Textile Notes related to fiber, yarn, fabric knowledge, spinning, weaving, processing, projects, knitting, Indian Traditional Textiles and denim manufacturing
Evaluation of the vendors for Indian Ethnic Fabric is more of an art than a science simply for the fact that there are many soft factors involved. Indian ethnic fabrics are masterpieces generally belong to a particular community who has perfected the art of producing it traditionally. When it comes to dealing with small volumes, you can get very good quality. But the moment the volume go bigger and is limited by delivery timelines, all sort of problmes start happening. Hence it is important to know your vendor before an order is placed with him/her. Generally the crieteria revolves around dealing with the vendors for a few years before making any evaluation.
Time of association with the company is a very important factor. The older the vendor/artisan is with a company, he understands the modus operandi of the company, the likes and dislikes and adept itself to work in the way. This leads to saving in time when explaining designs and fewer rejections.
Volume and value of the fabric done per year is another factor that needs to be looked into. More volume done with the company indicates the vendor's capacity. Evaluating capacity of an artisan is very different from evaluating the capacity of the mill wherein one can count the number of machines and multiply by speed and efficiency to get the capacity. Generally artisans work in small clusters and the looms/printing tables are distributed over a wide geographicaly area. If a vendor can deliver volume that indicates his relationships with the vendors and his financial strength. In case of Tussars/Bhagalpur silks this is of critical importance as the greige fabric has to be booked in advance of one year and colors are indicated closer to the season. The vendor should have the financial strength to hold on the stock for that period.
Innovative designs shown and converted every year is the vital factor for a vendor. It ensures that his margins keep on increasing, his development costs are low and the company is invigorated by the infusion of new designs. Normally, the time of association with the company determines this factor. Block printing can be done on various textures of the fabrics available. Similarly the designs from the saris can be translated into dupattas and stoles after suitable modification. This ensure that the story of the brand is intact and the same language is conveyed to the loyal customer who flock to the stores to get the quintessance of the the brand.
A vendor becomes important if the designs shown by him are impossible or difficult to reproduce anywhere else. That ensures that he gets his desired price points and can dicate terms with regard to production or delivery. It happens in case of traditional wovens and prints that are produced using indiginous techniques like Bagru, Dabu, Jamdanis, Chanderi and Sanganeri Butis.
Supply Chain Risks in Indian Ethnic Garment Buying
Managing the supply chain for Indian ethnic garments is far more complex than managing a standardised apparel product. The reason is simple: ethnic apparel is not just a garment category; it is a combination of fabric, craft, region, season, labour skill, dyeing practice, embellishment, supplier capability and fashion demand. A kurta, saree, dupatta, blouse piece, lehenga or embroidered panel may pass through several hands before it reaches the store.
In Indian ethnic wear, the supply chain may include weavers, dyers, printers, embroiderers, fabric traders, job workers, cutting units, stitching units, washing units, finishing units, transporters, warehouse teams, buyers, planners and store teams. These people are often located in different cities and craft clusters. Their working conditions are not uniform. Their capacity is not always documented. Their processes are not always industrialised. Their output may be affected by weather, festivals, labour availability, electricity, cash flow and even the personal presence of a master craftsperson.
This makes ethnic garment buying both beautiful and risky. The beauty lies in the richness of regional craft and product variety. The risk lies in the fact that supply cannot always be controlled like a modern factory line. A buyer has to manage uncertainty without destroying the character of the product.
1. Why Ethnic Garment Supply Chains Are Risk-Prone
Ethnic garment buying is not only a matter of placing purchase orders and waiting for deliveries. It is a coordination problem spread across material, process, skill, geography and time. A cotton kurta may require fabric procurement, dyeing, printing, cutting, stitching, finishing, packing and dispatch. A festive embroidered kurta may add handwork, sequins, lining, trims, washing and inspection. A saree may involve yarn preparation, weaving, dyeing, finishing, polishing, fall-pico work, blouse-piece coordination and packing.
The risk increases when several of these processes are outside the direct control of the main supplier. A supplier may be strong in fabric trading but weak in embroidery control. Another supplier may have good stitching capacity but depend on outside dyeing. A third supplier may have excellent craft access but poor documentation and delivery discipline. Therefore, supply chain risk in ethnic buying is not a single event. It is a chain of small uncertainties that can accumulate into late delivery, wrong quality, excess inventory or missed season.
