Dokra or Dhokra Jewellery

This is an art of metal practiced by tribals of west Bengal and Orissa. The metal used is usually brass. The technique is basically a low wax casting. This technique is ages old going back to the Indus Valley Civilization.

The name for this technique comes from the Dhokra Damar Tribes in the regions of Orissa. In this technique, the core is developed using clay or wax. Then it is covered with wax and the figure is engraved on it and then covered with layer after layer of clay.

The molten metal is then poured. The wax gets melted and then comes out from the holes meant for this purpose. 

New Book - Who is Mangalgiri- Essential Fabric Knowledge for Merchandisers

Order Here

I take it a great pleasure to announce the arrival of my new book on Kindle. I am getting recurrent queries from readers who want the basic textile knowledge. I have conducted several sessions with store managers, buyers and merchandisers, who wished to have some basic book explaining all the relevant terms related to fabrics. I myself have struggled a lot when buying fabrics, as the terminologies are very different than those taught in textbooks of textile technology. 

It is said that merchandising is all about merchandise and the “ing” part is “right time, right place, and right cost. Thus It seems imperative that the merchandisers in the apparel trade should know about the merchandise, the building block of apparels, the fabrics.

This book is aimed at the industry professionals who are in this trade but are from a non-textile background and who want to know about fabrics. However this is equally useful for managers who are new in this trade and textile enthusiasts. 

Most of the other books dealing with fabrics are written in complex language and give more than necessary information about fabrics. In the process they go sometimes too technical and difficult to read. This book is an attempt to bridge the gap and help even novice to learn the tricks of trade very easily.

Every chapter starts with a day in the life of a merchandiser and these situations are used in this book to help learning, situations that the merchandisers learn in this trade day-in and day-out.

Special emphasis is made to cover Indian ethnic and Indian common fabrics, these are not found anywhere in this context. These fabrics have their own peculiar characteristics which make them unique to define.

I hope this book will fill a void which was long awaited to be filled.

Order Here

Phoolpatti (Phulpatti) Work of Aligarh

In Phool Patti work, flower and leaf patterns are applied using cloth as patch work. Here small pieces of fabric are cut into different sizes and shapes. These are then folded and made into various petals and leaves. Finally they are stitched into the fabric with a hemstitch.

Fabrics like organdy, organza, kota and voile are used as the base and figures. Gold and Silver shimmer fabrics are also used for applique.

For stitching, machine threads are used, for ornamentation, Anchor threads are used. Badlas and Mukaish are also used sometimes to have some glitter.

Different shapes of leaves such as Badi patti, Dil Key phool ( Heart Shaped flowers), Gol patti or choti patti are used. 

Pipli Applique

Applique is the application of the patch work on a base cloth. Orissa is known for its applique work. Previously this wok was carried out by professional tailors or "darjis". Later on the applique work was taken to Puri where it is used as canopy and flags along with other decorative work.

Any applique has a foundation on three elements: stitches, stripes and patchwork. Stitches are used to attach the stripes ( or patches) on the foundation fabric so as to create the patchwork, which is described in terms of various motifs.

The most common stitch in the applique is the chain stitch. Various stripes such as Phula patti or Sadha patti are used to create motifs. Motifs can be animals, fish, flowers, birds or trees.

Over time their have been changes in the craft. Various modern articles such as bags and kushan covers have been done in this craft. There is a very good demand of these products in the Indian and International markets.

References

Notes on Indian Embroidery-1

1. Indian Embroidery is as old as gold. There are some great examples of embroideries found in the remnants of Indus Valley Civilization. 

2. Floral motifs in the embroidery were introduced by Mugals and persians. Brefore that thre were geometrical designs. There is a marked similarity in the embroidery found in the embrodiery depicted on frescos of Ajanta and Phulkari. 

3. Phulkari can be classified basis regions. Some examples are embroideries from Kashmir and Chamba Rumal of Himachal Pradesh from the Northern regions. From Eastern region, Kantha and Satgaon quilts from Bengal and applique work from Orissa are notable examples. From Western region, Kutch produces exquisite embroideries, Punjab Phulkaries and Rajasthan produces gota and applique work. From Ganges Valley, Bihar produces Kashida and Katwa work as well as Rumals depicting Mithila. Uttar Pradesh produces Zardozi, Phulpatti and Chikankari. From South India, Karnataka produces Kasuti and Andhra produces Banjara embroidery. 

