called geometrical formed into Zardosi embroidery ral scroll all began to be embroi- between them. The designs of the very new and popular in the market.
motifs. Earlier Indian designs were designs. The most famous Mughal dered in a more delicate manner. Mughal court were more realistic
consisted of floral, bird and animal motifs, i.e., iris and narcissus flow- Above all distinctive feature of the and less decorative in compari-
patterns but during the Mughal ers were frequently used in Zardosi floral designs of Mughals led to the son to the Persian court. The large
period the floral designs used with embroidery borders with tulips, red development of Mughal School of but with a single flowering plant
geometrical patterns gained prom- roses and lilies. Nur-Jahan also con- art, which contributed a lot to the became very famous during the
inence. But the use of geometrical tributed to the development of dec- evolvement of Zardosi embroidery. Mughal period.
designs on Zardosi fabric was less orative motifs.
preferred in comparison to the flo- The realistic art of Jahangir’s court Primary study on Mumbai Zardosi
ral designs. These geometrical de- Stylized Motifs: was replaced by an extensive use designs and motifs
signs gained prominence during Motifs which have more curves and of stylized floral motifs. The Zardo-
the period of early Mughal rulers details are away from their natural si designs of Aurangzeb’s period In Mumbai, the city of dreams the
and up to the age of Akbar. Though form and look more complicated were the repetitions of the motifs type of Zardosi embroidery done is
the geometrical designs were not such motifs are called stylized mo- used during the reign of Shahjahan. contemporary. The newness is seen
strictly followed but it was a domi- tifs. The naturalistic art of Jahangir’s According to Welch, the designs fa- with the use of different designs lay-
nant character. court was replaced by an extensive mous during the reign of Shah Ja- out, motifs, sequins, stone and the
use of stylized art. Different type of han lost its magnificence as it was other materials used to make the
Natural or Realistic Motifs: flowers such as narcissi, rose, poppy, the time of general decline.2 embroidery. The use of semi-pre-
Designs in nature change all the tulip, marigold, jasmine and cham- cious stones is also a unique feature
times. As the name suggests, these pa were used in a highly stylized Floral motifs are of different types in the Zardosi embroidery. The mo-
are the motifs inspired from nature. way. Shah Jahan was a great lover of i.e. flowers, creepers, sprays, tifs are stylised and modern. Tradi-
Designs in naturalized motifs were architecture, and the gardens. Alike springs, plants etc. These floral tional motifs are transformed into
very close to nature. With the ad- the chaharbagh patterns, the plot forms are used symmetrically in the contemporary style and different
vent of Mughals the old motifs like divided into four parts, the fabric textiles. To balance the plants with materials are explored in the de-
animal, bird and human figures was also decorated with the scheme leaves and flowers other elements signing art. Now days, use of ma-
Tools and Raw Materials
 Tools Raw Material:

3. Metal Wires:
The raw materials required for mak- In recent times the original gold
ing Zardozi embroidery are pro- and silver has been replaced by
cured from the local market in bulk metal wire made out of copper and
and stored for later use. resham threads. Anchor threads are
also commonly used these days.
The materials used are as following:
1. Kadiya (Chalk Powder): It is
used in the solution for tracing the
Glue or Fevicryl motifs. Mitti ka tel (Kerosene Oil) is
3. Fevicryl or glue is use to paste used to mix with chalk powder.
sequences on the fabric zardozi
embroidery.