Disruption is one of the most common risks in ethnic garment buying. A disruption happens when the normal flow of production is suddenly interrupted. This interruption may occur at the fabric stage, dyeing stage, embroidery stage, stitching stage, finishing stage, logistics stage or approval stage.
For example, consider a supplier who gets chikankari embroidery done from Lucknow. The fabric panels may be cut in Delhi and then sent to Lucknow for embroidery. If the embroidery karigar or the small embroidery unit is unavailable for even one week, the entire production schedule may collapse. The cutting may be complete, but the garments cannot move forward. The stitching unit may be waiting. The buyer may be expecting delivery. The store may have planned the launch. Yet the supply chain stops because one critical activity has been delayed.
This is very common in ethnic wear because many products depend on specialised skills. Chikankari, hand embroidery, hand block printing, tie-dye, kalamkari, zari work, handloom weaving, mirror work, gota work, aari work and kantha work are not always easily replaceable. If the specific worker, unit or cluster is unavailable, the order cannot simply be shifted to another factory without affecting quality, look or authenticity.
Festivals also create disruptions. In South India, Pongal may affect production and movement. In North India, Eid and Diwali may affect labour availability, transport, dyeing units, embroidery units and finishing operations. These festivals are predictable, but their actual impact is not always predictable. A buyer may assume that production will reduce by 50 percent during a festival period, but in reality it may reduce by 70 or 80 percent. This difference is enough to disturb launch plans.
Weather is another major source of disruption. In places where dyeing, drying or printing depends on open-air or semi-open production conditions, monsoon can affect output. If piece-dyed fabrics are required, dyeing has to be planned before difficult weather periods. If this planning is missed, the buyer may have greige fabric available but no finished fabric ready for production.
A practical way to manage disruption is to identify which products are high-risk before placing orders. High-volume, high-value and repeatable products may need buffer inventory. Critical craft products may need alternate suppliers. Products dependent on one supplier, one process or one region should be tracked more carefully. However, keeping inventory itself is expensive. Therefore, the buyer is always balancing safety and efficiency.
3. Delays
Delays are different from disruptions. A disruption is a break in the chain; a delay is a slowing down of the chain. Delays are extremely common in ethnic garment buying because many decisions happen before production can start.
Sometimes styles get closed late. The buyer may take time to approve colours, silhouettes, motifs, embroidery placements, print scales, fabric quality or price. Sometimes the design team may revise the garment after the supplier has already developed the first sample. Sometimes the fit sample gets approved, but the production sample gets delayed. Sometimes the size set is not complete. Sometimes lab dips and strike-offs take longer than expected. Every small delay in approval pushes the delivery date forward.
A simple way to understand delivery risk is through the lead-time equation:
\( Total\ Lead\ Time = Approval\ Time + Material\ Time + Processing\ Time + Inspection\ Time + Logistics\ Time \)
If any one component increases, the total lead time increases. A buyer may focus only on stitching time, but in ethnic wear the real delay may lie in fabric dyeing, hand embroidery, washing, finishing, lab-dip approval, shade matching or transport from a cluster.
Another important reason for delay is supplier overcommitment. A supplier may accept more orders than he can digest because suppliers do not want to refuse business, especially when future orders are uncertain. They may believe they can somehow manage production. But when fabric, embroidery, washing, stitching and finishing all come together, the actual capacity becomes visible. Then the supplier starts prioritising some buyers over others.
This can be called the interference effect. One order interferes with another order. A supplier who has accepted too many orders may shift labour from one style to another, delay one buyer to serve another, or complete easier styles first while difficult styles remain pending. The buyer sees this only when deliveries start slipping.
4. System Risks
Supply chain can also be affected by system failures. These risks may appear rare, but when they happen, the impact can be serious.
In a modern retail organisation, buying and supply chain operations depend heavily on ERP systems, barcode systems, warehouse systems, purchase order systems, vendor portals, inventory records, GRN processes and store stock visibility. If the ERP system does not work for some time, purchase orders may not be released, GRN may not be posted, stock may not be visible and dispatches may get delayed.
During stock audits or inventory checking, transactions may be frozen. This means that material physically exists, but movement is restricted. Goods may not be transferred, billed or received until the checking process is complete. This becomes a supply chain risk when the timing overlaps with a season launch or festival requirement.
