Journal articles: 'Indian textile fabrics'

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Singh, Sukhvir, and Jyoti Rani. "Traditonal Indian Textile Techniques Used to Upcycle and Recycle Textile Waste." Textile & Leather Review 4 (December 17, 2021): 336–53. http://dx.doi.org/10.31881/tlr.2021.29.

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The current study focuses on reviewing different traditionally practiced Indian textiles techniques used to upcycle and recycle textile waste, including fabric waste, rejected garments, used garments and fabrics, finished and processed textile products and other kinds of hard textile waste. The findings reveal that many artisans, weavers, craftspeople, self-help groups, and fashion and textile designers from different Indian states are practicing many traditional textile techniques to recycle and up-cycle textile waste. Among these techniques, the famous techniques identified include Kantha of West Bengal, Sujani of Bihar, Kathputlis of Northern Indian states, Panja Dari of Haryana, Namda and Gabba of Kashmir, Kausti of Karnataka, Patchwork and Chindi Rugs. There exists a strong need to make people aware of the methods of recycling textiles that not just increase manufactured textile product life cycle but also contribute towards a sustainable future of the fashion and textile industry in a developing country like India. It has been observed that these techniques play a crucial role in converting textile waste into creative functional products, thus silently contributing to the sustainable future of the textile industry. The objective of this study is to summarize and publicize the methods of these traditionally practiced Indian textile techniques used to recycle and upcycle tonnes of textile waste produced every year. It was found that these traditionally practiced recycling and upcycling techniques of various Indian states are contributing silently to the sustainable future of the Indian textile industry. The recycling of old cloth not just increases the product life cycle but also provides employment to millions of people.

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Rastogi, Twinkle, Madhavi Tomar, Tanu Singh, and Kajal Thakuriya. "Textiles in Healthcare A Holistic Exploration of the Indian Landscape." Eduphoria-An International Multidisciplinary Magazine 02, no. 02 (April 1, 2024): 49–56. http://dx.doi.org/10.59231/eduphoria/230407.

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This chapter undertakes a comprehensive analysis of the symbiotic relationship between textiles and healthcare in the context of India, a country renowned for its rich textile heritage. It navigates through historical precedents, the current scenario, challenges faced by the industry, opportunities for growth, and anticipates future trends and innovations. The historical overview accentuates the intrinsic role of traditional Indian fabrics, such as khadi and muslin, in healthcare settings. Transitioning to the present, the chapter investigates the evolving landscape of healthcare textiles in India, focusing on crucial aspects like medical apparel, hospital bed linens, and advanced wound care products. Challenges in the healthcare textile sector, notably pertaining to quality standards, certifications, and cost-effective production, are dissected. Simultaneously, opportunities for growth are explored, emphasizing the significance of research and development, and the potential for global market expansion. Peering into the future, the chapter unveils emerging trends such as smart textiles with monitoring capabilities and the adoption of sustainable practices. The narrative concludes by summarizing key takeaways, signalling optimism for the trajectory of the Indian healthcare textile industry, positioning it as a key player on the global stage.

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Basak, Santanu, Kartick K. Samanta, Sajal K. Chattopadhyay, Rajesh Shashikant Narkar, and R. Mahangade. "Flame retardant cellulosic textile using bannana pseudostem sap." International Journal of Clothing Science and Technology 27, no. 2 (April 20, 2015): 247–61. http://dx.doi.org/10.1108/ijcst-12-2013-0135.

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Purpose – The purpose of this paper is to use the natural wastage plant product, bannana pseudostem sap (BPS) for using as fire retardant of cellulosic textile substrate. The study aims to use first time any wastage plant product for making fire retardant cellulosic textile. In this regard flame retardant functionality was imparted in cellulosic textile using BPS, an eco-friendly natural wastage product. Design/methodology/approach – The extracted sap was made alkaline and applied in pre-mordanted bleached and mercerized cotton fabrics. Flame retardant properties of the control and treated fabrics were analyzed in terms of limiting oxygen index (LOI), horizontal and vertical flammability and total heat of combustion using bomb calorimeter. The thermal degradation and pyrolysis was studied using thermogravimetric analysis (TGA). The chemical composition of the control and BPS treated cellulosic fabric were analyzed by FTIR, SEM and EDX. Durability of the flame retardant functionality to soap washing had also been studied. Findings – The study showed that the treated fabrics had good flame retardant property compared to control fabrics. The LOI value was found to increase by 1.6 times after application of BPS. As a result of this, the fabric does not catch flame. In horizontal flammability, the treated fabric showed burning with afterglow (without presence of flame) with a propagation rate of 7.5 mm/min, which is almost ten times lower than the control fabric. After application of BPS cellulosic fabric sample produced natural khaki colour. There was no significant change in other physical properties. Practical implications – The application process is simple and cost-effective as no costly chemicals were used. Further advantage is that the treated fabric could also be considered as natural dyed cotton fabric. The developed khaki colour is quite attractive and stable to sun light exposure. This developed process could used in colouration and flame retardant finishing of home furnishing products such as home-window curtain, railway curtain, hospital curtain, table lamp and as a covering material of non-permanent structure like in book fair, festival, religious purpose, etc., where large quantity of textile is used and has chance of fire hazards. Social implications – BPS abundantly available in Indian as well as other countries and it is normally considered as waste material. It is eco-friendly and produced from renewable source. Therefore, the application of BPS in cotton textile for colouration and functionalization will give the advantages of value addition using natural product. Rural people will be benifited lot by applying this technology whenever it required. Originality/value – This paper helps to clarify first time why and how a wastage plant product like BPS can be used for preparing fire retardant cotton cellulosic fabric.

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Jaheer, Abdullah, Ukesh S, T. Saran, Nikunj Sarda, Siddharth Tomar, Prof Richa Tiwari, and Prof Vivek Gupta. "Era of Sustainability in Textile Industry: A study on Rising Concerns towards Sustainable Fabrics in Indian Fringe." International Journal for Research in Applied Science and Engineering Technology 11, no. 4 (April 30, 2023): 2491–96. http://dx.doi.org/10.22214/ijraset.2023.50674.

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Abstract: Introduction: The textile industry is one of the biggest and most complex businesses in the world, confronting numerous environmental and social challenges. Feasible textile generation is getting to be progressively imperative to decrease the negative environmental and social impacts of textile generation. The scale and productivity of economical textile generation is key to guaranteeing that textile generation meets natural guidelines and social responsibility. Aim of the Research: Is to understand the behavioral pattern of consumers towards accepting and purchasing Sustainable Fabrics and apparels, and under different circumstances.

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Bowlt, John E. "Haberdashery as Ethnography: The Case of Léon Bakst." Experiment 22, no. 1 (November 15, 2016): 139–56. http://dx.doi.org/10.1163/2211730x-12341283.

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The focus of this article is on Léon Bakst’s activities as textile and dress designer during the 1910s and early 1920s, especially in the United States. Particular note is made of his interest in questions of nationality—whether Persian, Indian, Siamese, Jewish or American Indian—as reflected in fabrics and clothing. Bakst’s interaction with American patrons, such as the Garretts, is discussed as are his pedagogical and theoretical concerns.

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Sharma, Rajesh, Richa Arora, and Pradeep John Kerketta. "Carrying Traditions of Vibrant IKAT Ahead –Innovative Approaches through Academia." International Journal for Research in Applied Science and Engineering Technology 10, no. 11 (November 30, 2022): 1903–11. http://dx.doi.org/10.22214/ijraset.2022.47707.

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Abstract: Ikat has been carrying a long history through its vibrant blurred texture, colours, yarns and abstraction in design. Ikat of Odisha has carved its own worldwide identity in traditional textiles and cultures of India. Ikat is on revival again in fashion trends with the support of Indian fashion industry professionals, creating new style statement by Indian designers at national and international platforms. New generation has understood the uniqueness of Ikat fabrics and its design development techniques. Different Ikat style patterns have been developed by designer for latest fashion trends in apparel, home furnishing and other products. New innovative approach in Ikat design pattern with the use of new color schemes, yarns and alternate training & development methods has infused new life for the sustainability of this fabric in future and improving the economy of traditional craftsmen and weavers. Academia can fully participate and cooperate to carry ahead this traditional textile –Ikat for future generations and its sustainability. Younger generation can be given awareness about Ikat techniques and potential of Ikat fabric in fashion trends by imparting training in methods & material in accordance with new age approach and trends. Development and training students on Ikat with handloom & digital tool to come up with new innovations.

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Chaudhury, Sushil. "European Companies and the Bengal Textile Industry in the Eighteenth Century: The Pitfalls of Applying Quantitative Techniques." Modern Asian Studies 27, no. 2 (May 1993): 321–40. http://dx.doi.org/10.1017/s0026749x00011513.

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Bengal textiles enjoyed a unique place and an indisputable supremacy in the world market for centuries before the invasion of the machinmade fabrics in the early nineteenth century following the industrial revolution of the West and Political control of the Indian sub-continent by the English East India Company. It need not be emphasized that the products of the Bengal handloom industry reigned supreme all over the accessible Asian and North African markets in the middle ages, and later became one of the major staples of the export trade of the European Companies. Most travellers from Europe starting with Tomé Pires, Varthema and Barbosa in the sixteenth century to Bernier, Tavernier and others in the seventeenth singled out especially textiles of Bengal for comments on their extraordinary quality and exquisite beauty. But it was not only in the field of high qulity cloth that Bengal had a predominant position; it was also the main Production centre of ordinary and medium quality textiles. Long before the advent of the Europeans, the Asian merchants from different parts of the continent and Indian merchants from various regions of the country derived a lucrative trade in Bengal textiles.

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Uzramma. "The Indian Loom, Climate Change, and Democracy." Comparative Studies of South Asia, Africa and the Middle East 39, no. 2 (August 1, 2019): 233–40. http://dx.doi.org/10.1215/1089201x-7586753.

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Abstract Weaving on the handloom in India remains in the twenty-first century a large industry practiced by several million people, including, besides weavers themselves, others engaged in supporting activities. Indian hand weaving is a potentially viable ecological textile industry for the future, particularly if factors such as environmental damage and social costs are included in measuring viability. However, Indian hand weaving suffers from the perception that it is a relic of the past. Too, in the market it is undercut by cheaply made machine-produced cloth fraudulently sold as handmade. Research into the history of hand weaving revealed that there were two distinct modes of production, one in which expensive cloth was made for the elite, and another in which ordinary cloth was made for ordinary people. Since the making of expensive fabrics needed expensive raw materials, the weavers were dependent on an investor to supply these materials, creating a hierarchic dependency. The vernacular production of cloth, on the other hand, was democratic with lateral relations between the different stages of production. Malkha has simplified spinning by avoiding bale-pressing cotton lint, a technology introduced in colonial times to carry cotton long distances from the field. Malkha spinning centers are substantially smaller in size than conventional mills, closer to the small scales of Indian cotton farming and hand weaving.

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Sharma, Shweta. "SANSKAR BHARTI RANGOLI : MEDIUM TO CONSERVE TRADITIONAL ART OF RANGOLI FROM EXTRINSIC TO INTRINSIC." International Journal of Research -GRANTHAALAYAH 9, no. 10 (November 10, 2021): 266–76. http://dx.doi.org/10.29121/granthaalayah.v9.i10.2021.4338.

