Saturday, 10 June 2023

Indian Sarees- Major Types



India's rich cultural tapestry is beautifully reflected in the diverse array of sarees found across the country. Each region boasts its own unique weaving techniques, motifs, and designs, creating a mesmerizing variety of saree styles. In this chapter, we will explore some of the most renowned types of Indian sarees, showcasing their distinct characteristics and the cultural heritage they represent.

Banarasi Sarees

Originating from the city of Varanasi in Uttar Pradesh, Banarasi sarees are synonymous with opulence and grandeur. These sarees are crafted from fine silk and adorned with intricate zari work, featuring gold or silver brocade patterns. The motifs commonly found on Banarasi sarees include floral designs, paisleys, and intricate geometric patterns. Banarasi sarees are treasured as heirlooms and are often worn on special occasions like weddings and festivities.

Kanjeevaram Sarees

Hailing from the town of Kanchipuram in Tamil Nadu, Kanjeevaram sarees are celebrated for their exceptional craftsmanship and rich silk fabric. Known for their vibrant colors, wide borders, and intricately woven designs, Kanjeevaram sarees are characterized by motifs inspired by temple art, nature, and traditional patterns. The dense silk fabric and the exquisite zari work make Kanjeevaram sarees a symbol of South Indian elegance and tradition.

 Bandhani Sarees

Originating from the colorful state of Rajasthan and Gujarat, Bandhani sarees are famous for their vibrant tie-dye patterns. The technique involves tying small sections of the fabric with threads before dyeing, creating distinctive circular or dot-like patterns. Bandhani sarees are often adorned with mirror work and intricate embroidery, reflecting the rich Rajasthani and Gujarati cultures. They are cherished for their playful charm and are popular for festive occasions.

Patola Sarees

Hailing from the Patan region in Gujarat, Patola sarees are a testament to the exceptional skill of double ikat weaving. These sarees are meticulously hand-woven using the resist-dyeing technique, where both the warp and weft threads are tie-dyed before weaving. The result is intricate geometric patterns and vibrant colors on both sides of the saree. Patola sarees are highly prized for their complexity and are considered a symbol of prestige.

Chanderi Sarees

Renowned for their sheer texture and delicate handwoven patterns, Chanderi sarees originate from the town of Chanderi in Madhya Pradesh. These sarees are crafted from a blend of silk and cotton, creating a lightweight fabric that drapes gracefully. Chanderi sarees are known for their subtle motifs, such as peacocks, flowers, and geometric designs. They exude elegance and are favored for both formal and casual occasions.

Jamdani Sarees

Hailing from the state of West Bengal, Jamdani sarees are a fine example of intricate weaving. These sarees are woven on traditional handlooms, and the motifs are typically created using a discontinuous weft technique. The designs often feature floral patterns, paisleys, and intricate geometric shapes. Jamdani sarees are prized for their sheer texture, lightness, and the intricacy of their woven patterns.

Paithani Sarees

Originating from Maharashtra, Paithani sarees are renowned for their lustrous silk fabric and exquisite handwoven peacock motifs. These sarees often feature intricate borders and pallus (endpiece) adorned with vibrant designs. The zari work and the contrasting colors add to their allure, making Paithani sarees a popular choice for weddings and festive occasions in Maharashtra.

These are just a few examples of the myriad saree styles found across India. Each type of saree has its own distinct beauty, reflecting the craftsmanship, traditions, and cultural heritage of its region. Exploring the rich diversity of Indian sarees is an enchanting journey that reveals the artistry and creative prowess of Indian weavers.


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AVANTRA BY TRENDS - TIMELESS ELEGANCE; LET'S TALK SAREES



This is my Talk at Hyderabad about Kanjivaram Sarees

Saree- A never ending Story



In the vibrant tapestry of Indian culture, few garments capture the essence of tradition, elegance, and grace as splendidly as the saree. As one of the world's oldest unstitched garments, the saree holds a treasured place in the hearts of millions of Indian women, weaving together stories of heritage, craftsmanship, and timeless beauty.




The roots of the saree can be traced back thousands of years, with mentions in ancient Indian texts like the Vedas and the Mahabharata. The saree, known by various names such as sari, shari, or shadi, has evolved over time, adapting to different regional styles and cultural influences. It epitomizes the rich history and diverse traditions of the Indian subcontinent.

The saree holds immense cultural and symbolic significance in India. It is more than just a piece of clothing; it is a symbol of femininity, grace, and respect. The act of draping a saree is considered an art form, passed down through generations, symbolizing the passage from girlhood to womanhood. It represents the customs, rituals, and values of Indian society.




At the heart of every saree lies the craftsmanship and skill of Indian weavers. Throughout the country, artisans employ a variety of weaving techniques and intricate designs, showcasing the depth of their artistry. From the Banarasi silk sarees of Varanasi to the Kanjeevarams of Tamil Nadu, each region boasts its unique weaving traditions, motifs, and patterns.

India's geographical diversity and cultural tapestry are beautifully reflected in the multitude of saree styles found across the country. From the vibrant Bandhani sarees of Rajasthan to the delicate Chanderi sarees of Madhya Pradesh, each region has its distinct saree heritage, showcasing the artistry and aesthetics of the local communities.