System risks are usually handled through backup processes. These may include manual challans, offline records, emergency approval processes, email confirmations, temporary tracking sheets and physical reconciliation. However, manual methods should be used carefully because they can create later mismatches in stock, cost and accountability.
The larger lesson is that technology reduces supply chain risk only when master data, process discipline and exception handling are strong. A poor system does not merely record confusion; it multiplies confusion.
5. Information and Communication Risks
Information risk is one of the most underestimated risks in ethnic garment buying. Many supply chain problems begin not with production failure but with unclear, incomplete or changing information.
A buyer may place an order assuming a particular fabric quality, but the supplier may interpret it differently. A colour may be verbally approved, but the lab dip may not be properly documented. A print may be selected from a sample, but the repeat size may change in bulk. A dupatta may be expected in one fabric, but the supplier may substitute another fabric to control cost. A garment may be approved with one type of lining, but production may happen with a cheaper lining.
There is also a risk after order placement. Sometimes a supplier accepts an order and later increases the minimum order quantity. Sometimes the supplier asks for a rate increase after the buyer has already planned the margin. Sometimes the supplier downgrades quality to maintain the agreed price. Sometimes the supplier accepts the order but does not reserve capacity. Later, when the market improves, he may prefer another buyer who gives a higher rate or larger quantity.
Good supply chain management therefore requires clean communication. The buyer should define fabric quality, GSM or construction where relevant, shade, print, embroidery, trims, measurement, finishing, packing, delivery schedule, inspection stage, penalty conditions and payment expectations. The supplier should confirm feasibility, capacity, lead time, rate, minimum quantity and quality limitations before production starts.
In ethnic wear, a clear tech pack or product specification sheet is not just a documentation formality. It is a risk-control tool.
6. Procurement Risks
Procurement risk arises when the cost, availability, payment or commercial terms of buying change unexpectedly.
A supplier may increase price because yarn rates have gone up, dyeing costs have increased, embroidery labour has become expensive or transport rates have increased. In some craft products, the buyer may not have many alternate suppliers. This gives the supplier more power during negotiation.
Freight is another procurement risk. Ethnic products often move between regions. Fabric may come from one city, printing from another, embroidery from another, stitching from another and final dispatch from yet another location. If transport cost increases or logistics becomes unreliable, total landed cost changes.
Payment delay is also a serious risk. If suppliers do not receive payment on time, they may slow down production, refuse new orders, compromise on quality or prioritise other buyers. Small suppliers and craft-based vendors are especially sensitive to cash flow. In traditional textile supply chains, liquidity is not merely a financial issue; it directly affects production continuity.
Procurement risks are generally managed through long-term relationships, fair payment practices, multiple supplier development, rate contracts, raw material planning and transparent costing. However, multiple sourcing should not be done blindly. If the product requires a particular craft quality, developing more suppliers may take time. The second supplier may not produce the same look, hand feel, embroidery quality or finishing standard.
7. Inventory Risk
Inventory is both a solution and a risk. To manage disruptions, delays and uncertainty, buyers often keep inventory. But inventory itself creates financial and fashion risk.
Inventory risk depends mainly on three factors: product value, rate of obsolescence, and uncertainty in demand and supply.
A high-value fabric or garment carries greater financial risk because money is blocked in stock. A fashion-sensitive product carries greater obsolescence risk because it may lose relevance quickly. A product with uncertain demand or uncertain supply needs careful planning because both shortage and excess are possible.
For example, a high-value wild silk fabric that is used across several categories may be managed through inventory pooling. Instead of each category buying separately, the demand for greige fabric can be aggregated. The greige fabric can be ordered in advance and dyed later according to colour demand. This reduces the risk of being stuck with wrong colours while still protecting fabric availability.
This is where postponement becomes useful. In postponement, the buyer delays the final product decision as long as possible. The base fabric may be produced early, but colour, print, embroidery or garment allocation may be decided closer to the season. This is especially useful when the buyer is confident about the base material but uncertain about colour or style demand.
Suggested Visual 2: Inventory risk and postponement model showing greige fabric, dyeing, styling, finishing and final store allocation.
8. Quality Risk
Quality risk deserves separate attention in ethnic garment buying. In many cases, supply exists, but the delivered product is not commercially acceptable.