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भारतीय संस्कृति एवं कला का अटूट संबंध है जहां संस्कृति की बात आती है वहीं भारतीय कला का रूपांकन नेत्रों में आ जाता है। भारतीय कलाओं में से एक है रंगोली कला। यह भारतीय पारंपरिक फ्लोर आर्ट है जिसे मुख्य द्वार के सामने तथा आँगन में किसी विषेष अवसर अथवा उत्सव व त्यौहारों पर बनाई जाती है, रंगोली न केवल आंगन की सजावट थी अपितु यह ईष्वर के आषीर्वाद प्राप्त करने के लिए, सौभाग्य के लिए एवं अतिथियों के सत्कार के लिए बनाई जाती है। रंगोली के कई प्रकार हैं, उसमें से एक है संस्कार भारती रंगोली जो महाराष्ट्र में अत्यधिक लोकप्रिय है। इसमें कई हिन्दू मान्यता एवं संस्कृति से संबंधित चिन्हों का प्रयोग किया जाता है। संस्कार भारती रंगोली में उपयुक्त होने वाली डिज़ाइनों का होम फर्निषिंग टेक्सटाइल उत्पाद पर विभिन्न वस्त्र अलंकरण जैसे- फैब्रिक प्रिटिंग (ब्लॉक, स्क्रीन प्रिटिंग, स्टेन्षील प्रिटिंग), फैब्रिक प्रिटिंग, एम्ब्रायडरी का उपयोग करना जिससे फैषन उपभोक्ता के लिए अद्वितीय डिज़ाइन बनाने अथवा पारंपरिक कला में उपयुक्त रंग, डिज़ाइन अथवा शैली का उपयोग कर रंगोली कला की डिज़ाइनों को संरक्षित करना है। संस्कार भारती रंगोली में उपयुक्त होने वाली आकृति को वर्ग, डिज़ाइन, समूह डिज़ाइन, के लिए अनुकूलित किया गया था।लेख के लिए कुल दस डिज़ाइन चयनित कर विकसित किए गए थे और फैब्रिक पेंटिंग के द्वारा होमफर्निषिंग टेक्सटाइल पर बनाने के लिए सर्वश्रेष्ठ 05 डिज़ाइन का चयन किया गया। उपभोक्ता के द्वारा भारतीय रंगोली कला संस्कार भारती रंगाली कला का उपयोग कर बनाए गए उत्पाद बहुत सराहे गए। संस्कार भारती रंगोली कला वस्त्रोत्पाद पर प्रयोग करके लेख तैयार किया गया है। Indian culture and Art Share an unwavering Connection between them. Indian art providespicturesque Slide view of Indian culture, Rangoli Art is one of the most prominent art amongIndian Art forms. This is a floor art, which were basically designed and embossed at mainentrance and courtyards. On various auspicious occasions and festivals Rangoli was designed togrant divine blessings of God as well as signifies the prosperity and heartwarming welcome ofguests. There are many varites of Rangoli in IndiaSanskar Bharti Rangoli is one of the most popular rangoli art of Maharashtra. This art formcomprises of many Hindu aesthetics, artifacts and cultural symbols. These symbols bring adistinct feature to Sanskar Bharti Rangoli. This paper aims at conservation of Rangoli art formby shifting its inclination to fabric embossing. These art form can be consummate by fabricprinting (Block, screen printing, stencil printing), fabric printing and embroidery can be used byfashion enjoy to uplift the unique experience of traditional colors, designs and styles to conservethese rangoli art formsSanskar Bharti Rangoli is designed to facilitate compatibility of shape, area design and groupdesign which brings appropriateness to art form. Ten art designs developed for this paper, on thecounter part, five best fabrics painting finalized to paint on Home furnishing Textile. FashionUsers appreciated the products designed with traditional Indian Rangoli art , Sanskar BhartiRangoli. This paper elaborates the efforts and significance of Sanskar Textile fabric,

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Samarawickrama, Rumesh, U. G. S. Wijayapala, N. D. Wanasekara, and C. A. N. Fernando. "Improving Dyeing Properties of Cotton Fabrics to Natural Dyes with Cellulose Nanocrystals (CNCs) [Mejora de las propiedades de teñido de telas de algodón a tintes naturales con nanocristales de celulosa (CNC)]." Journal of Nanotechnology 5, no. 1 (October 19, 2021): 1–8. http://dx.doi.org/10.32829/nanoj.v5i1.141.

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Natural dyes can make less environmental problems associated with manufactured colouring agents and textile dyeing. But, the natural dyes fixing process was used chemicals called mordant. The most of times mordants were used metallic salts and metal salts mordants were not environmentally friendly. Therefore, remove the disadvantage associated with natural colorants and the use of nanoparticles. In this research, cotton fabric was treated with the nanoparticle of cellulose nanocrystals (CNCs) as mordant. The cellulose nanocrystals extraction process was done by using Whatman filter paper. The cellulose nanocrystals obtained will be further analyzed and characterized by using selected tools such as Particle size analysis and Fourier-transform infrared (FTIR) spectroscopy. The cotton fabrics mordanting processes were done by two types of pre-mordanting and post-mordanting methods. The three natural ingredients of Mangifera indica (Mango) leaves, Tectona grandis (Teak) leaves and Lannea coromandelica (Indian ash tree) leaves were used to extract the natural dyes using with aqueous extraction method. The extracts from dyeing processes were carried out after and before mordanting processes. The dyed sample from colour fastness to light, washing, and crocking were assessed according to standard methods. The cellulose nanocrystals gave very good colour fastness to light, wash, and rubbing when dyed with all three dye extractions. In the present study, innovative mordant of cellulose nanocrystals and natural dyeing with three natural dye extractions have been shown to give good dyeing results with cotton fabric.

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Gurumurthy Iyer, Vijayan. "Environmental health impact assessment of chrome composite leather-clad rollers used by Indian cotton roller ginning industries and design and development of Eco-friendly alternatives." International Journal of Emerging Trends in Health Sciences 4, no. 1 (April 30, 2020): 36–67. http://dx.doi.org/10.18844/ijeths.v4i1.4496.

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This research article realises the hazards of chromium contamination and pollution caused by using chrome composite leather-clad (CCLC) rollers that are commonly used in the cotton roller ginning industries and attempts to eliminate the chromium contamination and pollution during the cotton ginning process. The chromium traces found contain hexavalent chromium being adsorbed from chromium-contaminated lint, yarn, fabrics, seeds, by-products and textile effluent. Chromium acts in three ways on humans, viz. (i) local action explained as dermatitis or absorption through skin, (ii) direct inhalation and (iii) ingestion or absorption into the stomach. Toxic effects are produced by prolonged contact with airborne or solid or liquid chromium compounds even in small quantities because of their properties, viz. carcinogenicity, mutagenicity and corrosiveness. Traces of Cr (VI) are found even in analar grade trivalent compounds, and complications do arise due to reduction in the nature of these traces that affect the organic tissues of the body. These regenerating effects occur rapidly and are dependent on the dose. This research article realises the hazards of chromium contamination and pollution caused by the use of dust-producing grinding of CCLC rollers that are commonly used in the cotton roller ginning industries and attempts to nullify this problem during cotton ginning. This research has been carried out with the following objectives: to identify and study the environmental health effects existing with the present CCLC rollers being used in the Indian cotton roller ginning industries; to conduct an environmental health impact assessment in Indian cotton roller ginning factories during the research years of 1998â€“2018; to design and develop an eco-friendly chrome-free roller and evaluate its performance with reference to environmental health effects and techno-commercial aspects in the ginning industries. With the authorâ€™s research background and practical experience in cotton ginning and textile industries, this study is attempted to eliminate the environmental health impacts to a great extent at the source itself, through a suitable design and development of an eco-friendly, pollution-free, chromeless roller for cotton roller gins. An eco-friendly roller ginning process has been designed and developed for replacing the conventional CCLC roller ginning process, to eliminate the chromium contamination and pollution from cotton roller ginning industries and to meet the requirements of World Health Organisation standards, while maintaining high-quality spun yarns and woven fabrics which meet the international standards. Keywords: Assessment, chromium, ginning, health, impact.

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Biswas, Udita. "Production, export and domestic consumption of jute industry in India-An analysis." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 01 (January 4, 2024): 1–13. http://dx.doi.org/10.55041/ijsrem27911.

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Jute is a natural fiber which is also known as Golden Fiber. As it is a natural fiber, it has many advantages like low extensibility, high tensile strength moderate heat and fire resistance and long staple vegetable fiber that can be spun into strong, coarse thread, Jute is mainly crop of Ganga Delta. Jute is not only a major textile fiber but also a raw material for nontraditional and value added non-textile products. Jute is used extensively in the manufacture of different types of traditional packaging fabrics, manufacturing Hessian, saking, carpet backing, mats, bags, tarpaulins, ropes etc.so Jute industry make a large contribution to Indian economy as a large no of people are engaged to either producing it or in the jute industry. So, Jute Industry is labour intensive and as such its labour-output ratio is also high in spite of various difficulties being faced by the industry. Also Many rural and urban unemployed and underemployed women and men are involved in a large number of jute development programs and projects are being implemented by various institutions and Government of India with UN agencies as UNDP to modernize the jute industries and it’s all round development. The notable institutions in India, promoting, providing every assistance, R&D in the field of jute are: Indian Jute Industries Research Association (IJIRA), National Jute Board of India, Jute Manufacturing Development Council (JMDC), National Centre for Jute Diversification (NCJD) etc. Objective of this paper to depict the scenario of jute industry in terms of its production, volume of export & volume of domestic consumption. Study of this paper is based on the secondary data & information. Key Words: Jute, production, export, domestic consumption, growth, trend

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Jerkovic, Ivona, Martin Camenzind, Agnes Psikuta, Simon Annaheim, René M. Rossi, and Claudia Glass. "Evaluation of drying performance of sports bras." Current Issues in Sport Science (CISS) 9, no. 2 (February 6, 2024): 052. http://dx.doi.org/10.36950/2024.2ciss052.

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Introduction Fabrics used for manufacturing sports bras have to be lightweight, breathable, have fast drying behaviour, and moisture management properties (Uttam, 2013). Therefore, thermo-physiological comfort is an important quality criterion for sports bras (Carneiro et al., 2017). In addition, sports bras have to provide support to stabilize breasts during various physical activities (Ancutiene et al., 2017). These requirements lead to challenges in finding the best sports bra fabric, as bra support (Norris et al., 2021) and thermo-physiological comfort require contrasting fabric properties (Carneiro et al., 2017). This work aims to compare drying characteristics of different sports bras types (compression, encapsulation and combination) and fabrics used. A newly developed methodology to investigate the drying behaviour of sports bras in the lab has been taken for their examination. Methods The measurement set-up was built up in a climatic chamber (at 23°C and 50% RH). It consists of the upper body part of a female manikin, the air channel with fans and a balance to measure the weight change of the sports bra over time (indicative of the amount of moisture evaporated). The Infrared (IR) camera was used to record local surface temperature. Based on these measurements, the local and general drying performance of the sports bras were assessed based on dry fabric weight, moisture uptake, moisture absorption, drying time and drying rate. Results The results show that type of sports bra and material composition can have influence on better drying performance studied. The range of drying time for the different sport bra types was observed between 13 and 66 min for compression bras, 25 and 42 min for encapsulation bras, and between 35 and 43 min for combination bras. The moisture uptake was detected in a range between 6% and 15% for compression bras, 13% and 15% only for encapsulation bras, while between 7% and 19% for combination bras. Discussion/Conclusion We were able to show that there is a significant difference in drying performance between sports bras. In combination with additional data about sensorial comfort and breast support, these findings provide a scientific basis for developing sports bras meeting specific requirements for various sports. References Ancutiene, K., Koldinska, M., & Havelka, A. (2017). Investigation of tensile resilience properties of stretch denim fabrics. Indian Journal of Fibre & Textile Research, 42, 175-182. Carneiro, L. P., Miranda, T. M. R., & Catarino, A. A. (2017). Comparative thermophysiological study in sport bras for running. IOP Conference Series: Materials Science and Engineering, 254(7), Article 072006. https://doi.org/10.1088/1757-899X/254/7/072006 Norris, M., Blackmore, T., Horler, B., & Wakefield-Scurr, J. (2021). How the characteristics of sports bras affect their performance. Ergonomics, 64(3), 410-425. https://doi.org/10.1080/00140139.2020.1829090 Uttam, D. (2013) Active sportswear fabrics. International Journal of IT, Engineering and Applied Sciences Research, 2(1), 34-40.