The allure of the saree extends beyond its traditional roots. Over the years, Bollywood, India's vibrant film industry, has played a significant role in popularizing sarees and influencing fashion trends. Iconic movie moments featuring heroines draped in elegant sarees have captivated audiences, giving rise to new styles, designs, and a fusion of traditional and contemporary influences.

In recent years, Indian sarees have gained international recognition and have become sought-after fashion statements worldwide. From red carpets to international runways, the saree has transcended cultural boundaries, captivating fashion enthusiasts and designers alike. Its timeless elegance and versatility have made it a beloved choice for special occasions, weddings, and even everyday wear for women across the globe.




This series of articles seeks to celebrate the magnificence of Indian sarees, providing a comprehensive exploration of their history, styles, fabrics, weaving techniques, and cultural significance. It aims to showcase the artistry and craftsmanship of Indian weavers, highlighting the beauty of sarees and their enduring legacy. Whether you are an avid saree enthusiast, a fashion lover, or simply curious about the richness of Indian culture, this series will serve as a gateway to the enchanting world of Indian sarees.

In the chapters that follow, we will embark on a journey through the mesmerizing landscapes of Indian sarees, delving into their regional variations, draping styles, fabrics, embellishments, and their impact on fashion and society. Let us unfurl the intricate folds of the saree and immerse ourselves in its timeless charm.


Friday, 17 March 2023

2.5% AQL: How it works - with Python Code



I will take a case study and then go through it taking two approaches.

Case: 

A vendor has offered 671 sarees for inspection, some of which are defective. 

a. How many sarees need to be inspected for a 2.5% AQL level

b. What is 2.5% AQL level

c. Suppose I took a sample of 26 sarees and 15 of them are defective, should I reject the whole lot

========
Solution 1. Using Hypothesis Testing Approach
========

To determine whether you should reject the whole lot of sarees, you need to conduct a hypothesis test using the sample data you have collected.

Here is how you can approach it:

1. Define the null and alternative hypothesis:

Null Hypothesis ( H0):  The proportion of defective sarees in the entire lot is equal to or less than a specified value p0.

Alternative Hypothesis ( Ha): The proportion of defective sarees in the entire lot is greater than p0. 

2. Set the significant level of the test. This is probability of rejecting the null hypothesis when it is actually true. Lets say you choose a significance level of 0.05.

3. Calculate the test statistic. For this situation, you can use a one-tailed Z -test, for proportions, the formula is 

z = (phat-p0)/sqrt(p0(1-p0)/n)

Where phat is the sample proportion of defective marbles, n is the sample size, and sqrt() denotes the square root function.

Plugging in the values from you sample, you get:

z = (15/26-p0)/sqrt(p0(1-p0)/26)

4. Determine the critical value or p-value. critical value can be found from a z -table for your chosen significance level. 

Alternatively, you can use p-value approach, which is to find the probability of getting a test statistic as extreme or more extreme than the observed one, assuming the null hypothesis is true. 

5. Decide. If the test statistic exceeds the critical value, or p-value is less than the significance level, you reject the null hypothesis and conclude that the proportion of defective sarees in the entire lot is greater than p0, else you fail to reject the null hypothesis.

Assuming that p0 = 0.05 and alpha = 0.05, then test statistic will be 

z = (15/26-0.05)/sqrt(0.05(1-0.05)/26) = 3.20

critical value for alpha 0.05 is 1.645, as 3.20 is more than that we reject the null hypothesis and conclude that the proportion of defective sarees in the entire lot is greater than 0.05. Therefore you should reject the whole lot of sarees.

You can use the following python code to achieve it. Here it is assumed that defective rate is max 2.5%, instead of 0.05 as above

============================
import statsmodels.stats.proportion as smprop

# Lot size
N = 671

# Number of defective marbles in the sample
defectives = 15

# Calculate the sample proportion of defectives
p_sample = defectives / N

# Null hypothesis: p <= 0.025 (defective rate is at most 2.5%)
# Alternative hypothesis: p > 0.025 (defective rate is higher than 2.5%)

# Perform one-tailed z-test with alpha = 0.05
z_score, p_value = smprop.proportions_ztest(defectives, N, value=0.025, alternative='larger')
print("z-score:", z_score)
print("p-value:", p_value)

if p_value <= 0.05:
    print("Reject null hypothesis")
else:
    print("Fail to reject null hypothesis")
=====================================



n this code, we first calculate the sample proportion of defectives by dividing the number of defective marbles by the lot size. We then set up the null and alternative hypotheses as before, and perform a one-tailed z-test with the proportions_ztest() function from the statsmodels.stats.proportion module. The proportions_ztest() function takes the following arguments:

count: the number of successes (defective marbles) in the sample.
nobs: the sample size (lot size).
value: the hypothesized proportion under the null hypothesis (which was 2.5% in this case).
alternative: the alternative hypothesis, which is 'larger' in this case since we are testing for a higher defective rate.
The proportions_ztest() function returns the z-score and p-value of the test. We compare the p-value to the significance level (alpha = 0.05) and make a decision to either reject or fail to reject the null hypothesis.