Quality risk can appear in many forms. Fabric may have shade variation from piece to piece. Handloom fabrics may have slubs, missing ends, reed marks or uneven texture. Printed fabrics may have misregistration, colour bleeding, stains or uneven curing. Embroidered panels may have loose threads, broken sequins, puckering or wrong placement. Garments may have measurement variation, poor stitching, poor finishing, shrinkage, twisting or poor fall.
In ethnic apparel, the challenge is that some irregularities are part of the craft character, while some are defects. A handloom saree may have minor variation that gives it authenticity. But a stain, hole, weak seam, bleeding colour or wrong measurement cannot be justified as craft variation. Buyers must be able to distinguish between acceptable craft character and unacceptable quality failure.
Quality risk is best managed by defining quality expectations before bulk production. Approved samples, shade bands, fabric swatches, measurement specs, embroidery placement charts, wash-care requirements and inspection checkpoints are essential. For craft products, the buyer should also define what level of variation is acceptable.
9. Demand Forecasting Risk
Ethnic wear demand is difficult to forecast because it is influenced by season, festivals, weddings, regional preferences, price points, colour trends, fabric preferences and local customer behaviour.
A product that sells well in one city may not sell equally well in another. A colour that works in one region may be slow in another region. A festive kurta may perform well before Diwali but slow down immediately after the season. A saree with strong traditional appeal may sell steadily but not rapidly. A fashion colour may sell fast for a short period and then become dead stock.
Forecasting is also difficult because ethnic wear has a wide assortment. There may be many styles, colours, fabrics, embellishments and price points. Each option may have limited depth. This creates a long-tail inventory problem: the total stock is high, but each individual style may have limited sale history.
To reduce forecasting risk, buyers should combine historical sales, store feedback, regional preference, vendor knowledge, festival calendar, current trend observation and price-point analysis. No single method is enough. A purely statistical forecast may miss craft realities. A purely intuitive forecast may overestimate demand. The best approach is to combine data with buying judgement.
10. Capacity Risk
Many ethnic suppliers do not have unlimited scalable capacity. Their production depends on available machines, karigars, job workers, dyeing capacity, embroidery frames, cutting tables, finishing workers and working capital.
Capacity risk appears when the buyer assumes that a supplier can produce more than he actually can. This risk becomes visible during peak seasons. A supplier who comfortably produces 2,000 pieces in a normal month may fail to produce 6,000 pieces before Diwali. The problem is not only quantity; quality may also decline when capacity is stretched.
Capacity should therefore be evaluated before order placement. The buyer should know whether the supplier has in-house production or depends on job work. The buyer should ask how many pieces can realistically be produced per week. For embroidered or craft products, capacity should be checked process-wise, not only garment-wise. A stitching unit may have capacity, but embroidery may be the bottleneck.
11. Geographical and Cluster-Based Risk
Indian ethnic supply chains are strongly linked to geography. Different clusters specialise in different crafts, fabrics and processes. This is an advantage because it gives richness to the product. But it is also a risk because each cluster has its own limitations.
A cluster may be affected by monsoon, local festivals, labour migration, transport strikes, electricity issues, raw material shortages or temporary changes in demand. A buyer sourcing from Bhagalpur, Banaras, Jaipur, Surat, Lucknow, Kutch, Chanderi, Maheshwar, Mangalgiri, Sanganer, Bagru or Kanchipuram must understand not only the product but also the local production rhythm.
Cluster knowledge is therefore an important buying skill. A buyer who understands the cluster can plan better. He knows which months are risky, which processes require extra time, which defects are common, which suppliers are dependable and what kind of variation is normal.
Suggested Visual 3: Cluster-based risk map showing how region, craft, weather, labour, transport and supplier capability affect ethnic garment buying.
12. A Simple Risk Matrix for Buyers
A buyer can evaluate every product using a simple risk matrix. This helps convert experience into a repeatable decision tool.
Risk Area
Questions to Ask
Product Complexity
Does the style involve special fabric, craft, print, embroidery, wash or finishing?
Supplier Dependency
Is the product dependent on one supplier, one job worker or one cluster?
Lead Time
Is the required delivery date realistic for the number of processes involved?
Demand Uncertainty
Is the product basic, seasonal, fashion-led, festive or experimental?
Quality Sensitivity
Can small variation in shade, hand feel, embroidery or measurement make the product unacceptable?
Inventory Exposure
If the product does not sell, how much money will be blocked?
Flexibility
Can the fabric, colour, trim or component be used elsewhere?