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Druet, Lucile. "New fashion “orientations”: the tailoring of kimono in Parisian, African, and Indian dress designs." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 38 (August 1, 2023): 19–60. http://dx.doi.org/10.26563/dobras.i38.1624.

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Kimono, in many regards, invites transformation. Whether it is a fiber, woven cloth, fashion statement, or cultural material, from the first steps of its conception until its consumption, kimono is naturally an agency infused with the possibility of change, which has different modalities. Created by Japanese designers for a Japanese audience, the kimono retains its key characteristics while addressing new trends and demands. Outside of Japan it found territories where it thrives as a malleable, fashionable item. As a result, a variety of non-Japanese designers reimagined and customized the kimono, seeing its sleeves, colors, surfaces, and material dimensions negotiated through many variables. The first examples examined in this article are the kimono designs of Vitali Babani, created in Paris during the “peak” of Japonisme (1900s to 1930s). The second category is the kimono tailored with African wax and kanga fabrics, as developed by the contemporary brands WAfrica, Lezele, and Über Dandy Kimono. A third example, using the specific kimono dyeing technique of Kyō-Yūzen, will be discussed for its inclusion of the kimono unique palette of motifs and colors into the aesthetic of the Indian sari. These three tendencies, varying in their time and material characteristics, provide a rich terrain to discuss the “Japaneseness” of the kimono outside Japan. They also provide perspectives on how kimono has been negotiated to be a garment that goes on real bodies as well as on media platforms. This article analyzes these three categories of kimono “orientations” by first looking at how these design practices work materially, with a focus on the type of textile bricolage that is at work. Secondly, it explores how the designs are displayed and advertised, interrogating offer, demand, luxury, and media presence.

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Samal, Subhranshu Sekhar, P. Jeyaraman, and Vinita Vishwakarma. "Sonochemical Coating of Ag-TiO2 Nanoparticles on Textile Fabrics for Stain Repellency and Self-Cleaning- The Indian Scenario: A Review." Journal of Minerals and Materials Characterization and Engineering 09, no. 06 (2010): 519–25. http://dx.doi.org/10.4236/jmmce.2010.96036.

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Hasanuzzaman and Chandan Bhar. "Environmental Sustainability." International Journal of Social Ecology and Sustainable Development 8, no. 4 (October 2017): 48–60. http://dx.doi.org/10.4018/ijsesd.2017100104.

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The Indian textile industry is significantly contributing to the socio-economic development of the country but is often condemned for adverse environmental impacts. The textile industry encompasses huge consumption of raw material and produces high volume of waste as byproduct. When the waste is released into the environment, it contaminates the environment by polluting air, water, land and soil. The pollution impact of wet processing and fiber production is very detrimental to the environment. Whereas, yarn formation and fabric formation are responsible for heavy noise and dust generation in the workroom. Taking this forward, current study has makes an attempt to present an overview of environmental sustainability status of Indian textile industry and provide necessary suggestions. It is found from the study that pollution impact from fiber formation and wet processing of textiles is spread beyond shop floor but pollution impact of yarn formation and fabric formation are limited to the workroom only. An efficient waste management system can reduce these impacts.

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Gunturu, Karthik Pavan Kumar, Krishna Koundinya Kota, and Madhu Sharma. "Energy Efficiency Improvement Opportunities in Indian Textile Industries." Textile & Leather Review 5 (August 6, 2022): 296–326. http://dx.doi.org/10.31881/tlr.2022.13.

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The Textile Industry is one of the largest industrial sectors and the fifth largest exporter of the textiles employing 45 million workers in India. The Indian textile industry has changed its ways in the production of finished textiles, Energy is involved in each of stage processing. Thus, this study aims to evaluate the energy efficiency of the processes in the textile industry and identify opportunities for improvement in the process involving raw fabric to the finished textile product. The energy efficiency determination in an industry can be evaluated by the energy consumption of the respective process equipment in an industry which includes the performance evaluation of the textile manufacturing processes. This paper describes the operations in textile manufacturing such as weaving, yarn production, spinning, drying, and also the significance of PAT schemes in energy improvement opportunities for various industries, including the technical improvement studies and also provides the brief description on validating various unit operations and respective parameters that affect the performance of various process equipment such as stenter, heaters, compressors, motors, and other non-production equipment. This review paper also described the impact of PAT cycle 1 in validating the energy intensity of technologies used in textile industries and some important measures required to improve the energy efficiency of a process as this could improve the functioning of the system. The best available techniques in the process has also been discussed in the sections which can be implemented in practice for improving the energy efficiency of the processes.

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Dikshit, J. R., P. C. Basak, and Kamal Vagrecha. "Impact of World Trade Organization on Indian Textile Industry." Global Journal of Enterprise Information System 7, no. 1 (March 1, 2015): 35. http://dx.doi.org/10.18311/gjeis/2015/3033.

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No country in the world is self-sufficient. Therefore, there is need to trade with others. Economy was protected from external competition due to licensing system and high level of tariff.In early 1990's with the birth of World Trade Organization (WTO) India started the process of liberalization of trade. WTO's objective is to ensure new open world trading system to benefit consumers. The Most Favoured Nation clause of WTO was in clash with the Multi Fibre Agreement (MFA), which placed quantitative restrictions on textile exporting countries. Hence MFA was gradually phased out by December 31, 2004.The phasing out of Multi Fibre Agreement (MFA) was expected to result in an increase in the growth of output, efficiency, productivity and competitiveness of the textile sector.The impact of abolition of MFA is studied with regard to export of yarn, fabric, and garments during MFA and Post MFA period. It has been concluded from the observations that the export of textile intermediates (i.e. yarn and fabric) and textiles and clothing have increased substantially after the abolition of MFA.

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Singh, Ankit. "Integration of Waste Management in Textile Industries of India." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 07 (July 14, 2024): 1–13. http://dx.doi.org/10.55041/ijsrem36458.

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The foundation of India's economic growth, the textile sector, has experienced unheard-of growth in recent decades, along with a rise in environmental issues brought on by significant waste generation. This comprehensive study sets out to look into and analyze how waste management techniques are incorporated into the rich history of the Indian textile sector. The study offers a thorough review of current waste management techniques, environmental impact evaluations, and creative solutions influencing the path toward sustainability, bridging the gap between qualitative and quantitative analysis. The introduction sets the context by outlining the mutually beneficial relationship between the expansion of the textile industry and its subsequent environmental load. The clothing industry has gained prominence due to the increase in demand for its products, however, a paradigm shift is required due to the waste generated by this industry. The study aims to perform a thorough analysis of waste management processes, conduct a quantitative assessment of the environmental implications, and investigate comprehensive strategies for sustainable waste management. The chapter on qualitative analysis explores the complex aspects of waste management in the textile industries of India. This section explains the nuances of waste generation at different phases of textile production by carefully examining existing methods, case studies, and industry dynamics. A thorough grasp of the qualitative landscape is revealed, encompassing everything from yarn and fabric waste to the difficulties presented by chemical residues and the disposal of end-of-life textiles. The importance of awareness and corporate responsibility in influencing waste management methods is also highlighted in this section. Case studies of top textile producers present creative approaches and offer insights into the possibilities of technological developments, cooperative efforts, and models of the circular economy. Nonetheless, difficulties ranging from technology constraints to cultural obstacles highlight how difficult it is to smoothly integrate sustainable practices throughout the sector. The chapter on integration strategies looks at potential directions that could change the way waste is managed in the textile industry in India. Models of the circular economy take center stage because they provide a comprehensive approach to production and disposal. Case studies from real-world applications highlight the revolutionary potential of upcycling and sophisticated recycling technology, offering insights into how these strategies could lessen the industry's environmental impact. Co-processing in cement kilns is a two-pronged method that solves waste disposal issues and produces useful resources. The potential for improved trash sorting and identification is demonstrated by the combination of artificial intelligence and data analytics, opening the door to increased process efficiency in waste management. The study's conclusion emphasizes that although the study has been helpful, the search for India's sustainable textile waste management is still an ongoing project. The industry is at a turning point in its evolution, and the factors pushing it in that direction will be sustained research and innovation leading the way toward a time when environmental stewardship and economic prosperity coexist together. Every thread woven into the fabric of the Indian textile industry offers a story of sustainability, adaptability, and responsible International Journal of Scientific Research in Engineering and Management (IJSREM) Volume: 08 Issue: 07 | July - 2024 SJIF Rating: 8.448 ISSN: 2582-3930 © 2024, IJSREM | www.ijsrem.com DOI: 10.55041/IJSREM36458 | Page 2 growth; therefore, the success of this journey will depend on the collective duty of industry stakeholders, policymakers, and consumers. Essentially, the goal of this extensive study is to serve as a compass for the Indian textile sector, offering a path forward to a time when environmental conservation and economic growth coexist peacefully.

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Bhattacharya, Dr Sumanta. "Analysis of Enervation Conduct of Indian Maddar Natural Dye on Silk Fabric." International Journal for Research in Applied Science and Engineering Technology 9, no. 11 (November 30, 2021): 1073–81. http://dx.doi.org/10.22214/ijraset.2021.38967.

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Abstract: Dying is a popular practice in textile industry which is prevalent at all parts of the world from the period of ancient civilization. Initially, natural dyes i.e. dye derived from natural resources like vegetables, flowers, minerals, plants etc. were used. Now-a-days, due to technological and scientific innovations synthetic dyes are processed at large scale in the laboratories as it is still one of the most profitable industry globally. However, the rapid utilization of chemicals in textile industry for production of synthetic dyes causes degradation of environment like soil pollution, water pollution etc. Hence, it is necessary to promote the utilization of natural dyes globally. In this paper, the bleached silk fabric was dyed with Indian Madder natural dye at different temperature and the colour strength is measured spectrophotometrically in order to study the effectiveness of the dye. Keywords: Natural dye, bleached silk fabric, Indian Madder, Colour strength

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Begum, Afreen, and Vankar Shree. "Color palette from natural dyeing with Rubia dye (Indian Maddar)." Tekstilna industrija 71, no. 1 (2023): 31–38. http://dx.doi.org/10.5937/tekstind2301031b.