When you run this code, it will output the z-score and p-value of the test, and the decision to either reject or fail to reject the null hypothesis.



You can achieve the same assuming binomial distribution

======================================

import scipy.stats as stats

# Lot size
N = 671

# Null hypothesis: p <= 0.025 (defective rate is at most 2.5%)
# Alternative hypothesis: p > 0.025 (defective rate is higher than 2.5%)

# Number of defective marbles in the sample
defectives = 15

# Perform one-tailed binomial test with alpha = 0.05
p_value = stats.binom_test(defectives, n=N, p=0.025, alternative='greater')
print("p-value:", p_value)

if p_value <= 0.05:
    print("Reject null hypothesis")
else:
    print("Fail to reject null hypothesis")

=======================================

The Jupyter code is:






In this code, the null hypothesis is that the defective rate p is at most 2.5% (i.e., p <= 0.025), and the alternative hypothesis is that p is higher than 2.5% (i.e., p > 0.025). We perform a one-tailed binomial test with the binom_test() function from the scipy.stats module, with the following arguments:

defectives: the number of defective marbles in the sample (which was 15 in this case).
n: the lot size (which was 671 in this case).
p: the hypothesized defective rate under the null hypothesis (which was 2.5% in this case).
alternative: the alternative hypothesis, which is 'greater' in this case since we are testing for a higher defective rate.
The binom_test() function returns the p-value of the test. We compare the p-value to the significance level (alpha = 0.05) and make a decision to either reject or fail to reject the null hypothesis.

When you run this code, it will output the p-value of the test and the decision to either reject or fail to reject the null hypothesis.


AQL Approach

Yes, you can use the AQL (Acceptable Quality Level) approach to solve this problem. AQL is a commonly used sampling plan in quality control that specifies the maximum acceptable percentage of defects in a sample. The AQL value is expressed as a percentage, and it represents the level of quality that is deemed acceptable by the customer or the manufacturer.

To use the AQL approach, you need to determine the sample size and the maximum allowable number of defects based on the AQL value and the lot size. The formula for calculating the sample size is:

n = (Zα/2)2 * p * (1-p) / d2

where Zα/2 is the critical value of the standard normal distribution corresponding to the desired level of confidence (e.g., Zα/2 = 1.96 for a 95% confidence level), p is the expected proportion of defects in the lot, d is the maximum allowable difference between the sample proportion and the lot proportion (i.e., the AQL value), and n is the sample size.

For this problem, let's assume that the AQL value is 2.5%, and we want to be 95% confident that the sample proportion is within 2.5% of the lot proportion. We can set p = 15/671, the proportion of defective marbles in the lot based on the sample, and d = 2.5% = 0.025. The lot size is already given as 671.

Using the formula, we get:

n = (1.96)2 * (15/671) * (1 - 15/671) / (0.025)2 ≈ 106

This means that we need to randomly sample 106 sarees from the lot to determine whether the lot meets the AQL requirement of 2.5% defects. If the number of defective sareesin the sample is less than or equal to 3 (i.e., 2.5% of 106), we accept the lot. If it is greater than 3, we reject the lot.

In this case, the sample has 15 defective sarees, which is greater than 3, so we would reject the lot based on the AQL approach as well.

You can use the following python code to achieve it. Here it is assumed that defective rate is max 2.5%, instead of 0.05 as above

To make the Z value dynamic depending on the desired confidence level, you can modify the sample_size function to accept a parameter for the confidence level, and then calculate Z using the scipy.stats.norm.ppf() function, which returns the critical value of the standard normal distribution corresponding to a given percentile (i.e., confidence level).

========================
import math
from scipy.stats import norm

# Lot size
N = 671

# Sample size formula
def sample_size(AQL, p, alpha):
    Z = norm.ppf(1 - alpha/2) # Critical value for two-tailed test
    d = AQL # Maximum allowable difference
    n = ((Z**2) * p * (1 - p)) / (d**2)
    return math.ceil(n)

# Calculate sample size for AQL = 2.5%, p = 15/671, and alpha = 0.05 (95% confidence level)
n = sample_size(0.025, 15/671, 0.05)
print("Sample size:", n)

# Number of defective marbles in the sample
defectives = 15

# Check if the lot meets the AQL requirement at alpha = 0.05
AQL_defectives = math.ceil(n * 0.025) # Maximum allowable defects based on AQL
if defectives <= AQL_defectives:
    print("Lot accepted")
else:
    print("Lot rejected")
    
# Check if the lot meets the AQL requirement at alpha = 0.01 (99% confidence level)
n = sample_size(0.025, 15/671, 0.01)
print("Sample size:", n)
AQL_defectives = math.ceil(n * 0.025)
if defectives <= AQL_defectives:
    print("Lot accepted")
else:
    print("Lot rejected")
=========================================




In this code, the alpha parameter represents the significance level (1 - confidence level), which is used to calculate the critical value of Z. The norm.ppf() function takes a percentile (in this case, 1 - alpha/2 for a two-tailed test) and returns the corresponding critical value of the standard normal distribution.