4. Indian embroidery can be broadly classified as court embroidery- patronized by the royal court, Trade embroidery, Temple embroidery and Folk embroidery. Zardosi, chikankari are some of the examples of it. Examples of trade embroidery are mochi bharat, kashmir embroidery. chikankari, Satgaon quilts, chinai work. Examples of folk embroidery include that from Mithila, Kutch. Temple embroideries involve that done on Pichhwai, chamba rumals and Orissa.

5. Broadly Indian embroidery can be divided into silk embroidery, quilting, counted thread work, white work-phulpatti and chikankari, mirror work, gold and silver embroidery, applique and patch work and gold and silver ribbon work ( Badla).

My New Book- Fabric Structure Simplified on Amazon.com

Fabric Structure Simplified

A Step by Step Approach

A Book By

Priyank Goyal

Download Here

This book takes the reader through intricacies of understanding fabric structure from a very beginner level. It covers all basic weaves such as plain, twill,satin and their derivatives.  

Download Here

Product Details File Size: 3859 KB Print Length: 196 pages Simultaneous Device Usage: Unlimited Publisher: Priyank Goyal; 1 edition (September 6, 2014) Sold by: Amazon Digital Services, Inc. Language: English ASIN: B00NDTNOF8 Text-to-Speech: Enabled  X-Ray: Not Enabled  Lending: Not Enabled Download Here Most of the books on this subject are written in a manner which the beginners particularly from a non textile background found difficult to cope with.  This book is written keeping the language of the subject matter simple and easy to understand.  Download Here

What is the Difference between Carbonized Polyester Printing and Brasso Printing on Polyester

Both these techniques are widely used in Saris and dress material in India

Image Courtesy: www.indusdiva.com

Carbonized Polyester Printing

In the carbonization process the cellulosic component of the polyester/ cellulosic blend is dissolved by treating the fabric with 70% sulfuric acid along with small quantities of sulphamic- acid and urea, with the result one gets 100% polyester fabric with very soft handle. It is advisable to use polyester rich blends to avoid the problem of slippage. To produce the carbonized polyester prints initially the cloth is printed with the disperse dyes.

Disperse dye - x parts

Ammonium sulphate (or citric acid) - 3-5 parts

Sodium chlorate - 1 -2 parts

Thickening (guar gum) 600-700 parts

Water - y parts

Total - 1000 parts

Print, dry and fix by steaming at 130C for 30-45 min. The fabric is then be washed, reduction cleared

and carbonized. The carbonization process can be carried out either by a batch process in a jigger or by a pad-batch method. In the jigger the fabrics are treated for 30-40 min ( 2-4ends) at room temperature. The fabric is then washed and neutralized. A mild bleaching treatment may be given to improve the whiteness of the prints.

Brasso or Cut-out Style

 This style involves localised dissolution of the cellulosic component at printed portion by printing the polyester /cellulosic fabric with acid liberating salts. The fabric is initially printed with:

Aluminium Sulphate - 200 parts

Water. - 100-200 parts

Citric acid - 20-30 parts

Wetting Agent(acid stable) - 10-20 parts

Glycerine - 50-70 parts

British gum (1: 1) - x parts

Total - 1000 parts

Print, dry, bake at 130-145'C for 3 to 5 min. 

The goods are then thoroughly washed  a winch to remove the

degraded cellulosic component.  a winch to remove the degraded cellulosic component. Bleaching may be carried out to get better whiteness. 

Cellulase enzyme treatment can also be done to get this effect, as it hydrolizes the cotton componetn. In the case of cotton rich blends, the traces of cellulosic part remain on material and therefore more severe enzymatic treatments are required. The acidic cellulase enzyme is the best suitable for this application. The same principle is used in brasso style of printing in which cellulosic portion is removed from the polyester-cotton blend material after printing. the advantages of carbonization using cellulase enzymes are: 1. The process is non-corrosive and non hazardous 2. Less wear and trea of machines 3. Eco friendly process 4. No separate curing is required as in conventional brasso printing. v. No adverse effect on the print color and feel of the fabric.

Source: http://www.ril.com/downloads/pdf/process_guide.pdf