Applique & Patchwork in Tharad

Traditionally made patchwork godri

 About the craft
One of the oldest surviving crafts, applique
and patchwork, had a humble beginning of
repairing torn garments which has been
practised all across India and around the
world. Applique and Patchwork are two
different methods of sewing textile pieces
together to create a compound fabric.

The term applique finds its origin in the

French word Appliquér (Brick, 2002), which
means ‘to put on’ or ‘to apply’. This craft
involves layering patches of fabrics onto a
base fabric that could be cut in patterns and
motifs of different shapes to create
ornamented textiles. The layered fabrics may
have different colours, prints, and properties,
thus resulting in multicoloured fabric, which
adds to visual depth through the game of
positive and negative designs. Further, in
trying permutations of these designs upon
the top layer, ‘Reverse Applique’ is created in
which the surface on top holds the design that
is seen against the base fabric. Hence, the craft
of Applique and Patchwork serves as an
excellent example of recycling fabrics and
putting them to variegated end uses. It is also
combined with embroidery and many more
surface embellishment techniques to add
greater aesthetic value.

Traditionally made patchwork godri

Difference between Applique &
Patchwork
Applique is generally done with fabric, but
it also finds its application in ceramics, where
a separate piece of clay is added to the
primary design for decorative purposes.
Patchwork means attaching patches to create
a single textile fabric. In prevalent patchworks,
well-composed geometric patches are stitched
together to form a patterned textile.
Larger designs are created by repeating basic
geometries because it becomes easier to place
them together. A few common designs involve
pinwheel and hexagonal coins. To create
hexagonal coins, square pieces are attached by
folding and stitching them along the sides of
the hexagon.
Thus, to differentiate between applique and Women working together on applique sarees & dupattas.
patchwork, one must understand that applique
to Jain and Muslim communities. Janmashta-
involves stitching layers of fabrics onto a
About the Community mi and Navratri are two of the major festivals
background fabric, whereas patchwork is the
Tharad was predominantly a township of the celebrated in Tharad along with various other
process of seaming smaller units of cloth into
Jain community, but over the years, religious occasions and dates. Celebrations
a single, large fabric.
communities had been living in harmony and of Janmashtami last for over one week on the
were codependent on one another. These evening of Lord Krishna’s birth, women do the
include Darji (Tailors), Soni (Goldsmiths), Garba and call this dance, ‘kanhundon ramva
Rabari (Cowherds), Darbars (Courtiers), gaya’ Another significant religious practice
Rajputs (Warriors), Brahmin (Priests), Vajir is the Gauri Vrat which was being practised
(Ministers), Mochi (Cobbler), Khatri (Weavers), while we were on the field study. Also called
Jadeja (King clan), Mistry (Construction Gauro that involves observing a fast for five
workers), Suthar (Woodworkers), Lohar days during Ashada Maas and refraining from
(Ironsmith), Parmar, Thackeray, Prajapati, consuming salt, vegetables, tomatoes, or
Goswami, Sodha and the tribal Bhil. grains. Young girls keep this fast every year for
Parkar is the dialect, understood and spoken five years in order to worship Goddess Gauri
by everyone in the town. The region is also and hope to get married to a desirable partner
under the influence of Marwaris, hence, in the future.
Marwari along with Hindi, Sindhi, and Urdu
are the subsidiary languages spoken in the
region.

Surface patched out of different fabrics, with chanderi Different religions are practised in the region
fabric appliqued onto it. but the majority are Hindus and others belong
Raw Materials, Tools & Equipments
Fabrics were sourced from weavers
directly to maintain quality and have desired
design in the woven pattern. Pure cotton,
cotton silk, silk, tissue silk fabric, cotton
blend, etc were some of the fabrics that were
predominantly used. Traditional Silks like
Maheshwari, Chanderi silk, and Kota Doria
were directly sourced from weavers. While
Organdy (Avergandi) and cotton cambric
(cotton Saath-Saath) were sourced from
Navratna Private Limited, Kalupur, Mulla
street, Ahmedabad. Silks like Kanjivaram,
Pochampally, etc were also sourced from
weavers in the south.The Fabrics, generally
Saree and dupatta, were ordered from the
Tools(from top left to bottom right) cutting board, farsi, hatodi, nakhla, clipping scissors, sandstone for sharpening farsi.
weavers in the bulk of 100-200 each month,
and 50 extra pieces were kept in stock to meet done through the glossy side of the fabric. The Fabric Scissors and thread clippers in some
the deadlines and for replacing damaged newspaper was placed between the cutting cases (to cut the fabric after unfolding of the
pieces. board and layered fabric for proper cutting. bundle) were used to cut fabric and patches
Traditionally the paper used in motor pumps for applique.
Natural dyes were also used to dye the were used because of their durability.
product after the stitching process of applique The needle (9-10 darning needle), the eye of
and for a brighter colour, colour fastness and Cotton mercerised thread (same colour as the needle (Naka), and the thread should be of
light fastness synthetic dyes were used. the fabric) was used, as sometimes dyeing the same width and feel seamless.
occurs after the stitching process. So the dye
Food colour (Apple green) used for tracing would also penetrate the thread. Three-ply Chisels (Straight Farsi and curved Nakhla),
and Ararot powder which comes from Tapioca mercerised threads were used for strength. Made by the lohar community in the
of Cassava for pasting were some of the locality and cost around 100/- to 150/- per
contemporary things used for the Iron, and Spray bottle for ironing. Water was piece. Different sizes were available as well as
production processes. Traditionally Kerosene used to resolve creases in the fabric. curve chisels (Nakhla) were available. Hard
and chalk powder was mixed to make a paste steel which was called Garhwal in the local
that was used for tracing. Instead of pasting, language was used to make these chisels.
large stitches (taakas) were taken to secure the Hammer (Hatodi in the local language), Not
two layers together. like a normal hammer and was made from
wood. The shape of the Hatodi is like a cricket
Farma (Tracing sheet - Garware brand) was bat and had a flat surface for
sourced from Ahmedabad (Gadwal paper in hammering. Which can be confused with
the local language): One side of the sheet was Dhoka which was used in washing clothes.
glossy and the other side was rough. The rough Bucket for soaking fabric and washing.
Farma or tracing sheet
side was placed on the fabric while tracing was Sewing Machine, Required to stitch multiple
Production Process
The pre production process involves
preparing the fabric, designs are then
transfered on the prepared fabrics in bulk,
and then post stitching finishing and
attachment of accessories are concluded.