When you run this code, it will output the sample size and the lot acceptance/rejection decision for both a 95% confidence level (alpha = 0.05) and a 99% confidence level (alpha = 0.01). The Z value will be different for each confidence level, and will be calculated using the norm.ppf() function.

Sunday, 15 May 2022

The Rich Tapestry of Indian Sarees: A State-wise Exploration




The Indian saree is a timeless and iconic garment that has been a part of Indian culture for centuries. With its elegant drape and intricate designs, it represents the diverse traditions and craftsmanship of the country. The modern wearing style of saree was invented in 1862 by Rani Gyanodanandini Tagore, wife of Satyandranath Tagore, who was the elder brother of Rabindranath Tagore. Each state in India has its unique style of saree, with distinct patterns, borders, and fabrics. In this article, we delve into the rich tapestry of Indian sarees, exploring the variations across different states.

Kerala:
In Kerala, the saree is known as "Pudva." It typically features a simple yet elegant design with a border called "Kara." The body or ground of the saree is referred to as "Udal." The outer end-piece is called "Mundani" or "Anchalam," while the inner end-piece is known as "Ullattam." The saree is often adorned with a selvedge called "Vakka" and an end fringe called "Allukk." The parting-stripe of warp without weft is left plain, and the saree is folded in a style known as "Madak."

Karnataka:
Karnataka embraces the saree in various forms, including "Seere" and "Bond." The border, known as "Kinar," "Anchu," or "Patta," adds a touch of elegance to the saree. The body or ground is called "Nadamu" or "Maidan." The outer end-piece, referred to as "Seregu" or "Pallav," is intricately designed. The inner end-piece, called "Lopala Kongu," complements the overall look. The saree is finished with a selvedge called "Ginta Javana," "Jamada," or "Jawla." The end fringe is known as "Baddi," "Badi Athari," "Badhaggi," or "Kante Thojhalar." The saree fold style in Karnataka is called "Chotto Attri," "Potta Athari," "Badige," or "Galinge."

Goa:
Goa celebrates its saree heritage with names like "Lugda," "Kapad," and "Sado." The border, known as "Kath," adds a distinctive touch. The body or ground of the saree is called "Aang." The outer and inner end-pieces are referred to as "Bhailo," "Pallov," "Podar," and "Bheetolo Pallov," respectively. The saree is adorned with a selvedge called "Kath," and the end fringe is known as "Gone." The parting-stripe of warp without weft is called "Dassi," and the saree is folded in the "Ghadi" style.

Maharashtra:
Maharashtra boasts a range of sarees, including "Baan" and "Lugda." The border, known as "Ghadi," "Mad," "Kinar," or "Garbh," is intricately designed. The body or ground of the saree is called "Dal" or "Garbh." The saree features a distinct end-piece called "Padar" or "Patti." The inner end-piece is referred to as "Dhungan Patti." The saree is adorned with a selvedge called "Jeeb" or "Nakhi." The end fringe is known as "Punchra." The finishing touch is given with a decorative element called "Dassi" or "Dasta." The Maharashtra style of folding the saree is known as "Ghadi."

Gujarat:
Gujarat is renowned for its vibrant sarees like "Lugda" and "Sadlo." The border, known as "Kor," "Phumro," or "Dhaburao," features intricate patterns and designs. The body or ground of the saree is called "Pate," "Libhai," or "Bhoomi." The saree often showcases a beautiful pallav or outer end-piece called "Saur," "Chheda," or "Pallav." The selvedge is referred to as "Chilla," while the end fringe is called "Kantho," "Kanar," "Baid," or "Dhari." The saree is folded with finesse in a style known as "Fumka." The parting-stripe of warp without weft is called "Chiran."

Madhya Pradesh and Chhattisgarh:
Madhya Pradesh and Chhattisgarh offer a variety of sarees, including "Jote," "Lugda," and "Pata." The border, known as "Kinar" or "Dhadi," is often intricately woven. The body or ground is called "Peta," "Deh," "Zamin," "Dharti," or "Howda." The saree features a unique end-piece called "Pallavan," "Patta," "Munh," "Anchi," or "Jhela." A decorative element called "Kanihai Patti" adds charm to the saree. The selvedge is referred to as "Dun" or "Dohra Patti." The end fringe is known as "Phunchra," and the saree fold is called "Chir" or "Dhadi."

Uttar Pradesh:
Uttar Pradesh embraces the saree in various styles like "Dhoti," "Lugdi," "Lugga," and "Sari." The border, known as "Kinar" or "Bel," is intricately woven. The body or ground is called "Pote" or "Zameen." The saree showcases a beautiful pallu or outer end-piece called "Palloo," "Palla," or "Anchal." The selvedge is referred to as "Tala" or "Deodhi Ke Baad." The finishing touch is given with a decorative element called "Koria" or "Berai." The saree features a delicate end fringe known as "Jhalar." The saree fold styles in Uttar Pradesh include "Cheer" and "Ghadi" or "Tehi."