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Among the natural dyes, one of the most appealing coloration on Textiles comes from Rubia dye. From ancient times this dye has been used. Rubia is one of the species of the Rubiaceae family. The common madder, covers the members such as Rubia tinctorum (common madder), Rubia peregrina (wild madder), and Rubia cordifolia (Indian madder). Figure-1 shows the picture of Rubia cordifolia. It is a source of red pigment which was of economic importance in Asia, Europe, Africa and Mediterranean in the past. The Indian madder plant has 3-4 colorant moleculesmanjisthin, purpurin and pseudopurpurin and negligible amount of alizarin. These molecules can form dye-mordant-fabric complexes easily due to appropriately placed functional groups such as - hydroxy and enones. The colorant molecules belong to the class of Anthraquinone dyes. The chelation with the metal ion of the conventional mordants or rare earth (RE) mordants is very facile. Rare earth ions have high positive charge and large ionic radii and this ionic nature of the RE+3 ion forms complexation with oxygen atoms of the dye molecules can take place. It has been observed that there is an increase in K/S value as compared to conventional mordants. This can be attributed to coordination effect of the RE mordant. The colorant molecules are capable of forming intensely colored metal complex with the RE salts. Color palette with Rubia dye are derived from the different metal salts used in the dyeing process. Ecofriendly special auxiliaries add brightness to the dyed fabrics.

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Sánchez, Guadalupe Romero. "Más allá del Pacífico. Piezas de Oriente en los templos de Cundinamarca, Boyacá y Santander (Colombia)." Sztuka Ameryki Łacińskiej 2 (2012): 73–96. http://dx.doi.org/10.15804/sal201203.

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The article presents the research on oriental elements of church furnishing, which constitute the heritage of missionary and evangelization churches (iglesiasdoctrineras) in New Granada of the early 17th century. Thanks to extensive archival sources stored in Archivo General de la Nación de Colombia (Colombia, Bogota) as well as Archivo General de Indias (Spain, Seville) it is possible to demonstrate the existence of numerous objects of oriental origins. Oriental objects came to the area of Tierra Firmevia a sea route connecting Seville with territories belonging to the Spanish crown in America (Carrera de Indias), which was used yearly by an Indian fleet, and owing to a transpacific route connecting Spanish dominions in Asia with territories of New Spain. The latter route was called Galeón de Manila, Nao de China or Galeón de Acapulco. Twice a year, ships chose it to travel across the Pacific, ensuring communication between Spanish East Indies and American dominions of the crown. Oriental products and objects spread over the area of New Granada. Some of them became furnishing elements of modest missionary churches situated far from big colonial cities. Among the most important objects, one may find silk textiles, but there are also other objects (particularly fabric) of diverse character, whose presence in researched temples is confirmed by archival sources.

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Singh, Neetu, and Vanshika Gupta. "Mata Ni Pachedi: Tales of the goddess on textiles from Gujrat, India." Craft Research 15, no. 1 (March 1, 2024): 109–26. http://dx.doi.org/10.1386/crre_00121_1.

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India is a land of vibrant culture and heritage. It is home to many diversified craft techniques, most of which have been intensely investigated, recorded, diversified and revived, while a few have languished. This work reflects the origins and process of the Indian craft Mata Ni Pachedi, which means ‘behind the mother goddess’ and is a cloth that constitutes a temple of the goddess. The original creator of Mata Ni Pachedi is the nomadic Vaghari community from Gujarat, the members of which lived along the banks of the Sabarmati River and worshipped the mother goddess in all her forms. The community created these textiles as an ode to the goddess, as sacred wall art pieces that enabled them to worship the goddess when they could not enter temples due to their low caste. Mata Ni Pachedi is a unique textile that has survived modern-day clothing techniques using natural dyes and simple block printing techniques, exploring different forms of gods and goddesses on cloth. Those in the rural community of Gujrat still worship their goddess on a piece of fabric during the festival of Navratri, in March and September. This research aims to investigate and catalogue the evolution, consumption pattern, production process and present-day scenario of the Mata Ni Pachedi craft to aid and sustain its survival and establish its context in contemporary times.

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Mishra, Jagriti. "Aavaran: creating niche through contemporary traditional textiles." Emerald Emerging Markets Case Studies 3, no. 2 (May 24, 2013): 1–12. http://dx.doi.org/10.1108/eemcs-aug-2012-0143.

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Subject area Marketing. Study level/applicability The case is aimed at Business Administration students. Case overview Udaipur based Aavaran – the echos of rural India – is a concept by COS-V, a leading non-governmental organization (NGO), which aims at connecting the tribal women of rural India with the mainstream. The NGO, set up in 1988 by Smt. Girija Vyas, was initially involved in imparting vocational training to the rural poor. Later, COS-V was taken up by Alka Sharma, a graduate from the Indian Institute of Crafts and Design, Jaipur, who completely changed the direction of the NGO. Her interest in textiles and crafts led to the genesis of the concept “Aavaran”. Aavaran is a retail outlet which was opened with a vision to provide the Indian market with traditional yet contemporary textiles and clothing. It offers a collection of women's and children's clothing and home textiles using a variety of traditional textiles and crafts. It is an artisan driven concept where the supply chain incorporates the essence of Indian textiles and crafts at every level. From the dyeing, printing, sampling and assembly of garments everything is done by the local women trained by COS-V with the support of DC-Handicrafts. The raw materials – the textiles, grey fabrics, etc. – are sourced directly from the rural weavers and artisans across India. The case study discusses how Aavaran developed the unique positioning of a retail platform for contemporary products made from traditional techniques, skills and hand-based processes; how it could revive the diminishing arts of Dabu and Phetia and how it carved a niche through its channelized marketing efforts. Expected learning outcomes The case will familiarize management students with the concept of niche marketing with Udaipur based firm Aavaran as an example which developed a unique positioning through its traditionally developed products. It will also acquaint students with a basic understanding of a supply chain with a cooperative firm in focus. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

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Green, Gillian. "Angkor Vogue: Sculpted Evidence of Imported Luxury Textiles in the Courts of Kings and Temples." Journal of the Economic and Social History of the Orient 50, no. 4 (2007): 424–51. http://dx.doi.org/10.1163/156852007783245025.

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AbstractComparison of bas relief medallions at Angkor with medallion patterns on Chinese silk and Indian cotton textiles provides compelling evidence that fabrics from these regions were actually in use in the courts of Khmer kings. They served two purposes. One was as items of opulent palace decoration; this role transferred to stone temples, homes of the gods. Second, they represented a canopy or ceiling above a sacred space. Another group, here termed “pseudomedallions,” is described and their function speculated on. While the original textiles at Angkor have long since disappeared, their representations in stone survive as a memorial to these practices. En comparant les médaillons des bas-reliefs d'Angkor avec les motifs de médaillon sur les soieries de Chine et les cotonnades d'Inde, il ressort clairement que ces textiles ont été en usage à la cour des rois khmers. Cette utilisation fut double: pour la décoration luxueuse des palais, étendue à celle des sanctuaires de pierre, maisons des dieux; pour confectionner un dais ou couvrir un espace sacré. Un autre groupe de 'pseudo-médaillons', est également décrit et sa fonction envisagée. Alors que les textiles originaux présents à Angkor ont depuis longtemps disparu, leurs représentations lapidaires ont survécu, témoignant de leur utilisation passée.

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Manisha Gahlot and Vandana Bhandari, LaimayumJogeeta Devi, Anita Rani. "Traditional arts and crafts: Responsible lifestyle products design through heat transfer printing." International Journal for Modern Trends in Science and Technology 06, no. 9S (October 16, 2020): 234–41. http://dx.doi.org/10.46501/ijmtst0609s34.

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Sustainability is the key to responsible production and conservation of environment, which is the need of the hour. Indian motifs based on traditional textile arts and crafts have always been a source of inspiration not only to Indian designers but also have intrigued global designers. These motifs can be adapted into lifestyle products through modern techniques of surface enrichment. Lifestyle products hold a lucrative market in the textile sector. Apron is one such lifestyle product which falls under the category of accessories. This study explores how traditional knowledge of Indian arts and crafts can open up avenues for responsible designing of lifestyle products. In the present study, fifty motifs/designs from textile and architectural sources of Manipur were collected from secondary sources, adapted and simplified for application in kitchen apron using CorelDraw X3 software. Ten adapted designs were selected through visual inspection by a panel of thirty judges. The design arrangements were developed for kitchen apron by preparing line patterns, motifs/designs layout and colourways, respectively. The outcome of every step was visually evaluated by the same panel of thirty judges, except for the line patterns, on five point scale. The prototype scoring highest weighted mean score i.e., rank I was selected for further developing the following consequent steps. The finalized designs were printed on the paper using disperse dyes. The printed papers were then used to transfer designs on the constructed and finished apron made of polyester/cotton blended fabric. The cost of apron was estimated Rs. 244/- which can be reduced if produced in bulk. Consumer assessment was carried out for the printed apron on various aesthetic parameters. Consumers’ acceptance for the printed apron was found high which reflected its marketability owing to uniqueness of the motifs, traditional values associated with the traditional motifs of Manipur, sharpness of design lines, the clarity of prints and the reasonable price. Thus, study outcome revealed that the designs inspired from traditional textile arts and crafts of Manipur can be successfully rejuvenated into lifestyle products through heat transfer printing which is environmentally feasible, socially acceptable and economically viable.

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Boopathiraj, K., and P. Balakrishnan. "A Study on Health Status of Women Workers in Textile Industries of Aruppukottai Block." Shanlax International Journal of Arts, Science and Humanities 9, S1-May (May 14, 2022): 86–95. http://dx.doi.org/10.34293/sijash.v9is1-may.5940.

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The textile industry is the second-largest worldwide industry after agriculture. One of the largest textile sectors in the world, the Indian textile industry accounts for roughly 14% of the nation’s overall industrial output. Additionally, it makes up about 3% of the nation’s GDP and significantly increases the amount of foreign exchange the nation earns. With more than 35 million people currently employed, India’s textile industry is also the greatest in terms of employment creation. Industrialization is essential for prosperity and occasionally for a country’s existence. Initialization alone is insufficient; genuine benefits come from workers’ ongoing high performance, which is only made feasible by their good health. Industrial employees are only a small portion of the general population, yet the same factor that affect population health also apply to them The textile industry is the second-largest worldwide industry after agriculture. One of the largest textile sectors in the world, the Indian textile industry accounts for roughly 14% of the nation’s overall industrial output. Additionally, it makes up about 3% of the nation’s GDP and significantly increases the amount of foreign exchange the nation earns. With more than 35 million people currently employed, India’s textile industry is also the greatest in terms of employment creation. Industrialization is essential for prosperity and occasionally for a country’s existence. Initialization alone is insufficient; genuine benefits come from workers’ ongoing high performance, which is only made feasible by their good health. Industrial employees are only a small portion of the general population, yet the same factor that affect population health also apply to them The textile industry is one of the most rapidly expanding sectors for export and has a high labour demand. Numerous individuals in the nation are employed in the textile sector, however in the current environment, it is crucial to place an emphasis on raising awareness of environmental issues like air, water, and noise pollution during the conversion of fibre into fabric. Sorting houses, gins, and gutter sections are all parts of the textile industry. Sorting entails classifying cotton based on quality. In the gin house, the seeds are removed from the cotton and gathered in the gutter. There is a lot of dust in the blow-room where the cotton bales are opened and cleaned. Here, the cotton is repeatedly violently beaten to remove impurities, and then, in the carding area, the cotton laces are dragged by a machine to remove dust, leaves, twigs, and other debris. The carding room is filled with a lot of cotton dust as a result of this procedure. The following step of the project is carried out in the spinning shed, where there is also a lot of dust. A natural fibre called cotton is used to make clothing. When cotton is treated, tiny dust particles are released into the atmosphere. The individual handling the fibre breathes these particles into their lungs, which results in a long-term reduction in respiratory capacity. Brown lung (or byssinosis), a condition caused by exposure to a lot of cotton dust, affects thousands of people working in the textile sector. By inhaling it, textile dust can enter the body, and tiny dust that contains fibres can end up in the alveoli. The fibbers cannot be removed. Lung cancer, fibrosis, pleural plaques, and bronchitis are all caused by the dust that is collected in the lung. After prolonged exposure to textile dust, lung function is compromised. Breathlessness, chest pain, and subsequently bronchitis with increased sputum are the symptoms.