4. Dabka and sitara:

2. Gold and Silver Threads: Dabka and Sitara are used as em-
Adda (wooden Frame)
1. Adda (wooden Frame): It is a Originally the embroidery of Zardo- bellishments in the Zardozi em-
wooden adjustable frame consist- zi was done by using real gold broidery. These are spring kind of
ing of four wooden bars. The cloth and silver threads. These threads threads. They are cut into small size
on which the embroidery is sup- Aari Tool/ Needle were made by the craftsmen them- and used as per the requirement.
posed to be done is stitched on the Hammer and Base selves in the small workshops at Sitara are small spangles, golden or
two horizontal bars and stretched. It 2. Aari (Needle): their homes. The blocks of metals silver color.
4. Hammer is used to flatten the
is then fixed tightly and locked on Needle is the main tool in the Zardo- (gold and silver) were melted and
zari threads called pita work.
the other two vertically parallel bars. zi embroidery. It has a hook at the pressed through iron sheets having
This prevents the cloth to move tip and wooden handle at the back. perforations to make thin wires.
while working and also enables For Zardozi work 10 no. needle is The size of the perforations varied
clear vision and faster movement of required. The cost of needles range according to the requirement of the
the tools. from Rs. 5 - Rs. 10/-, depending on threads. Simple plain wire is called
the quality of handle. The needles as Badla. These Badlas are some-
are also available with plastic and times wrapped around a thread
iron handle. and is called Kasav. The twisted
wire is called as Nakshi.
Making Process
 for the end members) resting on then marking this folded line with a
Step 1: Designing wooden posts. Step 4: Embroidery
scale and a pencil.
The initial stage of the process, A simple needle or a crochet like
The frame can be made to fit any Perpendicular line at the center
where the entire design is drawn on hook fixed to a wooden stick called
size of fabric. acts as a base for as symmetrical
to a tracing sheet. the zardozi are used for the em-
It keeps the fabric clean and gives design, which has to be mirrored
Holes are made along the traced broidery.
the cloth a uniform tension, mak- on either side of this line.
pattern using a needle. The Zardozi greatly enhances the
ing the stitches even. It can also be After tracing the design, the paper
While the patterns from the Mughal speed of the work, as it enables
made to fit any size of the fabric. is placed on a soft surface like foam
period all comprised of complex the artisan to pass the threads both
 Then the process of doing Zardozi or a felt to prick holes close to each
nature, floral and leaf motifs, con- above and below the fabric.
embroidery starts with the crafts- other along the marked lines or de-
temporary patterns are more ge- The zardozi has its disadvantages,
men sitting cross-legged around sign.
ometric stylizations of similar mo- though. One tug at a loose thread
the Adda, the wooden framework, Then this perforated butter paper
tifs. can spell disaster to the entire de-
with their tools.  is placed on a fabric for further trac-
The artisan sits on the floor behind ing. sign as it can unravel in a matter of
the wooden frame working on the After which a small pouncing pad minutes.
piece of cloth. The frame itself is or a small cloth dipped in a solu- The needle and thread method is
quite large, and can comfortably tion of kerosene and white powder far more dependable.
accommodate five to seven artisans (made from the dressmakers chalk) All kinds of combinations are used
working together on the pre-traced is rubbed through the holes of the to add to the grandeur of Zardo-
designs. perforated tracing paper. zi. A little bit of thread work here
The rubbing is done with uniform or a few sequins or semi precious
circular movements so that the stones added there, can make the Step 5: Finishes
solution seeps through the holes to fabric appealing while giving it a Once the embroidery is done extra
trace the design on the fabric.. unique exclusivity. threads are cut and the cloth is tak-
Needle is used to pull out each en out from the adda.
zardozi element and then, it is in- Then it goes for washing and final-
tegrated into the basic design by ly gets ironed and packed and then
pushing the needle into the fabric. sold in the market.

Step 2: Setting ADDAA

The fabric to be embroidered is
stretched taut over a frame called
the adda. This concept has evolved
from a knockdown camp bed called Step 3: Tracing
the khatia used in rural areas. The process of zardozi embroi-
The adda follows the assembly and dery starts by manually positioning
tightening principles of the kha- the tracing the design by the eye,
tia, and gives the cloth a uniform but for a more precise placing, the
tension. It consists of four wooden center of the tracing paper is de-
spars (sometimes, bamboo is used termined by folding the paper and
 Artisans prefer working inde-
pendently as a separate unit as per
their convenience, they take orders
from various designers and don’t
get any kind of recognition as such.
The artisans live and work togeth-
er in a group They manage their
livelihood in one small room that is
mostly rented. Approximately 4-8
artisans live together and they work Having all the things they require under one
on an Adda during the day time room Artisans working during day time
and sleep in the same place. They
have a small space for cooking and
a small washroom in the area they
live. Ladies don’t get involved in
these activities as many artisans get
together and work; they also live
from their place of work. The infra-
structure is such that it is suitable
for one gender only. Females work
from their home.