Capacity
Can the supplier actually deliver the quantity on time without quality deterioration?
Geography
Is the cluster vulnerable to weather, festival, transport or labour disruption?
Commercial Terms
Are payment terms, rate validity and supplier commitments clear?
13. Practical Risk Management Strategies
The first strategy is to develop more than one supplier for critical products. However, this must be done with care. Not every ethnic product can be duplicated easily. For craft-sensitive products, supplier development should start early and quality should be compared with the original benchmark.
The second strategy is to keep buffer time for complex products. Products involving dyeing, printing, embroidery, handwork, washing or multiple job workers need realistic lead time. A buyer should not give the same lead time to a plain dyed kurta and a heavily embroidered festive kurta.
The third strategy is to use postponement wherever possible. Greige fabric, base fabric, common trims or neutral components may be kept ready, while colour, print, embroidery or store allocation can be finalised later. This reduces the risk of making the wrong final commitment too early.
The fourth strategy is to build long-term supplier relationships. In ethnic wear, supplier loyalty and trust often matter as much as formal contracts. A trusted supplier is more likely to alert the buyer early when a delay or quality problem is emerging.
The fifth strategy is to track bottleneck processes separately. Do not ask only whether the garment is ready. Ask whether fabric, dyeing, printing, embroidery, stitching, washing, finishing and packing are each on schedule. A production follow-up that hides the process stages is not enough for ethnic buying.
The sixth strategy is to use data, but not ignore judgement. Sales data is important, but ethnic wear also requires understanding of craft, region, customer taste and supplier capability. The best buying decisions come when analytics and textile judgement work together.
Related Reading on Indian Textiles, Ethnic Garments and Fabric Decisions
Supply chain management in Indian ethnic garment retailing is complex because the product itself is complex. Unlike standardised garments, ethnic garments often carry the signature of region, craft, fabric, process and human skill. The buyer has to manage not only price and quantity, but also uncertainty, cultural rhythm, process dependency and supplier capability.
The main risks include disruptions, delays, system failures, information gaps, procurement issues, inventory exposure, quality variation, forecasting errors, capacity limitations and cluster-specific constraints. Some risks can be reduced through systems and data. Some can be reduced through planning and inventory. But many risks require experience, supplier relationships and deep product understanding.
In ethnic garment buying, the best buyer is not merely the person who negotiates the lowest price. The best buyer is the person who understands where the supply chain can break, prepares before it breaks, and still protects product beauty, commercial margin and timely availability.
General Disclaimer
This article is intended for educational and professional discussion. The examples are illustrative and may vary across companies, regions, suppliers and product categories. Supply chain decisions should be made after considering actual supplier capability, product complexity, commercial terms, quality requirements, legal compliance and business context.
15. References
Christopher, M. and Peck, H. (2004). “Building the Resilient Supply Chain.” The International Journal of Logistics Management, 15(2), pp. 1–14.
Christopher, M. (2018). “The Mitigation of Risk in Resilient Supply Chains.” International Transport Forum Discussion Papers, OECD Publishing, Paris.
Ministry of Textiles, Government of India. (2024–25). Annual Report 2024–25.
Office of the Principal Scientific Adviser to the Government of India. (2023). Innovation for Handicrafts and Handloom Clusters.
NIFT-TEA College of Knitwear Fashion. (2024). Supply Chain Management in Textiles.
The garments can be dyed by using pigment dyes. Previously it was condsidered that pigment dyes were non chemically reactive to any fiber. Hence padding or printing with a binder was used. However, now a cationic binder is exhausted onto a garment. This creates an affinity for the garment by the pigment. Then pigment dyestuff is added.
Once the pigment dyeing is completed, the garment is rinsed. Then a low temperature or air curable binder is applied to the garments to improve the colorfastness to rubbing.
The fastness to rubbing for these colors is satisfactory. However, the colors will washdown during the life of the garments. The higher the concentration of the color, the poor is the colorfastness to washing. However, they have excellent colorfastness to light.
This smell is normally observed in pigment printing.
In pigment printing,
thickener is used. Two types of thickeners are common. One is emulsion
thickener, which has zero solid content in it. This is obtained by
emulsification of two immiscible liquids with the help of the emulsifier.
Generally Oil-in-water emulsions are used.