1. The fabric is soaked overnight to remove the 4. Chappai- transfer of design on fabric with 7. If required, designs are also cut with clip-
starch and allow it to shrink as much as it can. food color pers in case of freehand/applique patches that
are required to be sown.

2. Post ironing, fabrics are stacked (sometimes 5. Designs are cut by hammering chisels on the 8. The fabric was left to dry on the drying
stitched together to keep in place) praparing stacked cloth . string. The drying time varies depending on
for cutting the climate and air quality.

3. Tracing sheet is draftied by punching nee- 6. The cut cloth is pasted on a base cloth to 9. The stitching is done by hand and Blind
dle. prepare ground for reverse applique. hem stitches (Taaka) are taken to secure the 2
layers
The entire production process from ironing These included following Products:
to stitching of the product ranges from 5 days
Apparel Home decor products Accessories Others
to a couple of months. This is because some
products like sarees and dupatta with Skirts Bedspread & quilts Bags Toys
intricate designs take almost 1-1.5 months to
be stitched. Dresses Curtains hats Gifting products

Post production, the stitches or patches on

Dress suit material Throws & Rugs Footwear Sleeves
the fabric are manually mended by the master
artisan and are embellished with mirrors and
Sarees Table linen Stationary pouches Pouches
tassels wherever required.
Ethnic semi-formals Cushion Covers Jewelry Bookmark

Market Research Jackets Wall decor Lamp shades & Stool

Bottom wear Crib throws Sacrves/Stoles

It was observed that Gifting products are most suitable for the Craft segment for the Indian
Demographic that we were targeting. These Products Included Home and Apparel Products
suitable for both Festive and Corporate Gifting, the 2 main markets we get to see in india.

Home & Apparel Accessories Exclusive Gifting

Table Runner Placemats

We started with brand research which Table Cloth Toran

included Domestic and International brands.
Domestic brands included Your patch Story, Cushion Covers Potli Bag
11-11, GoodEarth, Ka-sha, Fab India, Garvi
Gurjari, Jaypore, Anavila, Kardo, Chandrima, Wall Hanging Tote Bag
EkaCo, etch while International Brands
included Calvin Klein, Gucci, Marques Scarf Wallet

Almeida, Rixo, Anderson Bell, Marc Jacob,

Stole Diary & File
etc. These Brands provided us insight into the
market and the target client most favourable
for the craft sector and also considered both Trend Research
Apparel and Home Textile markets. There was a elaborate Trend Research done keeping in mind Craft practise of Applique and
The market Research led us to the Product Patchwork of Tharad and the Target Client chosen for the Gifting Collection. Based on the
categories that are most explored in the Craft observation a Story from Textile Forecast: S/S 24 Common Connection - Community-led
of Applique and Patchwork which included Narratives was taken ahead after the approval of mentors. The Idea was to let the craft grow
4 major categories i.e. Apparel, Home Decor, organically and cultivate healthy connections between the artisans and consumers forming an
Accessories and Others. ecosystem.
Initial Motif developement

hand drawn, digital & paper explorations hand drawn explorations hand & digital explorations

by Aarya Pandya by Advita Dave by Khushi Singh

hand & digital explorations digital explorations
Paper cutout explorations

by Mandar Bakle by Tanya Chodhary by Upasna Gupta

Exploratory concepts for Big & Small Products

Stoles Butwa
Designs for single facing and revesible stoles.
Digitally rendered layouts for folding
wallet or butwa.
The idea is to make use of material waste
from the artisans workshop.
The standard four petal motif drives it.

by Aarya Pandya
Cushion Covers Potlibag
Ideation for the upper facing side of the
cushion. Digitally rendered layouts for drawstring
bag. The idea is to make use of material
waste from the artisans workshop.
The standard four petal motif drives it.

by Advita Dave
Exploratory concepts for Big & Small Products

Scarf Diary Cover

Designs for single facing and revesible scarves.
Digitally rendered layouts for covers.
The idea is to make use of material waste
from the artisans workshop.

by Khushi Singh
Table Cloth File Folder
Designs for single facing and revesible cloth.
Digitally rendered layouts for file folder.
The idea is to make use of material waste
from the artisans workshop.

by Mandar Bakle
Exploratory concepts for Big & Small Products

Wall hanging Tote bags

Designs for single facing and revesible scarves. Digitally rendered layouts for facing side of
the bag.

by Tanya Chodhary
Table Runner Placemats
Designs for single facing table runners.
Digitally rendered layouts of coordinating
placemats for table runners.

by Upasna Gupta