Home as Workplace
 Zardosi has kept alive by contem- and the opulent during the British
porary fashions leading it to a stage period. The craft has regenerated it-
of unlimited popularity. Through self over the years even in absence
commercialization of the craft, and of patronage; today commercializa-
taken its form in useful and so- tion of the craft and increased sales
cio-religious equipment. It is thriv- has helped, to retain the karigars
ing in India with rapid growth in and the craft The tradition of Zardo-
both domestic and export markets. si craft has continued and expand-
Zardosi embroidery as a handicraft ed in demand for both domestic
is an enviable possession of our and export markets. Today, Zardosi Use of Zardosi in Accessories
national heritage that contributes was widely used on apparels, more
substantially to Indian economy. often for marriage costumes and
Zardosi as a craft is omnipresent in occasional wear. A lighter variety
India, in urban as well as their rural of Zardosi known as Zari work was
hinterland in homogenous clusters. common for semi-formals. The sur-
The traditional craft of Zardosi to- vival in a market totally depends on
day, assumes variegated approach- producing new and exclusive work
es and forms. The dissolution of Quota regime

Contemporization
is not seen as a threat for the busi-
Through commercialization of the ness The Zardosi embroidery craft
craft, the age old Court and Tem- had enormous business potential Use of Zardosi in Garments
ple embroidery has reached the to stay in the market since Zardosi
common man. The contribution of craft has been successfully sculpted
Use of Zardosi in Home Furnishing
fashion designers (Contemporary into a marketable form
fashions) has elevated the status
of craft to a fashion statement find-
ing its way to fashion houses round
the world making this sector more
competitive Also, progressing tech-
nologies have contributed to the
change in production and market-
ing of Zardosi craft.
Therefore, the demand for Zardo-
si products has increased, but the
quality of work has suffered, since
cheap materials and quick tech-
niques of,embroidery were em-
ployed, Dogh / Vasli work prevalent
then did not exist today. Yet, the
growth of this craft was enduring.

Thus, to conclude, the Zardosi

craft was patronized by the kings,
queens, nobles and then by the rich
 Past

Craftspeople, who set precious emonies. Today the Indian ramp is Zardozi on accessories
stones, beads and gems with metal ablaze with products of the crafts-
wire, were known as zardoz work- people- the material may not have
ers. Archetypal zardozi embroidery the same aesthetics as the mughals,
made use of pure silver wires coat- but they do cater to demands for
ed in real gold, or pure gold leaves. higher ornamented garments with
he history of Zardosi embroidery in glittering beads and sequins. With
India dates back to Rig Vedic times. the change in times and demands,
In fact the last 5 decades has seen the zardosi craftsman has become
a phenomenal progress in terms of vital to the garments in Hollywood
revival of this golden art. and Bollywood.

Present

Product Diversification These days zardosi is used to make

exquisite evening dresses, coats,
Zardozi on Clothing
fashion accessories like purses
handbags, belts, shoes, ceremo-
nial adornments like badges and
insignia, furnishing accessories
like cushion covers, wall hangings,
table covers and boxes. Modern
zardozi usage, in marked varia-
tion, consists of synthetic threads,
as they are lightweight and dura-
ble. Zardozi art, at present, may be
likened to synthetic embroidery.
This gold and silver multicoloured
thread hand-embroidery technique
embellishes textiles and garments
and gives them an aristocratic
façade. Zardosi embellished out-
fits have always been “en vogue”
especially for weddings and spe-
cial ceremonies. It is not only found
the latest designer outlets, but it is
being used yet again for interiors
of mega weddings and grand cer-
 Theme Board And colour palette
In traditional times, zardosi was
done on thick fabric with heavy
embellishments with the use of tra-
ditional motifs such as keri, popat,
mor, jaal etc. In the Design devel-
opment and Product range, we
have use an element of nature that
is Raindrops to showcase contem-
porised, simpler and modern ver-
Design Development sion of zardosi and the products
includes stationery items such as
book covers (diary), bookmarks,
paper-weight.