Bihar and Jharkhand:
Bihar and Jharkhand have their own distinct styles of sarees that showcase the cultural richness of the region. The sarees in these states are known by names like "Dhoti," "Luga," and "Langa." The border, called "Paar" or "Kinar," adds a touch of elegance to the saree. The body or ground is referred to as "Zameen," "Lapate," or "Hauz." The saree features a beautiful end-piece known as the "Aanchal" or "Mukpat." A unique decorative element called "Gajnautha" is often incorporated into the design. The selvedge is known as "Kor," and the end fringe is called "Dassi" or "Fudna." The saree is folded in a style known as "Cheela," while the parting-stripe of warp without weft is referred to as "Dhadi."

West Bengal:
West Bengal, known for its rich artistic heritage, offers a diverse range of sarees that capture the essence of the region. The saree in West Bengal is often referred to as "Bhaaj." The border, called "Paar" or "Payrey," showcases intricate patterns and designs. The body or ground of the saree is referred to as "Jameen," "Gaa," "Khol," or "Pota." The outer end-piece, known as "Uni Aanchol" or "Aanchala," adds a touch of grace. The inner end-piece is referred to as "Thol Aanchal," "Kolod," or "Kol." The saree is often embellished with decorative elements like "Aal," "Aanthi," "Mulkandi," or "Aangot." The saree features a distinctive end fringe called "Chhela" or "Dosi." In West Bengal, the saree is often folded in the traditional style of "Bhaaj" or "Guti Bhaaj."

The diverse range of Indian sarees reflects the rich cultural heritage and craftsmanship of each state. From the simple elegance of Kerala's "Pudva" to the vibrant patterns of Gujarat's "Lugda," each saree tells a unique story. Exploring the different styles, borders, body/ground, end-pieces, selvedges, and folds of sarees across India offers a fascinating glimpse into the country's rich textile traditions. Whether it's the traditional weaves of Maharashtra or the intricate designs of Karnataka, Indian sarees continue to captivate with their timeless beauty and cultural significance.

Friday, 6 May 2022

Difference between Kanjivaram and Dharmavaram sarees



Kanjivarams for commercial use are mainly made in Salem and Dharmavaram clusters. 
In Dharmavaram, zari is used both/either in warp and weft, usually mixed with Resham. In Salem, Resham ( Silk is used in warp and weft). In salem, brocades are created using extra thread figuring. Also Kuttu pallu is used in Dharmavaram in most of the sarees for creating contrast colors in pallu. In salem, tie-and-dye  is used for the same. Also in Salem Butas are used in the sarees, as compared to Dharmavarams that use brocades. 

In Kanjivaram, stiffening is done during polishing as compared to Dharmavaram where softening is done. 

Dharmavaram sarees are cheaper than the Kanjivaram, because they use zari in warp as compared to Kanjivaram, that use pure silk. 

Here is a list of other differences: 

Weaving Technique: The weaving technique used for Kanjivaram sarees is known as "korvai," which involves separately weaving the body and border of the saree and then interlocking them. In contrast, Dharmavaram sarees are woven in a "pit loom" technique, where the entire saree is woven as a single piece, including the body, border, and pallu (the loose end of the saree).

Motifs and Designs: Kanjivaram sarees are known for their rich and intricate designs, often featuring traditional South Indian motifs such as temple borders, checks, and floral patterns. Dharmavaram sarees, on the other hand, typically showcase broader borders with contrasting colors and intricate designs inspired by nature, mythology, and local culture.

Pallu Design: The pallu of a Kanjivaram saree usually features elaborate designs and motifs that complement the overall look of the saree. In contrast, Dharmavaram sarees often have a plain or minimally designed pallu, allowing the focus to be on the border and body of the saree.

Color Palette: Kanjivaram sarees are known for their vibrant and contrasting color combinations, with a wide range of options available. Dharmavaram sarees, on the other hand, often feature more subtle and harmonious color schemes.

Both Kanjivaram and Dharmavaram sarees are highly regarded and cherished for their beauty, craftsmanship, and cultural significance. Whether it's the weaving technique, designs, or regional influences, these sarees showcase the artistic diversity and heritage of South India.

Difference in Motifs 

The motifs used in Kanjivaram and Dharmavaram sarees differ in terms of their design elements and inspirations. Here are the general characteristics of motifs found in both saree types:

Kanjivaram Saree Motifs:

Temple Borders: Kanjivaram sarees are renowned for their temple border motifs, which draw inspiration from the architectural designs of South Indian temples. These motifs often feature intricate depictions of temple carvings, deities, peacocks, elephants, and other elements associated with temple art and culture.

Checks and Stripes: Another common motif in Kanjivaram sarees is the use of checks and stripes. These patterns can be either small or large and are typically created using contrasting colors. The checks and stripes add a distinctive visual appeal to the saree.

Floral Patterns: Floral motifs are often seen in Kanjivaram  sarees, representing natural elements and incorporating various flowers like lotus, jasmine, and roses. These floral designs are intricately woven into the saree to create an elegant and timeless look.