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Bag, Satya Narayan. "EXPORT PERFORMANCE OF INDIAN GREEN PRODUCTS." BSSS Journal of Management 14, no. 1 (June 30, 2023): 182–98. http://dx.doi.org/10.51767/jm1413.

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Green Products are coming from Natural origin. The use of such products are now increasing due to eco-friendly nature of such products .Jute is one such green product in India and it has economic value. The Raw Jute and Mesta are the two important crop productions in India. Due to Pandemic situation, the productions of such fibers were in decreasing trend in the year of 2019-20 and 2020-21. In the year of 2020-21, 95.6 lakhs tonnes of Raw Jute were produced in our country. Jute products exports value has been rising trend from 2015-16 to 2021-22. Due to bio degradable nature of the Jute fibre, the demands of Jute products are now in increasing trend. The Jute is used not only as packaging materials of food grain, it is now used in other areas , such as geo textiles, carpet, wall coverings, Garment, shoes and blanket . Some countries import yarn and fabrics from India and manufacture the finished products for further processing of various Jute goods. USA was the leading importer of Indian Jute goods from the year 2019-20 to 2021-22 . Exports value of Jute goods has been increased from 2019-20 to 2021-22 by 66.9 % for USA. France was the 2nd largest importer of Jute goods from India. The export value to France has been increased from 2846.74 Cr.in the year 2019-20 to 3659.90 Cr. of the year 2021-22 .Ghana, UK and Netherlands were the destination of Indian Jute products with rising trend of export value. Ghana was the 3rd largest importing of Jute goods in the year 2020-21 and 2021-22

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Jayaram, Harishkumar, Likhith Gowda Mahadevegowda, and Manjunatha Hosaholalu Boregowda. "Seri-Entrepreneurship: Current Status and Potential Opportunities." Current Agriculture Research Journal 12, no. 1 (April 20, 2024): 385–99. http://dx.doi.org/10.12944/carj.12.1.31.

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The ability of a country or an area to prosper economically is largely depend on entrepreneurship, especially in light of the current unemployment crisis and anticipated technological advancements. The most important issues in the growth of entrepreneurship are not just how to offer chances to entrepreneurs, but also how to provide them substantial support so they may achieve greater success. To this, cultivating mulberry plants, production of disease-free layings, raising of young (chawki) and late-age silkworms for cocoon production, reeling of cocoons (silk reeling) for yarn production, throwing (spinning, warp, and weft production), wet processing (dyeing and printing), weaving (fabric production), modern (computer-aided) and traditional (textile designing) textile marketing and so on are just a few of the varied range of activities that make up the Indian silk industry. Additionally, sericulture products and bye-products have become more significant in the biotechnological, pharmaceutical, and biomedical industries, in recent years, for the creation of high-value new goods. Therefore, there is a great deal of opportunity for successful business in the sericulture and seribiotechnology sectors to grow. These opportunities help young people and unemployed women to become successful business owners who both support the workforce and work for themselves. This can help address the issues of unemploymentstandards and in India’s rural and urban areas as well as elevate socioeconomic levels.

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Bongiovanni, Rodolfo G., and Leticia Tuninetti. "Análisis del Ciclo de Vida de un jean producido en Argentina." LALCA: Revista Latino-Americana em Avaliação do Ciclo de Vida 2, no. 1 (October 3, 2018): 9–34. http://dx.doi.org/10.18225/lalca.v2i1.3942.

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Este estudo tem por objetivo conhecer os impactos ambientais gerados na produção de uma calça Jeans produzida na Argentina, através da metodologia de avaliação do ciclo de vida (ACV) e detectar pontos críticos onde acontecem as principais contribuições para estes impactos. A unidade funcional (UF) definida é uma calça Jeans de homem reta clássica tamanho 34, na porta de saída da indústria têxtil. Para a elaboração da calça são necessários 1,51 kg de fibra de algodão produzidos no campo, que se transformam em 0,48 kg de algodão descaroçado e posteriormente em 0,46 kg de fio. Este fio adicionado a outros componentes se convertem em 0,53 kg de tecido denim. O denim além dos aviamentos e etiqueta adicionados formam a calça que pesa 0,55 kg. Este estudo alcança todas as etapas produtivas do Jeans: 1) produção da fibra de algodão; 2) descaroçamento; 3) indústria têxtil; 4) confecção da calça. Os dados foram levantados diretamente de produtores, da bibliografia, da opinião de especialistas e das bases de dados, tais como ecoinvent. As informações da produção agrícola se agrupam em três regiões e seis modelos tecnológicos para o ano 2014. Foi avaliada uma descaroçadora típica em San Bernardo, Chaco, uma indústria têxtil em Puerto Tirol, Chaco e uma confeccionadora em San Pedro, Buenos Aires. Estudaram-se cinco categorias de impacto: efeito estufa, acidificação, eutrofização, depleção da camada de ozônio e oxidação fotoquímica, usando para isso o método CML 2000, disponível no software Simapro®8.2. Os resultados indicam que o efeito estufa é 4,65 kg de CO2eq/UF, sendo a etapa de confecção da calça responsável pelo 23% das emissões, a fabricação do Denim pelo 43%, a fabricação do fio por 16%, o descaroçamento por 5% e a produção agrícola por 13%. As emissões associadas à Acidificação são de 0,02 kg SO2eq/UF. O Denim contribui com 0,007 kg de SO2eq (33%), e a confecção aporta 0,006 kg (28%). As emissões ligadas à Eutrofização são 0,007 kg PO4eq/UF. A confecção da calça aporta 0,003 kg (44%), enquanto que o processamento industrial aporta 0,002 kg (25%). As emissões associadas à depleção da camada de Ozônio resultam em 4E-07 kg CFC-11eq/UF. O Denim contribui com 45%, e o cultivo agrícola com 18%. As emissões relacionadas à Oxidação Fotoquímica são de 9,8E-04 kg de C2H4eq/UF. O Denim aporta 49% e a confecção 28%. Este estudo identifica os pontos críticos da cadeia, sendo um avanço na informação disponível para o setor algodoeiro argentino, que tenta fazer mais eficientes seus processos, sob uma perspectiva de sustentabilidade. Palavras-chave: Calças. Denim. Pegada de carbono. Impacto ambiental.ResumenEl presente estudio tiene por objetivo conocer los impactos ambientales generados en la producción de un jean de hombre producido en Argentina, a través de la metodología de Análisis de Ciclo de Vida (ACV) y detectar los puntos críticos donde ocurren los mayores aportes a esos impactos. Se define como unidad funcional (UF) a un pantalón de jean de hombre clásico recto talle 34, en la puerta de salida de la industria confeccionadora, para cuya elaboración se necesitan 1,51 kg de fibra de algodón en bruto en el campo, que se convierten en 0,48 kg de algodón desmotado y luego en 0,46 kg de hilo. Este hilo sumado a otros componentes, se convierten en 0,53 kg de tela Denim. Esta tela, más el agregado de avíos, resulta en un peso final de 0,55 kg del pantalón de jean. El trabajo abarca todas las fases productivas del pantalón: 1) producción de fibra de algodón; 2) desmotado; 3) manufactura textil; y 4) confección. Los datos se obtuvieron de: 1) relevamientos a productores, industrias y transportistas, 2) bibliografía, 3) opinión de expertos, 4) balances de las industrias, y 5) base de datos ecoinvent. La información agrícola se agrupó en tres regiones productivas y en seis planteos técnicos, para el año 2014, teniendo en cuenta diferencias tecnológicas. Se relevó una desmotadora típica en San Bernardo, Chaco; una empresa textil representativa de Puerto Tirol, Chaco; y una confeccionadora, en San Pedro, Buenos Aires. Se analizaron cinco categorías de impacto: Calentamiento global, Acidificación, Eutrofización, Adelgazamiento de la capa de ozono, y Oxidación fotoquímica, usando el modelo CML2000, disponible en el software Simapro®8.2. Los resultados indican que el potencial de calentamiento global es de 4,65 kg de CO2eq/UF, aportando la confección del pantalón el 23% de las emisiones, la producción de tela Denim 43%, la fabricación del hilo 16%, el desmotado 5% y la producción agrícola 13%. Las emisiones asociadas a la Acidificación son de 0,02kg SO2eq/UF. La tela Denim contribuye con 0,007kg de SO2eq (33%), mientras que la confección aporta 0,006 kg (28%). Las emisiones asociadas a la Eutrofización resultan en 0,007kg PO4eq/UF. La confección del pantalón contribuye con 0,003 kg (44%), mientras que el procesamiento industrial aporta 0,002 kg (25%). Las emisiones asociadas al Adelgazamiento de la Capa de Ozono resultan en 4E-07kg CFC-11eq/UF. La tela Denim contribuye con el 45%, mientras que el cultivo un 18%. Las emisiones relacionadas a la Oxidación Fotoquímica son de 9,8E-04 kg de C2H4eq/UF. La tela Denim aporta el 49% y la confección 28%. Este trabajo logró identificar los puntos críticos de la cadena, marcando un avance en la información disponible para el sector algodonero y textil argentino que busque hacer más eficientes sus procesos, bajo una perspectiva de sustentabilidad. Palabras clave: Pantalón. Denim. Huella de carbono. Impacto ambiental.AbstractThe purpose was to estimate the environmental footprint of a jean produced in Argentina, by means of the Life Cycle Assessment (LCA) method. The specific objective was to assess the impact of a jean for men classic straight size 34. The four key cotton life cycle phases that were examined are: 1) crop production; 2) cotton fiber ginning; 3) textile manufacturing (knits and woven); and 4) cut-and-sew and garment confection. Crop production data were collected for three regions for the year 2014. Ginning operations were surveyed in a typical plant in San Bernardo, Chaco. Data on fabric production for both knit and woven fabrics were collected in a representative mill in Puerto Tirol, Chaco. Impacts were calculated for a functional unit of one pair of jeans for men, at the exit gate of a garment industry, located in San Pedro, Buenos Aires. In order for the jeans to be manufactured, 1.51 kg of cotton must be produced at the farm, which is then converted into 0.48 kg of raw fiber after ginning. In turn, each jean requires 0.46 kg of knits, which convey into 0.53 kg of Denim fabric. Finally, the gears contribute to the final weight of 0.55 kg of the jeans. Five impact categories were evaluated: Global warming potential (GWP), Acidification, Eutrophication, Ozone layer depletion, and Photochemical oxidation using the CML2000 model, in the software Simapro® 8.2. Results indicate that the GWP impact of the jeans is 4.65 kg of CO2eq. Cut-and-sew and garment confection contribute with 23%; production of Denim fabric, 43%; production of knits 16%; ginning 5%; and crop production, 13%. The greatest impacts are in the textile manufacturing phase, due to the use of energy (electricity and heat). The impacts in the phase of cotton fiber ginning, and in the phase of cut-and-sew and garment confection are due to emissions from the use of LPG and electricity. The emissions associated to Acidification resulted in 0.02 kg SO2eq. Denim fabric contributes with 0.007 kg SO2eq (33%), while the phase of cutand- sew and garment confection emits 0.006 kg SO2eq (28%). Eutrophication resulted in 0.007 kg PO4e. The largest contributor is cut-and-sew and garment confection, with 0.003 kg PO4e (44%), while Denim fabric releases 0.002 kg (25%). Regarding Ozone layer depletion, the emissions were 4E-07 kg CFC-11eq. The Denim fabric produces 45%, while the crop emits 18%. Emissions related to Photochemical oxidation are 9.8E-04 C2H4eq. Denim fabric contributes with 49%, while cut-and-sew and garment confection, 28%. An LCA was successfully performed on the Argentine cotton chain, identifying the hotspots in the existing farming, hauling and the textile industry, which may be improved for environmental purposes.Keywords: Pants. Denim. Carbon footprint. Environmental impact.