Barish (rain)
Bunde (drops)

Bold Kingfisher Ingido Uniform Scarlet Alert Lemon Fizz Beacon Glow Brownstone

Pa n t o n e Pa n t o n e Pa n t o n e Pantone Pantone Pa n t o n e
Coated Coated Coated Coated Coated Coated
7719 C 296 C 7620 C 7408 C 2026 C 7603 C
 Product Board Conceptualisation

Stationery Items 1
1. Bookcover Bookcover (Diary)
2. Bookmark Size- 5.5” X 8.5”
Diary
3. Paper weight Cover- Fabric
Pages- 200
GSM- 70
Hard Bound cover
Surface- Zardosi embroidery
Book Mark Concept 1 Book Mark Concept 2 Book Mark Concept 3 Book Mark Concept 4 Book Mark Concept 5

BOOKMARK
Bookmark
Size- 2” X 6”
Material- Ivory sheet and Fabric
Surface- Zardosi embroidery
Book Mark Concept 6 Book Mark Concept 7 Book Mark Concept 8 Book Mark Concept 9 Book Mark Concept 10

3
Paperweight
Size- 2.5- 3” wide X 2- 2.5”
height (aprx)
Material- Fabric
Weight- 10-15 grams Book Mark Concept 11 Book Mark Concept 12 Book Mark Concept 13 Book Mark Concept 14 Book Mark Concept 15
Surface- Zardosi embroidery

Book Mark Concept 16 Book Mark Concept 17 Book Mark Concept 18 Book Mark Concept 19 Book Mark Concept 20
 Prototype
Development Prototype Development Process Final Product

Setting fabric on the frame

Zardosi work done on the

marked design
Selected design which is carried
forward for pototype develop-
ment.

Traced

Product specifica-
tion: With the use of hammer, mak-
Bookmark ing the work flat, this process is
6” X 2” called pita.
Fabric- Cotton
Thickness- Thick
Canvas
Embroidery thread-
Gold colour Zari Tracing the design made on trac-
Trim- Thick Golden ing-paper with zinc-oxide powder
Wire and kerosene
and Bead
 India has always been in the limelight dentity has been devalued from
of the global market for its varied what it was earlier. As observed in
and rich traditional fabric decoration the field the sub-contracted kari-
techniques. Zardosi reflects royalty gars 1 were working under exploit-
and was known to adorn the attire of ative conditions. They worked long
Gods and thus holds a distinguished hours, especially in the peak season,
place among all crafts. The common for low piece rates and with delay in
mango motif of Zardosi has found a payment in several cases. Therefore
place in the wardrobe of Kings and following points can be derived :-
Queens of various eras.
There is no significant relation-
Environment ship between commercialization of

Sustainable outlook
Progressing technologies have con- Zardosi embroidery craft and im-
tributed to the change in produc- proved standard of living of the ka-
tion and marketing of Zardosi craft. rigars.
The development of chemical com- There exists.relationship’between
pounds has assisted in production the skill ofthe karigars and design in-
of non-tarnishing Zari threads, and novation.
its wide acceptance. With the break- There exists no difference between
down of traditional structures, along the workmanship of having formal
with competition from organized in- training and the traditional karigars.
dustry, artisans find it challenging to
buy quality raw materials at afforda-
ble prices. In the absence of raw ma-
terial banks, they are often forced
to rely on local traders who provide
them with raw materials against or-
ders, albeit at high prices, or switch
to non-traditional raw materials They
opt for cheaper material like plas-
tioc which had a smaller lifecycle ,
hence reducing the logitivity of the
product. Also Zardosi is done with
material that is very sustainable, so
if the longitity can be increased the
product can contribute towards the
environment as it wont be discarded
as odten.

Economic and Social Constrains

A Zardosi karigar today has become

more of a worker than
craftsperson. His role and sense ofi
 Strengths Weakness Opportunity Threats
Large, diversified and po- Lack of infrastructure and Rising demand for this Competition in domestic
tential market. communication facilities. embriodary in developed market.
There is large product Lack of co-ordination be- countries such as USA, Balance between high
variety and range is availa- tween government bodies Britain, etc. demand and supply.
ble because of diversified and private players. Developing fashion in- Quality products pro-
culture. Inadequate information of dustry uses zardosi embri- duced by competing
Diversified product range current market trends. odary in their designs countries like China, South
that service different mar- Less interest of young Development of domestic Africa.
ket. people in craft industry. and international tourism Increased and better
Cheap labor rates that re- Lack of promotion of sector. • technological support and
sult to competitive price. products. E-Commerce and Internet R&D facility in competing
Low barriers of new entry. are emerged as promis- countries.
sory distribution channels
tomarket and sell the
products.