Peacock Motifs: Peacocks hold a special place in South Indian culture, and their motifs are frequently used in Kanjeevaram sarees. Peacock-inspired designs are woven into the pallu or border of the saree, showcasing the grace and beauty of these majestic birds.

Dharmavaram Saree Motifs:

Nature-inspired Motifs: Dharmavaram sarees often feature motifs inspired by nature, such as flowers, leaves, vines, and trees. These motifs are intricately woven into the saree to depict the beauty and abundance of the natural world.

Mythological Motifs: Dharmavaram sarees also draw inspiration from Hindu mythology and folklore. Motifs representing gods, goddesses, and mythological characters are commonly seen, symbolizing devotion and cultural heritage.

Peacock and Swan Motifs: Similar to Kanjivaram sarees, Dharmavaram sarees often incorporate peacock and swan motifs. These motifs are believed to symbolize grace, purity, and beauty, and they add an element of charm to the overall design.

Geometric Patterns: Dharmavaram sarees occasionally feature geometric patterns, such as squares, diamonds, and triangles, adding a contemporary touch to the traditional design. These geometric motifs are often combined with other elements to create a visually striking composition.

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Polishing in Kanjivaram Sarees



Polishing involves application of gum and winding the saree onto cloth rolls. The aim is to put the stiffness in the fabric. 

Polishing in Salem Kanjivaram sarees is done only for Powerloom sarees after they are made. The Gaund ( Gum ) is applied by hand after the saree is made before it is wound on the square planks. Then it is made to dry in the sunlight for about six hours. 

For handloom sarees, it is applied while it is made. After every one feet or more of weaving. The gum ( Pasai) is applied. 

In Dharmavaram, instead of stiffening, the softening is done, as it is mostly zari. They also use shampoo to make it shining. 

In Handloom fabrics in Dharmavaram, they use bisleri water to make it shining. 

Tuesday, 12 April 2022

Costing of a Typical Handloom Kanjivaram Saree



Weavers ( piecework)                                                              :                2500 x 10 = 25000 Rs.
Zari Mark for Sarees 10 Sarees Warp                                      :               1200 x 30 = 36000 Rs.  ( Price of one Mark: 1200 Rs.)
Zari Mark for Sarees Weft                                                       :                1200 x 10 = 12000 Rs. 
Design & Punching Cards                                                       :                13000+2000 = 15000 Rs
( 240 Hooks each on Border, 
Pallu, 2 x Body: total 4 Jacquards) 
Silk for Body 10 Sarees  (18-20 denier 2 ply)                       :                 2 kg x 6000  = 12000 Rs.
Silk For Border 10 Sarees                                                      :                 1 kg x 6000  = 6000 Rs. 
Dyeing                                                                                    :                                        = 1500 Rs. 

Total                                                                                        :                  1,07,500

All About Zari in Kanjivaram Sarees



These are the following qualities of zari used in Kanjivaram  and Varanasi Sarees. First lets understand some terms related to zari:

1 Mark: 4 spools with net weight of 240 grams ( Total weight comes out to be 311 grams). One spool contains 2800 to 3000 yards length.  

1. Tested or Plastic Zari or Metallic Zari

This type of zari is purely artificial in which fused plastic is coated with metal like aluminum. This metallized sheet is dyed in various colors according to the requirements and converted into thin tapes, which are finally wound on a core of polyester, viscose or nylon to make the final product. Used in the lowest qualities of Varanasi sarees specially in Dupions. Normally price is about 250 to 300 Rs. per mark. 

2. German Silver Zari

This is also used in the low cost Kanjivaram sarees. Generally it is 30 D zari. Here the core is polyester, with 0.2%-0.3%  ( 2 to 3 grams/kg of copper)  silver wrapped on copper . Normally price is around 720 Rs. per mark. 

3. German Silk Fast Zari

This is generally used in the medium price Kanjivaram Sarees. Generally the denier is about 30. Here the core is pure silk, with 0.2%-0.3%  ( 2 to 3 grams/kg of copper)  silver wrapped on copper . Normally price is around 1200 Rs. per mark. 

4. Half Fine Zari

This is generally used in the premium Kanjivaram Sarees. The gold content is about 0.01% (1gm) to 0.02%(2gm) per kg of copper. The Silk yarn is used in the core. The price is between 1800 -2200 Rs.  per mark. 

5. Pure Zari

It is made only on order Silk yarn is used as core, over that silver and than plated with gold. In one of the test reports, the following were the results: Gold 0.13, Silver: 18.42 and copper 56.61. 

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Sunday, 10 October 2021

How to Test for Pure Zari in Kanjivaram and other Sarees



A few testing laboratories in Kanchipuram provide this service. This is what this portal has to say about the testing method:

In order to build the confidence and credibility among the customers and in the industry about the quality of zari in silk fabrics, testing is very important and much required.  Hitherto, for testing metal contents in zari, destructive method of testing has been carried out.  Now, the testing of zari samples and zari made fabric are carried out by Non-destructive testing (XRF Analyser), which is a unique one.  The technical know-how of the project was jointly developed by Technology Information, Forecasting and Assessment Councils (TIFAC) and Tamil Nadu Zari with the guidance of the Indira Gandhi Centre for Atomic Research (IGCAR, Kalpakkam).