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Negi, Monika, Anita Rani, and Anupriya Singh. "NEW HORIZON FOR AIPAN (FOLK ART OF UTTARAKHAND) MOTIFS THROUGH APPLIQUÉ." International Journal of Research -GRANTHAALAYAH 3, no. 9 (September 30, 2015): 36–48. http://dx.doi.org/10.29121/granthaalayah.v3.i9.2015.2944.

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The Indian folk arts with printing and embroidery play important role in creating new designs. Escalating demands of consumers requires modification in the fashion industry with respect to design, colour, style and technique.So an attempt was made to develop a design pool using folk art of Uttarakhand (aipan) for applique work. This also provides the opportunity to use the adapted traditional motifs on textiles and to preserve the beautiful traditional folk art. Aipan motifs were adapted for center design, border design, and buti design. Total thirty motifs / designs were developed keeping in mind their suitability for articles like bags, pencil purse and mobile holder. All the developed designs were subjected to visual evaluation for selection of two best designs in each category by the panel of thirty judges to find out the suitability of the developed designs for appliqué work. Thus total six motifs were selected for preparation of the five arrangements for each article. Four final selected arrangements with appliqué work were prepared using different embroidery stitches (slip hemming, couching, buttonhole and chain stitch). Plain red poplin and left-out fabrics were used to prepare articles. Finally articles were prepared by using selected arrangements and these prepared articles were highly appreciated by the consumers.

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Pahade, Priyanka, Devasish Bose, Juan Peris-Vicente, María Ángeles Goberna-Bravo, Jaume Albiol Chiva, Josep Esteve Romero, Samuel Carda-Broch, and Abhilasha Durgbanshi. "Screening of some banned aromatic amines in textile products from Indian bandhani and gamthi fabric and in human sweat using micellar liquid chromatography." Microchemical Journal 165 (June 2021): 106134. http://dx.doi.org/10.1016/j.microc.2021.106134.

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Dumamika, Tione Afifaya, and Mochammad Sigit Ramadhan. "PENGAPLIKASIAN TEKNIK BLOCK PRINTING DENGAN MATERIAL KAYU BEKAS KEBAKARAN HUTAN KALIMANTAN BARAT PADA PAKAIAN READY TO WEAR." Gorga : Jurnal Seni Rupa 10, no. 2 (November 3, 2021): 277. http://dx.doi.org/10.24114/gr.v10i2.27154.

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Block printing is a technique of producing images repeatedly on a surface that produces original and unique work because it was done manually. However, as time goes by, block printing is still less well known and less developed in Indonesia. In addition to the newly used wood, block printing plates can be replaced by various alternative materials, such as wood from forest fires. Unfortunately, wood from forest fires often has no selling value and can only be used as charcoal or firewood by the surroundingcommunity. This research aims to find a solution to utilize and increase the value of unused forest fires wood into block printing plates. The author was inspired to use forest fires wood as a block printing plate to increase the artistic and economic value of wood and give a new image to the surface of textiles and fashion products. This research was carried out using qualitative research methods in the form of observations made by observing the condition of wood from forest fires directly; literature studies areobtained from several journals, books, and articles; also, experiments consisting of initial, advanced, and selected experiments. The products produced from this research are sheets of cloth and a collectionof ready-to-wear clothing.Keywords: block printing, wood residue, fashion. AbstrakBlock printing adalah teknik memproduksi gambar secara berulang pada suatu permukaan yang menghasilkan karya orisinil dan unik, karena dilakukan secara manual. Tetapi seiring berjalannya waktu, block printing masih kurang dikenal dan kurang berkembang di Indonesia. Bahan untukmembuat plat cetak block printing dapat diganti dengan berbagai material alternatif, seperti kayu bekas kebakaran hutan. Kayu bekas kebakaran hutan seringkali sudah tidak memiliki nilai jual dan hanya dapat dijadikan arang atau kayu bakar oleh masyarakat sekitar. Tujuan dari penelitian ini yaitumendapatkan solusi untuk memanfaatkan dan meningkatkan nilai kayu bekas kebakaran hutan yang sudah tidak terpakai menjadi plat cetak block printing. Berkaitan dengan hal tersebut, maka penulis terinspirasi untuk menggunakan kayu bekas kebakaran hutan sebagai plat cetak block printing agar dapat menaikkan nilai seni dan ekonomi kayu, juga dapat memberikan image baru pada permukaan tekstil dan produk fashion. Penelitian dilakukan dengan metode penelitian kualitatif berupa observasi yang dilakukan dengan cara mengamati langsung kondisi kayu bekas kebakaran hutan, studi literatur mengenai topik penelitian didapatkan dari beberapa jurnal, buku, dan artikel, dan eksperimen yang terdiri dari beberapa percobaan eksplorasi awal, lanjutan dan terpilih. Produk yang dihasilkan dari penelitian ini berupa lembaran kain dan koleksi pakaian ready to wear.Kata Kunci: block printing, kayu bekas, fashion. Authors:Tione Afifaya Dumamika : Universitas TelkomMochammad Sigit Ramadhan : Universitas Telkom References:Adi, S. P., Susanti, N., & Panggabean, M. N. R. (2020). Cetak Tinggi dan Pengaplikasiannya (I. G. N. T. Marutama & M. K. M. Saat (eds.); 1st ed.).Surakarta: UNS Press.Dumamika, Tione Afifaya. (2021). “Pengaplikasian Teknik Block Printing dengan Material Kayu Bekas Kebakaran Hutan”. Hasil DokumentasiPribadi: 1 Januari s.d 30 Oktober 2021, Kalimantan Barat.Eskak, E., & Sumarno. (2016). Peningkatan Nilai Tambah pada Cacat Batang Kayu dengan Kreasi Seni. Dinamika Kerajinan Dan Batik, 33(2),133–144.Ganguly, D., & Amrita. (2013). A Brief Studies On Block Printing Process In India. Man-Made Textiles in India, 41(6), 197–203.Kafka, F. J. (1973). Batik, Tie Dyeing, Stenciling, Silk Screen, Block Printing: The Hand Decoration of Fabrics. USA: Dover Publications.Kementerian Lingkungan Hidup dan Kehutanan Republik Indonesia. (2018). Mengubah Limbah Kayu Hutan Rawa Gambut Bekas Kebakaran Menjadi Arang Kompos dan Cuka Kayu. www.menlhk.go.id (diakses tanggal 24 April 2021).Lestari, S. B. (2014). Fashion sebagai Komunikasi Identitas Sosial di Kalangan Mahasiswa. Ragam Jurnal Pengembangan Humaniora, 14(3), 225–238.Media Indonesia. (2019). Olah Limbah Kayu, Solusi Atasi Pembakaran Lahan. www.mediaindonesia.com. (diakses tanggal 24 April 2021).Needleman, D. (2018). The Ancient Art of Jaipur Block Printing, and What It Means to India. https://www.nytimes.com/2018/05/18/t-magazine/block-print-jaipur-india.html (diakses tanggal 1 Mei 2021).Puspitawati, S., & Ramadhan, M. S. (2019). Pengaplikasian Teknik Block Printing Dengan Inspirasi Motif Dari Kebudayaan Suku Baduy. ATRAT: Jurnal Seni Rupa, 7(3), 205–214. https://jurnal.isbi.ac.id/index.php/atrat/article/download/925/695Qodriyatun, S. N. (2014). Kebijakan Penanganan Kebakaran Hutan dan Lahan. Info Singkat Kesejahteraan Sosial, VI(06), 9–12.Rahman, D. (2017). Seni Grafis Indonesia Kembali ke “Jalan Masif”. Brikolase, 9(2), 90–97.Rohani. (2017). Meningkatkan Kreativitas Anak Usia Dini Melalui Media Bahan Bekas. Jurnal Penelitian Dan Pengembangan Pendidikan Anak Usia Dini, 5(2), 137-145. https://doi.org/10.30870/jpppaud.v4i2.4653.Safitri, R., & Rachmat, G. (2016). Studi Kelayakan Kayu Bekas Landasan Peti Kemas sebagai Elemen Interior Lepas. ATRAT: Jurnal Seni Rupa, 4(3). 243-252.SiPongi Karhutla Monitoring Sistem. (2020). Rekapitulasi Luas Kebakaran Hutan dan Lahan (Ha) Per Provinsi Di Indonesia Tahun 2016-2021. www.sipongi.menlhk.go.id (diakses tanggal 20 Oktober 2020).The Kindcraft. (2020). Introduction to Indian Block Printing: Anokhi Museum in Jaipur India. www.thekindcraft.com (diakses tanggal 22 Desember 2020).Trisnawati, T. Y. (2016). Fashion sebagai Bentuk Ekspresi Diri dalam Komunikasi. Jurnal The Messenger, 3(2), 36-43. https://doi.org/10.26623/themessenger.v3i2.268.Waddell, G. (2004). How Fashion Works: Couture, Ready-to-Wear and Mass Production. Journal of Chemical Information and Modeling, 53(09), 00-00.

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Meena, Anita. "A comparative study of Indian and Chinese textile and clothing exports in post-MFA environment." Vilakshan - XIMB Journal of Management, April 8, 2024. http://dx.doi.org/10.1108/xjm-09-2023-0182.

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Purpose This paper aims to examine and compare the export performance and competitiveness of Indian and Chinese textile and clothing industry in post-multifibre arrangement (MFA) era. Design/methodology/approach Balassa’s revealed comparative advantage Index is used to assess the competitiveness of Indian and Chinese textile and clothing exports. Findings The results indicate that China’s textiles and garments sector holds a greater proportion of the global market compared with India. India has a robust comparative advantage in silk, carpets and cotton post-MFA. Vegetable textile fibers, paper yarn and woven fabrics of paper yarn are also competitive. China had a strong comparative advantage in silk and fabrics; special woven fabrics, tafted textile fabrics, lace, tapestries, trimmings and embroidery in 2005. China also recorded comparative advantage in silk, man-made filaments: strip and the like of man-made textile materials, fabrics; special woven fabrics, tafted textile fabrics, lace, tapestries, trimmings and embroidery and fabrics; knitted or crocheted in 2021. Research limitations/implications This study’s results and recommendations could assist the Indian and Chinese Governments develop policies to upgrade their garment industries. Originality/value Though vast literature reviews are available for textile and apparel export performance in India and China separately, there are few studies on comparisons. This study is a significant attempt to evaluate India and China’s competitiveness in the global market.

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Kamara, Yarri B. "Why Nigerian agbada fabric is (often) imported, while Indian sari fabric is local: a comparative history of textile manufacturing." Africa Development 48, no. 1 (March 23, 2023). http://dx.doi.org/10.57054/ad.v48i1.3031.

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In the 1980s, both India and Nigeria had textile sectors that satisfied their large domestic demand. Today, however, Nigeria imports most of its textiles, including identity-imbued fabrics, while India is a major textiles producer. This article proposes three explanatory factors for this divergence based on a review of secondary sources. From independence, Indian policy placed greater emphasis on supporting craft and small-scale textile production, whereas the craft sector in Nigeria was neglected. Nigeria’s indigenisation of industry strategies failed to achieve endogenous processes in the textile industry, whereas the Indian textile sector was characterised by high Indian ownership and endogenous skills and technologies that rendered the sector resilient to shocks. Lastly, while both countries adopted import-substituting industrialisation strategies, the Nigerian textile sector benefited from little trade protection as smuggling greatly undermined the protection in place.