S.W.O.T. Analysis
 Gold and Silver embroidery com- raw materials used in the craft
monly known as Zardosi was an to the making process. We also
ancient Persian art. Zar m Persian researched upon the motifs and
meant gold and Dozi was embroi- layouts used in the craft and the
dery. Today, the word ‘Zardozi’ contemporised version.
carries a different connotation
Zardosi was also known as Karcho- Through our secondary research
bi, since it was done on karchob we developed sketched and nar-
- a Persian word meaning a wood- rowed down to bookmarks as our
en frame. Zardosi work was done contemporised product range.
by hand using a regular needle, After developing sketched, final
while Zari work was done with the concept was taken forward and
use of a hooked needle, known developed.
as Aari. Zardosi has evolved from
the-court tradition-and taken its
form in utilitarian and socio-reli-
gious paraphernalia It is thriving
m India with rapid growth in both
domestic and export markets.

Zardosi embroidery as a handi-

craft is an enviable possession of
our national heritage that con-
tributes substantially to Indian
economy. Zardosi as a craft is
omnipresent in India, in urban as
well as their rural hinterland in ho-
mogenous clusters. The traditional
craft of Zardosi today, assumes
variegated approaches and forms.
The inquisitiveness m this craft,
led the investigator to undertake
the present study to document
the methods, materials, designs
and techniques existing today.

Through this project we looked

upon the present scenario of

Conclusion
the craft. To reach till that point
we looked upon the history and
evolution of the craft. Later we
focused on how the craft start-
ed in Mumbai. We studied vari-
ous aspects of Zardosi from the
 A- Kamdani- lighter needlework Sui- Needle
Adda- structure or frame where done on lighter material like
pattern is attached scarves, veils etc. T-
Aari- needle used in Aari embroi- Karchob- rectangle wooden frame Thapa- wooden legs of the rectan-
dery, also a term for Embroidery Karchob- rectangle wooden frame gle frame
Awadh- region in the modern Kora-dullzari Tikora- gold thread spirally twist-
Indian state of Uttar Pradesh Karchob, Dhadha, Khatia ,Khatla- ed for complicated designs
different names of the wooden Tilla, Marori- embroidery where
B- frame gold thread is stitched on to the
Baddla- sequins made of glass, Kasav- thin wire wrapped around surface of cloth with a needle
mirrors the thead
Badimasji- mosque in Mumbai KataokiBel- border pattern made Z-
Badla- thin plain wire of stiff canvas and the whole sur- Zar- Gold
Bharat- embroidery face is filled with sequin edging Zardozi- Persian word that means
Katori- a type of embroidery stitch sewing with gold string
C- Kinar- embellishments are done Zari- gold wire used in embroi-
cheeta- leopard only at the edges in the form of dery
Chikna- shinyzari tassels on the cloth

D- M-
Dabka- wire used in embellish- Makaish- embroidery done with
ments silver wire and mirrors
Dosi- embroidery Mina- resemblance with enamel,
done with golden zari
F- Mittikatel- Kerosene Oil
Fa¬tilaand kauri- a wooden ham- Muthiya- a sharp edged needle
mer with a dabber
N-
G- Nakshi- twisted wire
Garuda- eagle Nawab-honorific title ratified and
Gijai- thin stiff wire bestowed by the reigning Mughal
gaja-simha- elephant emperor to semi-autonomous
Gota- small chips of different Muslim rulers
shapes cut and stitched
P-

