Handloom Tag

The Ministry of Textiles is issuing an exclusive Handloom Brand for the eligible textile products to ensure quality and genuineness of the product under its Handloom Brand Scheme which was launched by the Hon’ble Prime Minister of India on the occasion of first handloom day on 07.08.15 to endorse the quality of the products in terms of raw material, processing, weaving and other parameters besides social and environmental compliances for earning the trust of the customers.  The “India Handloom” brand would be given only to high quality defect free authentic handloom products for catering to the needs of those consumers who are looking for niche handmade products.  The “India Handloom” Brand is aimed at generating a special market space and increased earnings to the weavers.  Thus the concept of “India Handloom” is to brand the handloom products, which are exclusively catering to the “quality”, need of the socio-environmentally conscious consumer.

1. Balaramapuram Cotton Saree:-

 Back ground: 

Balaramapuram is a small town 15 km away from Thiruvanthapuram in Kerala. The major items manufactured in Balaramapuram are Grey Saree, Dhoti (also known as Veshti or Mundu) and Set Mundu (Pudava & Kavani or Mumdum Neriyathum). These traditional products are woven with kora white cotton yarn (grey or unbleached or non-dyed yarn) of finer counts like 8os, 100s etc. The combination of Dhoti and shirt is the traditional outerwear of the adult male in Kerala. The traditional outerwear of the women folk is called Set mundu, a combination of Dhoti for covering the lower part of the body and Blouse and Kavani (or Neriyathu) to wrap around the upper portion of the body like dupatta. Pudava and Kavani is the traditional wedding dress of the brides in the southern part of the state. The Set Mundu has now taken a new form as Balarampuram Saree. 

Material used: 

The materials used for their weaving are cotton and Kasavu (or Zari). Kasavu is the Malayalam name of “Zari”; a silk thread twisted with a thin silver wire and electroplated in gold. Specialty of the saree lies in preparation of the warp thread which is sized (starched) with the help of brush. The threads become almost round in shape after sizing so the saree has very clear surface without any superfluous or extra fibres protruding on it. 

Technique applied: 

The weavers use a unique technique by which each wrap thread is separately controlled by hand to interlace with the weft wound in small pirns. But the Butta and larger type extra weft designs are woven on the motif/pattern printed with wooden blocks using easily washable vegetable colors. Then, each motif has to be threaded individually following the contour of the printed design by skilled weavers. This kind of work is easily distinguished from Jacquard/ jala designs as both sides of the fabric will have the identical appearance and not merely an outline on the back side as in case of normal weaving. For zari in the cross border of the fabric, rib weave is used with the help of treadle connected with extra cords. Due to this weave, there is a series of horizontal ribs (cross bar effect) in the cross border of the product. ‘Balaramapuram’ became the synonym for the above type of handloom fabrics. 

How to distinguish genuine Balarampuram Saree 

1. Design appears very prominently on the sari because of rib weave. 
2. Design appears identical on both sides of the fabric. There is no rough or unfinished-like appearance on the back side of the fabric. 
3. Basic texture i.e., thread density of the fabric is higher than that of similar cotton sarees. 
4. Less starchy finish in the saree so it is softer to touch. 

2. Banaras Brocade Silk Saree:- 

Background: 

During the Mughal period, around 14th century, weaving of brocades with intricate designs using gold and silver threads became the specialty of Banaras. The Banaras Brocade sarees are made of finely woven silk and decorated with intricate design using jari and because of these ornamentations it is relatively heavy. Their special characteristics are Mughal inspired designs/elements such as intricate floral and foliate motifs kalga and bel. Other features are gold work, compact weaving, figures with small details, metallic visual effects, jal (a net like pattern) and meena work. 

Material used: 

Two fold twisted mulberry silk yarn, locally called “Katan” is used in both ground warp & weft with gold and / or silver zari for designing. 

Techniques applied: 

Banaras brocade sarees and woven on conventional Banaras handloom jacquard and sometimes with jala, pagia & naka attachment for creation of motif. For weaving of ground fabric 5 to 8 heald shafts are used for ground fabric and designs are woven in weft of different materials and colours. Satin weave is used in the ground fabric. 

How to distinguish Banaras Brocade: 

1. The Banaras brocade made of silk and jari are heavily designed with intricate floral and / or spotted motifs. 
2. Satin weave used in the base fabric. 
3. Metallic visual effects prominently appears in the fabric. 
4. Floats of wefts are not found in face or in back side of the fabric.
5. It has heavy weight due to use of metallic yarn and compound texture. 