The Zari is sold in terms of MARC.  Weight of one marc is 242 grams.  The composition of the marc is indicated below: -

                              SILVER     55        to     57%

                              SILK         22         to     24%

                              GOLD    0.59        to   0.60%

                              COPPER   20        to     22%



RAW MATERIALS

The required raw materials for the production of the gold zari are:-

Ø      Silver wire        -  76 to 77%

Ø      Silk                   -   13 X 15 denier

Ø      Gold                 -   24 carat.




The information below talks about the XRF technique

XRF (X-ray fluorescence) is a non-destructive analytical technique used to determine the elemental composition of materials. XRF analyzers determine the chemistry of a sample by measuring the fluorescent (or secondary) X-ray emitted from a sample when it is excited by a primary X-ray source. Each of the elements present in a sample produces a set of characteristic fluorescent X-rays (“a fingerprint”) that is unique for that specific element, which is why XRF spectroscopy is an excellent technology for qualitative and quantitative analysis of material composition.

What is Single, 1.5, double warp in Kanjivaram Sarees



1. Kanjivaram Sarees Use 20-22 denier 3 ply filaments. 
2. Single warp means 100 ends per inch. For a 49 inches loom, the number of ends in a single warp is 4900. 
3. 1.5 warp means 150 ends per inch. For a 49 inches loom, the number of ends in a 1.5 inches warp is 7350. 
4. Double warp means 200 ends per inch. For a 49 inches loom, the number of ends in a 2 inches warp is 9800. 
5. Generally, the number of picks are more for single warp, then for 1.5 warp or double warp. 
6. Generally 72, 74, 76 PPi is used. 

Minimum Width of Handloom and Power loom Sarees in Salem

   Handloom Powerloom
Single Warp 46-47.5 44-46
1.5 Warps 46-47.5 44.5-46
2 Warps 46.47.5 45-46

 

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Sunday, 21 March 2021

What are the Various Wild Silk Yarns



Source


  1. Reeled Tussar/ Tussar Raw Silk: It is reeled from Tussar cocoons using different appliance. Reeled Tussar is finer in nature.

  2. TussarGicha: Yarn drawn by hand out of Tussar cocoons without any twist.

  3. Tussar Katia: Yarn spun out of Tussar waste after opening and cleaning.

  4. Tussar Jhuri: Yarn spun out of uncleaned Tussar waste without subjecting it to opening and cleaning process.

  5. Balkal yarn: Yarn spun out of Tussar cocoon peduncles, after boiling in alkaline solution and opened up.

  6. Tussar Spun Silk: Yarn spun in the mill out of Tussar silk waste.

  7. Muga Raw Silk: Yarn reeled from Muga cocoons.

  8. Muga Gicha: Yarn drawn by hand out of muga cocoons without any twist.

  9. Hand Spun Endi/ Eri Silk: Yarn spun by hand appliances from Eri cocoons.

  10. Mill Spun Eri Yarn: Yarn spun in the mill from Eri cocoons.

You can find here the various wild silk fabrics and how to take care of silk. 

How Cocoons are measured in Wild Silk ( Vanya Silk)



 Tussar Cocoons:

The unit of measurement of tussar cocoons is Kahan. Number of Cocoons per Kahan vary in different states. In MP one Kahan has 1000 cocoons while in Maharashtra it has 4000 Cocoons. 

About 1200 cocoons are required to produce one kg of yarn. 

ERI

The Eri cocoons are measured on the basis of weight ( kg)

MUGA

The Muga cocoons are transacted in thousand numbers. About 5000 cocoons are required to produce 1 kg of Muga Raw Silk.

Source

What do you Mean by Vanya Silk



 Non mulberry silks such as Tussar, Muga and Eri are called Vanya silks. 

Production Trends ( 2010-11)

Vanya Silk contributed to about 20% of the total raw silk in India.

Eri, Tussar and Muga contributed to about 64%, 33% and 3% of the total Vanya silk

It contributes to about 10% of the total exports of silk goods 

Tussar Silk

Silk Worm : Antheraea mylitta and Antheraea proylei

Feed on: Asan,  Arjun and Oak

India is the second largest producer or Tussar Silk

History: Ram's nuptial gift to Sita included Tussar Silk

Muga Silk

Silk Worm : Antheraea assamensis

Feed on: Som and Sualu

Use of Muga Yarn instead of Zari is finding its support in Indian Weavers


Source

Thursday, 14 May 2020

Difference among Hand-knotted, Hand-tufted, Kilim and Durries



Hand Knotted Carpets

They are hand knotted on the stretched weft and fastened with a weft. 

Kilim

Kilims are woolen flat weaves with slits where the pattern begins or ends in a different colored yarn. 

Dhurries or Durries

These are Indian counterparts of Kilim. These are flat weaves traditionally woven in all Indian families. Here the yarn are joined during the weave so as not to create gaps and slits.