Glossary H-
hazarabutti- thousand lights
Pita- Flat

S-
K- salma-sitara- intricate pattern em-
KadiyaChalk- Lime stone powder broidery done using thin-stiff wire
Kalabatun - original embroidery and star shape metal piece
of Zari done with pure silver wires Sitara- small star-shaped metal
coated with real gold piece
Websites
http://www.culturalindia.net/indi-
an-crafts/zardozi.html
http://www.utsavpedia.com/mo-
tifs-embroideries/zardozi-weav-
ing-in-the-shimmers/
http://thegoldworkguild.com/His-
tory.html
http://www.goldenhinde.
co.uk/36/HistoryOfGoldWork.htm
http://thegoldworkguild.com/His-
tory.html
http://www.needlenthread.
com/2009/01/tools-for-metal-
thread-embroidery.html
http://sidneyeileen.com/
artisan-works/embroi-
dery-articles-and-tutorials/
basics-of-opus-anglicanum-em-
broidery/#.V9lyi1t97IU 8. http://
cerridwencreations.weebly.com/
uploads/1/0/5/6/10561349/oa_
embroidery_website.pdf
http://shodhganga.inflibnet.ac.in/
bitstream/10603/59392/14/13_
summary%20and%20conclusions.
pdf
http://www.tamilnavarasam.com/
Books/Embroidery/Zardoziem-
broidery.pdf
http://www.craftandartisans.com/
zari-zardozi-tinsel-embroidery.
html

Books and articles

Zardozi- Glittering gold embroi-
dery/Charu Smita Gupta/Abhinav
Publications/nift mumbai resource
center
746.44 GUP/Craft document

References
submitted in partial fulfilment of
under graduate programmwin
Knitwear Dseign/ Department of
Knitwear Design/ 2011-2015
Fig. 1 : http://www.doaks.org/re- gstatic.com/images?q=tb-
sources/bliss-tyler-correspond- n:ANd9GcRmHyBqloyvrr-
ence/1902-1908 sq-X4SS5V7bjC1HyTUB7gVp5z-
Fig. 2 : https://in.pinterest.com/ 86vXfxeIMJnp1
pin/236157574187426553/ Fig. 19 : https://sareepe-
Fig. 3 : http://australianperfume- vaaree.wordpress.com/
junkies.com/2014/09/ page/3/?app-download=ios
Fig. 4 : https://strandofsilk.com/ Fig. 20 : https://in.pinterest.com/
journey-map/uttar-pradesh/zardo- pin/77335318575600990/
si-embroidery/introduction Fig 21 : http://www.exoticindiaart.
Fig. 5 : https://in.pinterest.com/ com/product/textiles/green-ba-
pin/458804280759640170/ narasi-fabric-border-with-woven-
Fig. 6 : http://www.raduga-textilja. birds-SFA78/
ru/barkhat-dlya-teatralnykh-stcen Fig. 22, 23, 24, 25, 26, 27, 28, 29
Fig. 7 : https://in.pinterest.com/aja- and 30 : http://www.tamilnavaras-
kabnszab/gy%C3%B6ngy%C3%B- am.com/Books/Embroidery/
6z%C3%A9s/ Zardoziembroidery.pdf
Fig. 8 : http://www.raduga-textilja. Fig. 31 : http://dir.indiamart.com/
ru/barkhat-dlya-teatralnykh-stcen impcat/zari-yarn.html
Fig. 9 : http://www.embroideryma- Fig 32 : http://nmmetallics.co.in/
terial.com/Needles-catid-113342- products/zari-kasab/index.php
page-1.html Fig 33 : http://dir.indiamart.com/
Fig. 10 : https://lh3.googleus- impcat/half-fine-zari-thread.html
ercontent.com/sdp5qGaoKmT- Fig 34 : https://www.etsy.com/
JDht51df37wUKo6nDoci-5DF- shop/Indianlacesandfabric?sec-
d9KEqgsbu2RY0-vk7LBv9g7D- tion_id=16883040
8h3uBfhpqNA=s122 Fig 35 : http://dir.indiamart.com/
Fig. 11 : https://strandofsilk.com/ impcat/indian-dupion.html
journey-map/aari-embroidery/in- Fig 36 : http://www.brocades.in/
troduction index.php?route=product/pro-
Fig. 12 : https://artisticfingers. duct&product_id=131
blogspot.in/2011_10_01_archive. Fig 37 : http://www.utsavpedia.
html com/textiles/chiffon/
Fig 13 : https://fr.pinterest.com/ Fig 38 : http://www.edenhouse-
pin/420523683929747705/ fabrics.co.uk/pink-poly-cotton-
Fig. 14 : https://minakariproject. fabric-96-p.asp
wordpress.com/ Fig 39 : https://in.pinterest.com/
Fig. 15 : https://in.pinterest. hinernurse/what-fabric-is-that/
com/samia_ostadi/badlakasab- Fig 40 : https://www.fabric.com/