3. Banaras Butidar Silk Saree:-

 Background 

It is believed that the word ‘Jamdani’ derived from Persian word ‘Jama’ meaning cloth and ‘Dana’ meaning buti or diapering. Jamdani weaving flourished under Mughal Emperors who appreciated the excellence of this Jamdani weaving . 

Jamdani is a fine cloth figured with geometric or floral designs. Due to this superfine cloth, handloom weaving had become a fine art in 15th and 16th century. Later in 17th century, this Jamdani fabric was also used for dresses. Presently, Jamdani fabrics are produced in weavers concentrated areas of Burdwan, Nadia districts in West Bengal on frame looms. 

Material used 

Traditional jamdani fabrics are produced using 100s,120s and above count of cotton yarns for warp and weft while 4 to 6 ply cotton yarn used for extra weft either in white or dyed . Later they started using Zari also. Now a days jamdani sarees and dress materials are woven with cotton yarn of count ranges from 60s to 100 , using steel reeds of 68 – 72s count. 

Weaving Technique 

Jamdani is a weaving technique of figured cotton textiles, in transparent plain ground, with designs of extra weft. Design motifs are directly woven by weavers from their memory without the help of any design device. They adapted a traditional and indigenous technique which involves ‘throw shuttle’ (presently fly shuttle is used) and extra weft insertion by needle. Jamdhani motifs are known by different names viz. ‘panna’, ‘hajar’, ‘dubli’, ‘jal’, ‘butidar’, ‘tersa’, ‘charkona’ ,’fulwar’, ‘duria’,’belwari’ etc. depending upon the arrangements . Motifs of Jamdani fabrics are mainly of geometrical and floral concepts adopted from local environment like flowers, leaves, mango, zig-zag lines etc. Also, it covers ‘Hazzar buti (One thousand) , Tagar ful, Bokul ful , Dorakata, Mala etc. The special design pattern of paisley motif in the corners of palloo portion, locally known as ‘konia’ is produced by skilled Jamdani weavers. 

How to distinguish genuine Jamdani Saree 

1. Jamdani fabrics can easily be distinguished by seeing the extra weft which is usually inserted in the ratio of two ground thread and one design thread. 
2. Bulging effect is seen at the design portions of the fabric since design thread is coarser than ground thread. 
3. The extra un-cut weft is interlaced with warp threads to form the design from left to right and vice versa in such a way that it cannot be pulled off. 
4. Turning of design thread from left to right and vice versa is clearly seen in the back side of the fabric. 

4. Baluchari Silk Saree:-

 Back ground 

This fabric is named after the village ‘Baluchar’ located on the bank river of Bhagirathi in Murshidabad district, West Bengal and presently known as Jiaganj. Baluchari weaving was flourished during the period of Musid Quli Khan, the Diwan of Bengal, an erstwhile Hindu Bramin who embraced Islam and these textiles are famous for their elaborate ‘anchal’ (palloo). It has been eulogized as the “loveliest and most charming of all silks of India”. 

It is a highly decorative silk fabric having extra weft on ‘palloo’, border and body. The motifs are mainly derived from then social / religious customs, animals, life styles of people etc. For example man smoking hukkah, lady with flower, man riding horse, chariot, marriage, mosque, temple, vignettes from Ramayana etc. are some of the motifs generally used and organize in narrative style in palloo portion. And the important feature of the technique is the white outlining of the motifs. Also paisley motifs are arranged centrally in the palloo portion and all over ‘butties’ are in the body portion. 

Materials used 

Murshidabad variety of less twisted mulberry silk yarn was originally used in Baluchari sarees. Coarser silk varieties like matka silk was also used some time back. Later, it has been replaced by 18/20 D (2ply) organzine silk yarn for warp and single yarn of malda variety mulberry silk in 3 ply is used for weft. 96s to 100s steel reed is normally used for Baluchari saree weaving and the extra warp designs are woven with Jacquards replacing’ Jala’ technique of olden days. 

Weaving technique 

Main feature of Baluchari Sari is the arrangement of design in palloo by maintaining the corner and cross border perfectly in boxes ‘Jala’ technique was originally followed by Baluchari weavers in those days. 

Presently Baluchari fabrics are woven in Bishnupur of Bankura district with jacquards and the designs are from the influence of motifs of ‘terracotta’ temples in Bishnupur. The pictorial element of these sarees retain a degree of continuity and evidence of assimilation of diverse cultures giving rise to a distinctive art form that was accommodative and secular. Double Jacquards are used for palloo and borders and weavers are expert in graph making and punching of design cards. 