Hand Tufted

90% of the carpets are hand tufted carpets. In tufted carpets the pile appearance is similar to the knotted carpets but has lesser durability as the pile yarn is knot knotted and simply anchored in the base material. 

Hand Woven Carpets

It is a rather broad category that includes hand knotted carpets as well as flat weaves carpets ( Durries and Kilims) 

Quality

The quality of a mg is judged by its density. The more the number of knots per square inch, better the quality. Dense carpets are more durable and have finer and more detailed patterns. A very good quality knotted mg may have 350 to 1000 knots per square inch depending upon the material. 

A tufted carpet is not as durable and strong as the knotted one. Since it is a cheaper option, one must judge the kind of backing material and glue are used. Apart from this, the tightness of the tuft is the only thing that can ensure some life of the hand tufted carpets.

Source

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Sunday, 26 May 2019

Three Million Page Views !! Thank you Readers !



My Textile Notes has crossed three million page views. It goes to show how beneficial this blog has been to the viewers. I will strive to make it as relevant and informative to the viewers in the future as well. Thanks...

Sunday, 12 May 2019

What causes Pilling in the Fabrics



Pilling is characterized by little balls of fibers attached on the fabric surface. These are entangled in nature and do not look good on the garment. These are caused by the fibers which got loose during washing and wearing. Due to rubbing action these take the form of a ball.

Pilling is always known in wool specially in garments with soft twisted yarns like Angora. However, with the emergence of synthetic fibers the tendency is aggravated.

What happens is that because the strength of the fibers which "anchor" the pills is low in the natural fibres, pills get formed and removed. But in case of synthetic fibers, which have more strength. the pills remain on the garment and accumulate and become worse.

Why pills get formed. It is due to migration of fibers from the yarn on to the surface of the fabric. So any treatment that reduces this migration tendency will reduce the pilling tendency. Thus increasing the twist in the yarn reduces the pilling tendency as it binds the fibers onto yarn.

The following are factors affecting Pilling

Fiber Factors

1. Fiber Nature: As explained natural fibers are less susceptible to pilling than synthetic

2. Fiber Fineness: Finer fibers are more susceptible to pilling as there is more propensity to bending. For example Angora is more susceptible to pilling than normal wool

3. Fiber Friction: More crimp in the fiber, less is the crimp as the migration tendency of the fibers is reduced.

4. Fiber Length: Shorter fibers are more susceptible to pilling as the migration of fibers is increased.

5. Fiber Strength: As explained earlier, strong fibers increase pilling tendency as there the pills find it hard to dislodge from the garment surface.

Yarn Factors 

1. Yarn Count: Coarser the count, more fibers are there in the cross section which leads to higher pilling tendency.

2. Yarn Twist: As explained earlier, more yarn twist leads to less crimp as it binds the fibers more and reduces its yarn tendency.

3. Yarn Finishing: Unsinged yarns have more tendency to pill.

4. Incompatible Blends: If the blend contains components that are incompatible with respect to fiber length and other parameters, tendency to pill increases.

Fabric Parameters

Closer fabric structures lead to less pilling.

If the fabric is subjected to long processes in finishing and processing there is more friction and hence more pilling is formed.

Use of anti-pilling finishes can reduce the tendency of pilling. 


Apart from technological factors, a few of the important factors for pilling are:

1. The person wearing the garment, if that person is particularly hard on garments, pilling tendency is more.
2. There are some susceptible parts of garments such as collars, cuffs, pocket edges which are more susceptible to pill, as there is more rubbing/chafing of the parts.

3. Garments which are frequently washed are more susceptible to pilling.

Testing of Pilling

A very nice introduction to pilling testing is dealt in this NPTEL lecture. 

Sources
1 2- Principles of Textile Testing- J. E. Booth


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Saturday, 13 April 2019

What are the three Primary Colors used in Traditional Handblock Printing of Rajasthan



Here we are talking about the handblock printing process as practiced in the towns of Bagru, Pipar and Balotra. The three primary colors used are 1. Red 2. Blue 3. Yellow

A combination of these produce all the different colors.


  1. The application of red dye is called Ghan Rangai. For ghan grangai, the alum mordanted fabric is introduced into a heated water bath along with Alizarin. It produces the red, wherever the fabric is mordanted with Alum.
  2. The application of Indigo for producing blue color is called Nil Rangai. In this an Indigo dye vat is prepared and fabric is introduced into it and the fabric is dipped into it for 5 to 10 minutes. Then it is taken out and spread into the sun. After this it is again introduced into the bath, this goes on until the required color depth is obtained
  3. The third primary shade, yellow is obtained using Nasphal Putai. Nasphal dye is a cold solution of anar ka chhilka ( pomegranate rind) and haldi ( turmeric) which is typically smeared ( Potai or putai) onto the cloth surface after all other dye and print process has been completed.  As an overdye, nasphal generates a number of other shades: over indigo it creates green, over kasumal it gives orange, and over red dyed areas it results in softer red-ochre shades. This smearing is done quickly and after smearing, the cloth is laid in the sun "until it smells cooked". After that it is rinsed in Alum solution, dried and aged and washed thoroughly. 

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