A typical recipe of pigment contains
100 parts of binder, 100-150 parts of water, 20-parts emulsifier, Kerosene or Mineral Turpentine Oil ( MTO) is
used which is 750-800 parts. Apart from this 20 parts Urea is added as hygroscopic agent and 4-6% paste of CMC
(10 parts ) is added which acts as a protective colloid. The recipe is ideal
for pigment printing. However it suffers from demerits such as inflammable fire
hazards, air pollution, high costs and most important of all is the smell of
the fabric which is due to residual Kerosene Oil or MTO. To counter these
synthetic thickeners are used. These are high weight copolymers of acrylic or
methacrylic acid. They come in acid or neutralized form. They do not suffer
from drawbacks of the emulsion thickeners, however, they suffer from dull
prints and harsh fabric feel. Also the
drying time is longer.
There are some printers who feel that with synthetic thickeners, there is always a concern of colors spilling over when working with very fine intricate designs and they prefer to use MTO or kerosene.
A pigment has no affinity to fiber. It is insoluble in
water. It needs binder for fixation onto fiber. A binder is a prepolymer available in the form
of aqueous emulsion. Chemically it is copolymer of UTYLACRYLATE-N-METHYLOL
ACRYL AMIDE. Mechanism of binding
involves the following sequence: PRINT > DRY >CURE. During curing, the
binder polymerises and forms a strong film.
The film embeds pigment color and also strongly adheres to the fiber. Curing
is done at 150 degrees for 4-5 minutes. When curing is not proper the poor wash
fastness and poor colorfastness will result. Assuming sufficient binder was
added to the color paste, these problems are usually resolved by repeating the
heat exposure ( Re curing)
Copper and Iron catalyze the oxidaton of cellulose by Sodium hypochlorite degrading the fiber. Fabric must be free from rust spots and traces of metals otherwise bleaching will damage the fabric.
Stainless stell equipments should be used and care must be taken that the water supply is free from metal and rust from pipes. Prescouring from chelating agents become an important step when bleaching with sodium hypochlorite.
Weight Loss of Fabric in Bleaching
After bleaching operation the weight loss in the material takes place and it depends on different types of bleaching agents that are used. Due to the removal of coloring matters and fiber damage in the bleaching, textile material may lose considerable weight. In a study it was found that in plain weave fabrics, the weight loss was upto 11% for Sodium hypochlorite bleach and upto 8% in Hydrogen Peroxide bleach.
Weaving flaws come naturally with Indian traditional fabrics. Some of these are inevitable and some of these are avoidable. Below are the details of the common weaving issues that come with the Indian traditional fabrics:
Fabric Weight
Weaving defects in the traditional fabrics arise due to
techniques used in weaving them as well as the manual operations involved in
it. They also occur as the quality of yarn used in warp and weft is compromised
or the yarn itself is handspun. In Handloom fabrics, the usual defects are
holes, mending, missing end and missing and broken picks. The fabric weight
also varies as the fabric is getting woven with variable beat up depending upon
the person and also varies during the course of the day of weaving. In the
morning, the weaver is fresh, and the beat up is more compact. As the day
progresses the picks may spread farther apart.
From the facts given above, it can be inferred. The usual
method of finding GSM by using GSM cutter is no longer valid when evaluating
handloom fabric. The best way to evaluate is to weight it thaan by thaan and
average it out.
Chira ( Missing End)
This effect occurs in all the fabrics, but it is more severe
in powerlooms which are without warp stop motion. Chira is not prevalent in
South looms as they are equipped with warp stop motion. However, for woven
fabrics of north India, it is quite a common defect.
Banding
Banding in the weft occurs due to particular contrast of
colors, it is more visible in fabrics with cross colors. Also banding is
visible when yarns are hand dyed and after the finish of one pirn, the next
pirn contains different dyed lot of yarn. It also is visible in dyed fabrics
when the count in the weft changes appreciably. It is more common in Khadis
where the yarns of weft ( Amber) come in different lots.
Tight End and Reed Mark
This forms a series of warp wise
faint lines in the fabric. It occurs due to uneven tension in the warp beam
which can happen when making the warp beam manually. It also occurs due to not
cleaning, damaged heald wires or some problems in the reed. Often reed marks
come in these fabrics.
Holes
The main cause of holes is the pointed
scale used all across the country to measure the length and fold the cloth. If
a center point is used to hold the fabrics, and the point gets blunt it can
cause appreciably visible holes and sometimes makes the whole fabric amenable
to rejecting.