How to distinguish genuine Balucharil Saree 

1. Baluchari silk sarees can easily be identified from the construction of long palloo and placement of its design motifs in perfect rectangular closed corners maintain continuity of the designs without break. 
2. Basic fabric is heavier and more compact than Banarasi Saree. 
3. Designs are made with extra weft using silk yarn. No jari is used as done in Banarasi or other silk saree. 

5. Jamadani Cotton Saree:-

 Background

 

It is believed that the word ‘Jamdani’ derived from Persian word ‘Jama’ meaning cloth and ‘Dana’ meaning buti or diapering. Jamdani weaving flourished under Mughal Emperors who appreciated the excellence of this Jamdani weaving . 

Jamdani is a fine cloth figured with geometric or floral designs. Due to this superfine cloth, handloom weaving had become a fine art in 15th and 16th century. Later in 17th century, this Jamdani fabric was also used for dresses. Presently, Jamdani fabrics are produced in weavers concentrated areas of Burdwan, Nadia districts in West Bengal on frame looms. 

Material used 

Traditional jamdani fabrics are produced using 100s,120s and above count of cotton yarns for warp and weft while 4 to 6 ply cotton yarn used for extra weft either in white or dyed . Later they started using Zari also. Now a days jamdani sarees and dress materials are woven with cotton yarn of count ranges from 60s to 100 , using steel reeds of 68 – 72s count. 

Weaving Technique 

Jamdani is a weaving technique of figured cotton textiles, in transparent plain ground, with designs of extra weft. Design motifs are directly woven by weavers from their memory without the help of any design device. They adapted a traditional and indigenous technique which involves ‘throw shuttle’ (presently fly shuttle is used) and extra weft insertion by needle. Jamdhani motifs are known by different names viz. ‘panna’, ‘hajar’, ‘dubli’, ‘jal’, ‘butidar’, ‘tersa’, ‘charkona’ ,’fulwar’, ‘duria’,’belwari’ etc. depending upon the arrangements . Motifs of Jamdani fabrics are mainly of geometrical and floral concepts adopted from local environment like flowers, leaves, mango, zig-zag lines etc. Also, it covers ‘Hazzar buti (One thousand) , Tagar ful, Bokul ful , Dorakata, Mala etc. The special design pattern of paisley motif in the corners of palloo portion, locally known as ‘konia’ is produced by skilled Jamdani weavers. 

How to distinguish genuine Jamdani Saree 

1. Jamdani fabrics can easily be distinguished by seeing the extra weft which is usually inserted in the ratio of two ground thread and one design thread. 
2. Bulging effect is seen at the design portions of the fabric since design thread is coarser than ground thread. 
3. The extra un-cut weft is interlaced with warp threads to form the design from left to right and vice versa in such a way that it cannot be pulled off. 
4. Turning of design thread from left to right and vice versa is clearly seen in the back side of the fabric. 

6.  Kota Doria Saree:-

 Back ground: 

Doria (stripe) fabrics in narrow width for turban used to be woven in Kota in earlier days. Some weaver were brought from Mysore to Kota by the great patron of craft MahaRaj Kishore Singh (1684-1695). These weavers introduced silk yarn in Doria weaving in Kota and surrounding areas about 250 year ago. Today this activity is practised by the weavers of Hadoti region (Bundi, Kota and Baran districts of Rajasthan). Kota is now famous for ‘Kota Doria saree’ or sometimes called as ‘Kota Masuria saree’. Since then, Kota doria has under gone a long journey from being used as a pagri or turban (headgear) to saree and now has multiple uses like Dress material, stole, curtain & other products. 

Material Used: 

Kota Doria Saree is produced by using cotton & mulberry raw silk yarns in the base fabric whereas Gold and Silver Zari (fine metal threads) yarns in extra warp and extra weft for designing. The cotton yarn provides strength and suppleness whereas fine raw silk makes the fabric transparent and delicate. 

Technique applied: 

Kota doria saree is woven on a traditional throw shuttle pit loom in such a fashion that it creates small square check pattern in the fabric, locally called as Khat by putting the cotton and silk yarns in different densities both in the warp and weft directions. In a good quality Kota doria saree, there are about 300 to 350 ‘Khat’ across the width of the fabric. Design is developed by jala/ jacquard system. Pure zari is used in border and buti woven on extra weft designing technique. 

How to distinguish genuine kotadoria saree: 

1. Basic texture of saree is in combination of cotton and silk yarn. Cotton yarn gives stripe effect and silk yarn gives transparent effect on the fabric. 
2. One small check has 4 micro checks within creating an illusion in the fabric which is the special characteristic of Kota Doria Saree. 
3. Design does not appear very prominently on the sari because of checks formed in the ground texture of the fabric 
4. It is a light weight open textured fabric and soft to touch. 