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Barrett, Annin, Carol Bier, Anna Jolly, Louise Mackie, and Barbara Setsu Pickett. "India in Situ: Textile History and Practice, a Team Approach." Textile Society of America Symposium Proceedings, 2021. http://dx.doi.org/10.32873/unl.dc.tsasp.0131.

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Five textile specialists from various backgrounds came together to explore shared interests in Indian fabrics, histories, and architectural patterns. Guided by Rahul Jain’s extraordinary scholarship and generosity, we visited weaving workshops producing exquisite fabric and metallic yarn in our quest to understand the naqsha system for drawloom patterning. In Cholapur and Varanasi, we studied drawlooms set up to weave velvet, lampas, and samite, and a distinguished naqshaband demonstrated the making of a naqsha that provides the design for drawloom lifts. We examined rare historic textiles in New Delhi’s National Museum, Ahmedabad’s Calico Museum of Textiles, Varanasi’s Bharat Kala Bhavan Museum, and private collections. In Jaipur, we visited the Indian Institute of Crafts and Design, Nila House, Anokhi Farm, City Palace Museum, and Prince Albert Hall Museum, and in Ahmedabad, the National Institute of Design and the Kasturbhai Lalbhai Indigo Museum. At Patola House in Patan, we observed the preparation and weaving of double ikat. Our diverse perspectives resulted in a most enjoyable interdisciplinary traveling seminar. Come with us as we share our adventure in collaborative textile research. Themes of inquiry:• Understanding the naqsha harness for the Indian drawloom • Examining relations between textiles and architecture • Using symmetry analysis to recognize pattern repeats • Considering fashion in India, an evolving tradition • Learning about the revival of natural indigo in India • Observing craft traditions preserved through development and sustainability Our team: • Annin Barrett—textile artist and designer; instructor, fashion history and sustainable design • Carol Bier—curator, The Textile Museum (1984-2001); research associate (2001-2020); research scholar, Center for Islamic Studies, Graduate Theological Union • Anna Jolly—curator of textiles 1500-1800, Abegg-Stiftung, Riggisberg, Switzerland • Louise Mackie—curator emerita, Textiles & Islamic Art, the Cleveland Museum of Art, Royal Ontario Museum, and The Textile Museum • Barbara Setsu Pickett—associate professor emerita, Department of Art, University of Oregon

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Shah, Mitali, and Madhu Sharan. "INDIAN CHINTZ-CRAFT IDENTIFICATION AS AN EXQUISITE HAND-PAINTED TRADITIONAL TEXTILE." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2 (November 10, 2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2.2023.590.

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The present social and environmental contexts are very importantly governed by the interplay of crafts, fashion, and sustainability. Their efficient combination contributes to employment generation and the creation of new economic avenues for the country. This is the key focus issue that research studies should attempt to achieve. There is a need to understand “craft”, with a perspective that exerts strength, glory, social and cultural connections. In present times, “Kalamkari” is an extremely popular Indian traditional textile craft in which, patterns are drawn with bamboo sticks called “kalam” on cotton fabric. This is a derivative of patterning the fabric with resist and mordant painting and then natural dyeing to pattern them. In relation to this painting tradition, the word “Chintz,” is a popular terminology from the seventeenth and eighteenth centuries in the world of textiles. The term according to the researcher is referred to a textile, as well as a technique, involving the mordant and resist painting with natural dyes on cotton fabrics only. This textile, with its awestruck designs, revolutionized global trade and made India popular globally. During that period, the Chintz were exported to various countries like Japan, Thailand, Africa, and most importantly to European countries. The Indian Chintz export to European countries reached immense popularity, revolutionizing the “Chintz Craze” with drastically increased demand. During the industrial revolution in Europe, these beautiful hand-crafted textiles created a threat to the European textile Industry. Hence the chintz export from India was banned, which led to the downfall in their demand and the gradual extinction of these textiles along with the meticulously perfected techniques involved in making them. In 1958, Kamala Devi Chattopadhyay tried to revive this technique (mordant and resist painting with a bamboo pen) and termed it “Kalamkari”. This led to the evolution of two different forms related to this ancient craft based on the place it was revived, namely Kalamkari from Sri-Kalahasti and Machilipatnam. This paper is an attempt to retrieve the rich history of the Indian Chintz, with its main characteristic features, technique, and find differences between the present styles with the ancient traditional forms of mordant and resist painting technique with natural dyes. The researcher has made an earnest effort in establishing and retrieving the lost identity of this textile. It was also observed that there is a difference between the traditional style and revived forms (Sri-kalahasti and Machilipatnam) styles with respect to the materials, motifs, colors, and workmanship, as observed from painted pieces that were studied.

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Raheja, Radhana, and Simmi Bhagat. "HISTORIC INDIAN TEXTILES OF GOLD AND SILVER." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (December 19, 2022). http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.149.

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Precious metals have held a status of their own ever since their discovery. Their use has not only been an indication of power, status, and luxury, but also an example of intricate craft skills exhibited by artisans worldwide. Gold and silver, perhaps the oldest precious metals and also the most popular have had a diverse use in various fields, including textiles. The incorporation of these metals in textiles led to the production of a plethora of textile crafts, each demonstrating a unique feature, skill, and technique. Due to the unique qualities exhibited by the crafts; each textile holds an importance of their own. The terms of many of these textiles are often used interchangeably, however, important minute differences distinguish these textiles from one another, which is often times overlooked. Over the years, these various forms of crafts gained popularity, flourished and were even favourites among the Indian rulers and royalties of the yesteryears. However, with the loss of royal patronage and the decline in investment in the handicraft sector, most of these art forms are either languishing or are not produced anymore. To retain the culturally rich arts of India, the significance associated with them, and most importantly the techniques employed to create such masterpieces, it thus becomes important to document these artforms. This article explores the various textiles that incorporate gold and silver with respect to the technique used to produce exquisite fabrics which depict the dexterity of Indian craftsmanship

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Sruthi, V., Bhuvanagiri Poorna Gayathri, and Dr Vinoth. "The Impacts of Liquidity and Solvency on Profitability and Their Effects on Raymond's Limited's Financial Performance." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 07, no. 02 (February 8, 2023). http://dx.doi.org/10.55041/ijsrem17700.

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The Indian textile industry is one of the biggest in the world, with a sizable basis for producing raw materials and textiles. Along with other important industries, textile manufacturing and commerce are significant parts of our economy. Raymond Group is one of the largest players in fabrics, designer wear, denim, personal care, engineering files and tools, prophylactics, and air charter services in national and international markets. The main objectives of this study are to find out the impacts of liquidity and solvency on profitability and their effects on Raymond’s financial performance. The financial data from 2016 to 2021 was used for the study. Majoritarily, liquidity, solvency, and profitability ratios were calculated, and the impacts and effects were tested using correlation and regression. The study found that the liquidity and solvency of the company were not great and were also highly influenced by profitability factors. Keywords: Financial Performance, Liquidity, Solvency, Profitability.

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Mehta, Rakhi. "EVOLUTION OF INDIAN TEXTILE DESIGN : A STUDY OVER TIMESPAN." IARS' International Research Journal 10, no. 2 (August 29, 2020). http://dx.doi.org/10.51611/iars.irj.v10i2.2020.146.

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Indian Textile Designs has a rich vocabulary and are well known all over the world for their rich variety, grace, beauty, elegance and skilled craftsmanship. These designs are used by the craftsmen’s in weaving, embroidery, wall paintings, printing, etc. Indian designs are the references of rich culture, traditions and heritage. Over the millennium beautiful designs has not only blossomed into an intricate art but has also been consumed in recent times by overwhelming phenomenon of modernization in the form of mass production and mechanization in textile world. The rich and intricate designs have rightly called ‘Exquisite poetry in colorful fabrics’. The natural forms are woven in a highly embellished and stylized manner. A unit of a pattern or the smallest unit of a design is a motif. Often inspired by nature, architecture, culture, or religion, etc. The motifs on traditional Indian textiles are all distinct and mostly very colorful, intricate, bold and symmetrical. After assimilating the essence of a pattern, a weaver, an embroiderer or an artist implements his own interpretation of it. Since ancient time many kings ruled our country, these designs are often representation of the different styles from an era gone. Thus a stem can evolve into a flower or an animal/bird form. Decorative motifs like a leaf, fruit, flower, branch, bud, creeper, animal, bird or a tree never break the symmetry of the pattern or designs. Indian craftsmen’s always gave serious consideration to the proper utilization of the space between the motifs in a pattern. To maintain correlation and harmony between the patterns, certain geometrical patterns, textures and effects were used. The most common being checks, strips, dots, etc.

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Keerthi, Nellutla, and Mokanaa Sri E. "AN OVERVIEW OF TRADITIONAL KANCHIPURAM SILK SAREES." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2CDSDAD (June 13, 2024). http://dx.doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.1083.

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Kanchipuram Silk Sarees are among the most desired traditional wear for the ever-bothersome question of elegance and prestige of culture, as well as for the legendary history of this district and the brilliantly exclusive craftsmanship combining this textile. South Indian bridal culture has existed for ages, and the Kanchipuram silk saree has been a ruling trend among more sophisticated ladies for a long time. The charming silk sarees, designed individually with gold or silver zari and pure silk threads, from Kanchipuram, a town in Tamil Nadu, are examples of the textile industry's brilliant creations. Kanchipuram Silk Sarees are a paragon of taste and history for their intricate craftsmanship that depicts their exclusive weaving styles, choice of luxury materials, and everlasting patterns. These sarees convey the rich textile legacy of our country and mesmerise worldwide fashion enthusiasts with their extraordinary combination of culture and modernity. They are still worn as a form of importance during events and passed down as family heirlooms because they are truly outstanding pieces. This paper covered the historical value, manufacturing methods, current trends, market identification, and cultural importance of Kanchipuram silk sarees in contemporary times. It also thoroughly describes the features and their still-thriving cognizance today in eastern Indian fabrics. In addition, the SWOT analysis included in this study highlights the strengths, weaknesses, opportunities, and threats associated with the Kanchipuram silk industry. Elements of the fabric, including durability and brilliance, as well as intricate patterns and motifs, are the main selling points for maintaining its rich cultural legacy.

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Soni, Ritika, and Neelam Agrawal Srivastava. "VASTRAVIKAS: UNRAVELING INDIA'S SUSTAINABLE GARMENT LEGACY." ShodhKosh: Journal of Visual and Performing Arts 5, no. 2 (July 10, 2024). http://dx.doi.org/10.29121/shodhkosh.v5.i2.2024.928.

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The clothing and textile industry, a cornerstone of India's rich heritage, is shifting towards sustainable practices by emphasizing reducing, reusing, and recycling materials. This approach ensures that waste decomposes naturally, promoting sustainability. The retail sector in India has grown significantly, evolving from a seller-driven to a buyer-driven market. Historically, India's retailing started with barter systems, exchanging goods of similar value without money, which played a vital role in the economy and offered solutions to modern cash flow issues.This study examines the recycling practices involving clothes collected by hawkers. Survey results show that urban respondents understand recycling as creating new items from old ones. Hawkers gather used garments, sort, inspect, clean, and then produce useful recycled products. These recycled garments are often bought by middle-class families at affordable prices for their housemaids.To promote sustainable practices in the textile industry, several strategies are recommended. Organizing workshops and training sessions on upcycling can help individuals repurpose old clothing creatively. Establishing community repair centers or providing resources for basic clothing repair techniques can emphasize the importance of repairing and modifying garments. Educational campaigns and community events can promote clothing donations, preserve cultural heritage, and reduce waste. Supporting sustainable textiles involves encouraging local artisans, weavers, and the textile industry, and urging designers to incorporate traditional techniques and fabrics. Awareness campaigns through social media and community events can educate people about the traditional Indian model of garment reuse, further promoting sustainability in the textile industry.