Slippage of the Warp or weft
ends
This takes place in almose all
the fabrics loosly woven but it is more appreciable in silks and especially
unions of silks with Viscose. The unions from Bhagalpur are more susceptible to
this defect. To counter this the fabric after weaving is given a special starch
finish, but that too is unsustainable and gives way in three or four washes.
The cause of this defect is the smooth surface of viscose which can slip easily
on silk. This damage leads to seam slippage which is easily noticeable in the
stress areas of the garment(neck and arm whole) The solution is to improve the
construction of the fabric or use a better quality viscose. To control this
problem in garments at the nect, moon patches are applied
Specs
This defect is observed in
handloom fabrics which use handspun yarn. Based on the quality of roving they
are using these will contain foreign fibers which do not catch dyes leading to
this defect.
Rough appearance
Rough appearance occurs due to
the nature of yarn. In most of the cases carded yarn is used, which contain
short fibers which come at the top in the process of weaving. This also due to
the uneven count of yarn and slubs present therein. This defect is not a defect
as such rather than a mark of true ethnic fabrics. Moreover, hand feel of two
garments made from identical fabrics will be different as they may be woven on
different looms and subject to different treatments.
Pilling
Pilling in cotton fabric is
observed in cross colors where one of the yarn is of dark color. The short
fibers come to the surface and form a pill type structure. This defect is
aggravated when one of the yarns is sulphur dyed. This is also present in Matka
silk which is handspun and handwoven. In yarn dyed Matka, the problem is
further aggravated. Silk Noil fabrics are also a victim to this defect as they
by default contain short fibers.
Every region of India comes with a characteristics of technique of textiles that has perfected one particular class of dyes. For a buyer it poses a significant challenge to maintain the quality of fabrics over time as each class of dyes has its own strength and limitations.
Napthol Color
All over in south and in Bengal, Napthol colors are used to
dye Ikats and Cottons. Generally vat colors are used to dye the dull shades.
However, to achieve the required saturation in the darker shades, napthol
colors are used. Due to process restrictions and the conditions when dyeing
locally, the colorfastness to rubbing is a big problem when working with these
colors. A case needs to be pointed out in this regard. When asked about the
colorfastness issue for a certain sari from a vendor, it was found that even
after washing the yarn after dyeing and washing the fabric after weaving, the
colorfastness to rubbing was not improving for napthol dyes. Napthol colors are
also being used in Maheshwari Saris for red and other dark colors.
Please see also the following links in this regard:
Vat colors are the most commonly used colors all across the
country in dyeing traditional fabrics. Vat colors are easy to apply, the process
can be done at a temperature achievable in the open furnaces. The colors are
fast to rubbing and washing. The main issue is in the achieving of bright and
saturated shades which vat colors cannot produce using ordinary condition.
Sulphur Colors
Sulphur dyes are often used to dye black. Cheaper and easy
to apply, they have a very good colorfastness to washing. The drawback is that
the fabric starts to tear after a prolonged storage.
Reactive Colors
Reactive colors are increasingly being used in woven yarn
dyed stripes and dobbies, thanks to the chambers used in dyeing hank yarn. They
have good colorfastness properties overall.
Direct Colors
Direct dyes are used extensively in the Indian traditional
textile industry. These are easy to apply and cheap. Almost all the tie and dye
fabrics whether, Bandhni, Lehariya, Mothra, Ikat and Shibori have these dyes. These are also being
used in the Tussar/Viscose blends in piece dyed form. The colorfastness to
washing is good or acceptable but to that of rubbing is poor. A challenge for a
bulk buyers of the fabric of these dyes is to convert the dyers to reactive or
vat dyes.
Acid/Metal Complex Colors
These are used in pure silk and wool. They pose no problems
for the buyer. These are colorfast to washing and stable to fading.
Natural Dyes
Natural Dyes are obtained from plant extract. The problem with natural dyed fabrics is that the volumes cannot be obtained and quality is not consistent. Patchiness, tonal variation across the length and listing ( Center to Selvedge variations) are some of the defects that come naturally with natural dyes. Also the choice of colors is limited to a very restricted pallete; beige, black, maroon, mustard, rust, green and indigo are the colors that can be got in these dyes. Color fastness is a big issue with these dyes. These are often sold in the market with the disclaimer tag.