7. Salem Silk Dhoti:-

 Back ground 

Salem is one of the major cities of Tamil Nadu situated at a distance of 334 Kms from Tamil Nadu State Capita, Chennai. Salem is famous for weaving of Silk Dhoti, Cotton Dhoti and Silk Sarees. White silk Dhoties are unique to Salem Region. 

Material Used 

Pure Mulberry silk, normally obtained from Karnataka (Bangalore & Mysore) is used in wrap & Weft. Raw silk is degummed & bleached (locally known a Ushna) and used in Warp & Weft. Pure jari or Half fine (imitation Jari) is used in border and Pullu / Kambi, which is unique to this variety. 

Technique Applied 

Salem Silk Dhotis are produced from time immemorial by the local tradional weaving community known as “Sourashtra” Community. The Silk dhotis of salem are famous for their luster, whiteness, technical excellence and novelty of border designs viz., Nagachattai, Kammal, Diamond with roja, muthu with gold pettu etc. It is woven on pit loom / raised pit loom. Border in extra Warp is controlled by dobby. Of late jacquard is used in case of bigger designs or korvai designs. For Kambi in corss border rib weave is woven with the help of healds itself. Thus the cross border looks same in face and back of the dhoti. 

How to distinguish genuine Salem Silk Dhoti 

1. The chief attraction of the Salem silk Dhoti is its luster. The luster is Salem Silk Dhoti is created by flattening the surface of the dhoti with the help of small brass / steel plate on the loom itself. 
2. The jari in the border and pallu in the form of kambi is also unique. The rib design appears identical on both sides of dhoti. 
3. Solid contrast borders on both sides of the Dhoti are woven with 3-shuttle weaving technique. 
4. Many times, two differently coloured borders are woven in the same Dhoti like Red & Green, Blue & Red, Green & Orange etc. 

8.  Tanchoi Silk Saree:-

 Background: 

Banaras weaves are synonymous with rich, heavily patterned, mostly silk with gold or silver zari threads ornamented fabric. Tanchoi Silk was said to have been brought to India through Chinese traders in 19th century which was later adapted by Indian weavers. Very intricate designs in multi-colour are interwoven in satin weave. The specialty of this saree lies in its smooth texture. Silk is used both in warp and weft. Intricate and small weaving patterns are commonly used with flowers, small birds in flight, peacocks and parrot motifs. 

Material used: 

The material used for weaving of “Tanchoi Saree / Dress material” is twisted two fold mulberry silk yarn, locally called “Katan” in both warp and weft. Tanchoi is one of the weaving techniques involving single colour warp and up to five colours in weft. 

Techniques applied: 

Tanchoi fabrics are woven on conventional Banarasi handloom with the attachment of jacquard and sometimes with jala, pagia & naka. Normally five and satin weave is used for ground fabric with the arrangement held shafts and designs are formed by using differently coloured weft threads grouped together as a single pick. The density of warp is very high and the feel of the fabric is smooth because of satin weave. 

How to distinguish Tanchoi Saree: 

1. Feel of the fabric is very smooth. 
2. Base fabric weave is satin. 
3. Density of warp is very high compared to weft. 
4. No floats are visible in back side of the fabric which is flat in appearance. 
5. Back side appear as a shadow of designs of the face side. 

9. Banarasi Cutwork Fabric:-

 Background: 

Banaras or Kashi is known for holy pilgrimage. It is equally known for exquisite handwoven silks apart from many other handicarfts and music. By the early 19th century, Benaras had emerged as the most important centre for patterned silk weaving in the subcontinent. Banarasi cutwork fabric is produced by clipping the extra floating threads which are not engaged in design formation and lying loose in the back side of the fabric. It is an attempt to imitate the look of the designing of highly labour intensive ‘Karhuwa’ technique and produce low cost fabrics in bigger quantity. 

Material used: 

The materials used for weaving of Cutwork fabric are twisted silk yarn in warp and weft for base fabric and for figuring silk yarn, zari or both silk and zari. 

Techniques applied: 

Cutwork fabrics are woven on traditional throw shuttle pitloom with the attachment of jacquard or jala, pagia and naka. Designs are created by using extra weft yarn. In this fabric, designing is done with continous extra weft thread instead of using many short length threads as done in Karhuwa technique. Unwanted loose threads floating between two motifs are clipped with the scissors after weaving leaving the base fabric open. 