Citation
mukaish-embroidery/ b u y / d l - 9 7 0 / d u p i o n i - s i l k- f a b -
Fig. 16 : https://in.pinterest. ric-gold
com/samia_ostadi/badlakasab- Fig 41 : http://fabricandart.com/
mukaish-embroidery/ Silk-Dupioni-Shantung-Fabrics.
Fig. 18 : https://encrypted-tbn1. html
Fig 42 : http://www.honey-yarns. india/report-last-of-the-zardozi-ar- line-p47636
com/product2.html tisans-only-80-of-them-left-in-vara- Fig 87 : http://www.rakhisale.com/
Fig 43 : http://www.lesouk.co/di- nasi-2126933 Online/1647-Unique-Zardosi-Ra-
rectory/jacquard-fabric Fig 75 : http://timesofindia.in- khi.asp
Fig 44 : http://paulinemoss. diatimes.com/news/In-elec- Fig. 88 : https://www.sweetcouch.
deviantart.com/art/Gold-Tex- t i o n - s e a s o n - L u c k n o w - z a rd o - com/womens/8039416-tarusa-
ture-309704004 zi-artisans-demand-MNREGA- clutch-zardosi-work-done-golden
Fig 45 : https://trade.indiamart. like-scheme-for-job-guarantee/
com/search.mp?search=polyes- articleshow/34685836.cms
ter+net+fabric Fig 76 : https://strandofsilk.com/
Fig 46 : https://www.lunss.com/ journey-map/zardosi-embroidery/
blog/organza-fabric-knowledge-6. producer-communities
html Fig 77 : http://www.dsource.in/
Fig 47 : https://in.pinterest.com/ resource/zardozi-embroidery-alla-
pin/451134087650950667/ habad/introduction
Fig 48 : https://www.etsy.com/ Fig 78 : http://www.cosmopoli-
listing/75363947/fuchsia-pink-vel- tan.in/fashion/news/g206/all-the-
vet-fabric-yardage looks-from-samant-chauhan-at-
Fig 49 : http://www.shopclues. aifw-ss16/
com/satin-fabric-2.html Fig 79 : http://luxurionworld.com/
Youth-fashion-accessories-appar-
Fig 50 : http://www.shopclues. el-footwear-handbags
com/satin-fabric-2.html Fig 80 : http://www.craftsvil-
Fig 51 : http://www.ebay.com/ la.com/catalog/product/view/
i t m / 2 0 Y- 1 0 0 - S I L K -TA F F E TA - id/1422967/s/pink-silk-designer-
FA B R I C - S E L E C T- F R O M - 1 0 0 - handmade-zardosi-bangles-with-
COLORS-/400118318713 kundans
Fig 52 : https://in.pinterest.com/ Fig 81 : https://designfivestudio.
lruther3670/fabric/ blogspot.in/2013/02/zardozi.html
Fig 53 : http://firstsilk.en. Fig 81 : https://www.zeelclothing.
m a d e - i n - c h i n a . c o m / p ro d u c t / com/
iMFnbQvPCyWJ/China-100-Vis- Fig 83 : http://www.carmaonline-
cose-Viscose-Woven-Fabric.html shop.com/products/clothing-le-
Fig 54, 55, 56, 57 : http://www. hengas%C2%A0/carma/zardo-
dsource.in/resource/zari-zardosi- zi-embellished-black-lehenga-set/
agra/tools-and-raw-materials pid-10565702.aspx
Fig 58, 59, 60, 61 : http://www. Fig 84 : https://in.pinterest.com/
idc.iitb.ac.in/dsource/gallery/ pin/311663236696734124/
hand-embroidery Fig 85 : http://dir.indiamart.com/
Fig 62,63, 64,65,66, 67, 68, 69, 70, impcat/embroidered-cushions.
71, 72, 73 : http://www.dsource.in/ html
resource/zardozi-embroidery-alla- Fig 86 : http://klip.in/antique-pen-
habad/making-process dant-cushion-covers-fur-
Fig 74 : http://www.dnaindia.com/ n i s h i n g s - d e s i g n e r- l a t e s t - o n -