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Nair, Kavya M., and Greeshma S. "EXPLORING THE CHENNAMANGALAM SAREES OF KERALA." ShodhKosh: Journal of Visual and Performing Arts 5, no. 2 (July 17, 2024). http://dx.doi.org/10.29121/shodhkosh.v5.i2.2024.1085.

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India's economy is heavily reliant on the fashion industry, which boasts a rich array of traditional textiles. Among these, the Chennamangalam sarees stand out as a vivid representation of the nation's heritage. Hand-loomed in the village of Chennamangalam in Kerala, these sarees feature intricate designs and vibrant hues, showcasing the creative and technological prowess passed down through generations. Crafted by skilled artisans using locally sourced fabrics, these sarees are renowned for their stunning designs and sustainable materials, preserving traditional craftsmanship and environmentally responsible methods. They appeal to style enthusiasts seeking a blend of modernism and heritage, making them highly sought-after both domestically and internationally. By combining sustainability with style and heritage with innovation, Chennamangalam sarees are poised to make a significant impact on the global market for Indian textiles. This paper thoroughly examines Chennamangalam sarees, focusing on their rich history, intricate weaving techniques, and cultural significance. It also explores their entry into the global market, the support systems that sustain the craft, and the current dynamics of supply and demand. Providing valuable insights for participants in the textile industry, this study offers a comprehensive review of the opportunities and challenges facing Chennamangalam sarees in the future.

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G, Sandhya, and Sushanta Mahapatra. "Thematic Analysis to Assess Indian Consumers Purchase Intention for Organic Apparel." Qualitative Report, August 27, 2018. http://dx.doi.org/10.46743/2160-3715/2018.3442.

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Consumer behavior is dynamic, and there is a beauty in trying to understand consumer’s intention for a product category like organic apparel, especially when it is a unique phenomenon that is scantly explored in an emerging economy like India. This paper is an attempt at understanding the factors that influence Indian consumer’s intention to purchase organic apparel. A purposive sampling procedure was adopted in selecting participants. A focus group discussion was conducted to capture data for the thematic analysis. Theoretical thematic analysis was conducted by relying on the theory of planned behavior model. Inductive thematic analysis gave way for other dimensions like product knowledge and involvement, environmental knowledge, and skepticism that evolved out of the themes. Product knowledge and involvement, subjective norms, perceived behavioral control, and attitude had an influence on the intention. Environmental knowledge and skepticism indicated a chance to negate the relationship. The textile manufacturers, who are innovating with sustainable fabrics, can look at the dimensions that consumers seek for while making a choice of organic apparel. Domestic and international organic apparel manufacturers can capitalize on the behavioral dimensions of the factors that influence consumer’s intention for organic apparel, thereby facilitating identifying the prospect.

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Sadheesh Kumar. A, Dr. M. Sumithra, Aishwarya. R, and Jothipriya. R. "A Comparative Study on Mosquito Repellency in Knitted Fabric using Herbal Extracts and Oils." International Journal of Advanced Research in Science, Communication and Technology, February 23, 2023, 622–27. http://dx.doi.org/10.48175/ijarsct-9749.

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The textile industry has an over whelming presence in the economic life of our country but it is facing a challenging condition in the field of quality and productivity due to globalization of the world market. So, leading the movement for Eco-friendly textiles should be the management mantra for Indian textile industry to become a successful player in the global arena of textiles with many avenues to capture in coming times in the eco-conscious scenario. A Textiles demand varies from year to year with the changing fashion; the consumer's preference influences the demand for different types of finishes. The increase in the world demand for textile s is expected to continue not only due to increase in the world population but also due to the standards of living. Therefore, the focus of research has shifted towards the exploration of the new finishes and their combinations with the older ones

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Greeshma, S., Sadhna, and Rajesh Kumar. "POCHAMPALLY IKAT AND FASHION: REDEFINING TRADITIONAL TEXTILES FOR THE GLOBAL MARKET." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2CDSDAD (October 13, 2023). http://dx.doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.581.

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Indian fashion has been one of the largest contributors to the country’s economy with various traditional textiles. Pochampally Ikat is one of the traditional fabrics that is manufactured in Pochampally, Nalgonda District, Telangana. This is an exceptional fabric that is dyed even before it is woven. This fabric weaving follows the tie and dye technique where the yarns are dyed according to the designs and then taken to the weaving process. This uniqueness paved the way for the fabric to make an entry into the global market. After Independence, Pochampally ikat has made enormous growth with the support of various NGOs and the government. This paper will give insights into the history and process followed in weaving the Pochampally ikat. The paper also focuses on the support mechanisms, demand and supply, and its expansion into the global market. This also includes the threats, challenges, and opportunities of the fabric.

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-, Zeba Yasmin, and Dr Neelam Agrawal -. "Design Intervention in Jamdani Motif Development." International Journal For Multidisciplinary Research 5, no. 4 (August 5, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i04.4778.

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One of the best textile uses for sustainability is Jamdani weaving, which uses a chemical-free surface design approach as opposed to environmentally friendly surface finishes. Traditional Jamdani weavers employ fibres and vegetable colours that are produced locally. Additionally, there is little pollution as a result of the weavers' use of handlooms. Jamdani weaving is totally done by hand. This traditional weaving method, known as Jamdani, was recognised by UNESCO as a component of Bangladesh's Intangible Cultural Heritage in 2013. It is popular because of its transparency, gorgeous colour palette, and eye catching geometric and organic design. Handloom weaving is a significant and growing industry in several Bengali districts. The excellent designs of handloom fabrics define demand as a priority. This applies to both domestic and foreign handloom product marketplaces. An anthropologist's delight, it has been said, is traditional design. Traditional designs, on the other hand, are a part of the people's cultural history. Individuals of various ages pick out designs that suit their individual likes and tastes. Young buyers prefer fancy and contemporary patterns and styles. Jamdani weavers, on the other hand, are virtually exclusively interested in weaving traditional themes and patterns. As a result, a little thought and modernization of existing designs is required to enhance market share. The study is focused on knowing and studying the traditional Jamdani motifs. Research is done by both primary and secondary sources. The selection of data on the sample has been done on the basis of random selection. There were limitations in the study as not all the artists were approachable. I have drawn inspiration from East Indian famous temples like Kamakhaya, Konark temple which pursues geometrical designs. And have implemented it in the tops as a placement.

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Kothari, Usha, Karanjeet Kaur, Simerjeet Kaur, and Simerjeet Kaur. "KHADI MANUFACTURER OF MARWAR (RAJASTHAN)." Scholarly Research Journal for Humanity Science & English Language 4, no. 24 (November 4, 2017). http://dx.doi.org/10.21922/srjhsel.v4i24.10350.

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It is believed that man first learned how to create string 20 to 30 thousand years ago, by twisting plant fibers together. An Indian textile enjoys a rich heritage and the origin of textile in India traces back to the Indus valley civilization where people handspun cotton for weaving clothes. Rigveda, the earliest of the Veda contains the literary information about textiles and it refers to weaving. Present study was conducted at Marwar region of Rajasthan state. The study was based on the primary data and the necessary data required for the study were collected through questionnaire. 600 respondents were selected for the study. They were students, working and non-working persons. This study covers opinion of both males and females about the use of Khadi fabric and their opinion about Khadi fabric (B. Narayan, 2010). To fulfill the purpose of the study three types of respondents were selected khadi consumers, khadi bhandars and khadi manufacturers. Survey was conducted to collect relvent data for the purpose. Three types of questionnaire (with open and close ended questions ) were developed to obtain data from consumers, manufacturers of khadi fabric and khadi bhandars.

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Varshney, Seema, Sarika Singh, C. Vasantha Lakshmi, and C. Patvardhan. "Content-based image retrieval of Indian traditional textile motifs using deep feature fusion." Scientific Reports 14, no. 1 (May 1, 2024). http://dx.doi.org/10.1038/s41598-024-56465-9.

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AbstractIn the fast-paced fashion world, unique designs are like early birds, grabbing attention as online shopping surges. Fabric texture plays an immense role in selecting the perfect design. Indian Traditional textile motifs are pivotal, showing rich cultural origins and attracting worldwide art fanatics. Yet, technology-driven abstract forms are posing a challenge for them. The decline of handmade artistic ability due to computerization is concerning. Crafting new designs associated with the latest trends is time- consuming and requires diligence. In this work an interactive CBIR (content-based image retrieval) system is presented. It utilizes deep features from InceptionV3 and InceptionResNetV2 models to match query designs with a database of traditional Indian textiles. Its performance is tested with Caltech-101, Corel-1K state-of-the-art datasets, and Indian Textiles datasets and the results are shown to be finer than the existing approaches. The similarity-based fine-grained saliency maps (SBFGSM) approach is employed to visualize the importance of features. Our approach combines deep feature fusion with PCA dimensionality reduction and speeds up search using a clustering approach. Relevance feedback is employed to refine the retrievals. This tool is expected to benefit designers by accelerating the design cycles by bridging the gap between human creativity and A.I. assistance.

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Jain, Toshit, Jinesh Kumar Jain, Rajeev Agrawal, and Shubha Johri. "Investigation of environmental potentials on supply chain of textile and yarn industry using smart and sustainable life cycle assessment." Management of Environmental Quality: An International Journal, August 1, 2022. http://dx.doi.org/10.1108/meq-03-2022-0062.

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PurposeEnvironmental impact and changes are becoming essential in textile and yarn industries, where reliable measurement of parameters related to processing harmful substances needs to be examined. Such findings can be cumulated using smart assessment like life cycle analysis. The ecological impact category, supply chain, and climate-changing factors were considered for the necessary assessment.Design/methodology/approachThis paper applies the Life Cycle Assessment technique in the textile and yarn industry to estimate critical environmental potentials. The critical input for the fabric and yarn industry was put in the GaBi software model to estimate various environmental potentials.FindingsGlobal warming potential, electricity, and raw cotton consumption in the fabric and yarn industry were critical concerns where attention should be focused on minimizing environmental potentials from cradle to gate assessment.Research limitations/implicationsThis qualitative study is made via the industry case-wise inputs and outputs, which can vary with demographic conditions. Some machine and human constraints have not been implemented in modelling life cycle model for smart simulation. Smart simulation helps in linking different parameters and simulates their combined effects on the product life cycle.Practical implicationsThis modelling approach will help access pollution constituents in different supply chain production processes and optimize them simultaneously.Originality/valueThe raw data used in this analysis are collected from an Indian small scale textile industry. In the textile fabrication industry, earlier assessments were carried out in cotton generation, impact of PET, cradle to grave assessment of textile products and garment processing only. In this research the smart model is drawn to consider each input parameter of yarn and textile fabric to determine the criticality of each input in this assessment. This article mainly talks about life cycle and circular supply assessment applied to first time for both cotton to yarn processing and yarn to fabric industry for necessary estimation of environment potentials.

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Journal articles on the topic 'Indian textile fabrics'

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