How to distinguish Cutwork Fabric: 

1. It can easily be identified by viewing cutting edges of extra weft threads at back side of the fabric. 
2. There will be no clean outer edge of the designs. 
3. Since design thread are cut from both sides, the same may be taken out easily from the fabric with the help of a pin.

10. Chanderi Saree:-

 Back ground: 

Situated on the boundary of two cultural regions of Madhya Pradesh, Malwa and Bundelkhand, Chanderi, placed in the Vindhyachal ranges is home to a wide range of traditions. Specializing in producing fine textured Chanderi sarees of silk and cotton embellished with zari work intricately woven by hand interspersed with the delicacy of the extra weft motifs has for times immemorial satisfied the refined tastes of the royalty. Chanderi silk cotton sarees display various beautifully striking motifs that include ‘Dandidar, ‘Chatai’, ‘jangla’ etc. 

Material used: 

The un-degummed mulberry silk yarn of 16/18 to 20/22 Denier count is used in warp. Whereas 100s-120s or 2/100s to 2/120s cotton yarn is used in the weft. Because of un-degummed silk yarn, the fabric is transparent. Gold and silver Zari are used for extra warp designs in border and extra weft designs in pallow and body. 

Technique applied: 

Weaving is done on pit as well as frame loom filted with jala designing technique. Jala are lifted manually either by helper or weaver himself for weaving extra weft designs in the body and the pallow of the saree. Sometime jacquards are also used for lifting jala. For extra warp figuring in border, lattice dobby is used. The pegs/screws are inserted on lattice as per design and theses pegs/screws lift selected levers as a result extra warp threads are lifted. The lattice dobby is placed on the top of loom and connected to heald shaft which gives motion to dobby while operated by pedals/treadles. 

How to distinguish genuine Chanderi Saree: 

1. Warp thread is un-degummed mulberry silk whereas weft thread is cotton, which is not commonly used in any textile products. 
2. Due to un-degummed silk warp, the fabric texture is somehow not very soft. 
3. The fabric is not compactly woven. It is transparent and light weight, very suitable for summer wear. 

11.  Dhanikali Cotton Saree:-

Back ground 

Dhaniakhali Saree is named after the place Dhaniakhali in Hooghly District, West Bengal. It is located at about 50 kms away from Kolkata. In earlier days the ground of the saree used to be in ‘Kora’ or natural grey with either red or black colour plain border. By taking the concept of decorative border design of dhoti the use of 6 levers’ kat-kal’ or barrel dobby came in practice for saree weaving during early 1940 . Dyed yarn was first introduced in 1942. Now a days, lattice dobby is used for weaving bigger designs. Dhaniakhali sarees are produced in Haripal, Rajbalhat Rasidpur, Dwarhata, Ramnagar, Gurap and Antpur area of Hooghly Disitrict in West Bengal. 

Materials used 

Normally, cotton yarns of 80s to 100scount are used both in warp and weft with extra warp of 2/100s or 2/80s cotton yarn. For 100s cotton warp, reed of 80s is commonly used to keep the traditional texture of the sarees. ‘Sar’ reed is very common in Dhaniakhali and it is manufactured locally from Sar plant (A plant of Bamboo variety). The advantage of using sar reed lies in flexibility and its ethnic look of the fabric. 

Weaving technique 

Dhaniakhali sarees are woven not in very close texture but with contrasting borders in red, black, purple, orange etc., emphasized by a serrated edge motif. In times, the border was broadened to 6 inches and more and adorned with a variety of stripes in tassar, muga or zari etc. (presently dyed cotton yarn is used). These broad borders known as ‘maatha paar’ or ‘Beluaari paar’ were often in two colours- such as black and red with a compact weave thus making it very strong. 

Hank yarn sizing is in practice in Dhaniakhali. The starch used for sizing are mainly sago, arrowroot, rice, wheat, puffed paddy ( Khoi) etc. Sectional warping machine is used to for warping replacing age old street warping. Local wooden lattice dobby of capacity up to 60 levers and 100 for lattice is normally used on pit loom for weaving Dhaniakhali Saree. 

How to distinguish genuine Tangail Saree 

1. Dhaniakhali Saree can easily be distinguished by the presence of ‘khejur chori’ design thread, an arrangement of special weft threads of twisted cotton yarns in two colours woven in palloo portion. 
2. In this saree picks per inch is always more than ends per inch. 
3. Grouping of two warp threads in the saree is noticed since bamboo reed is used. 

12. Kancheepuram Silk Saree:-

 Back ground 

Kancheepuram, the silk city as well as temple city of Tamil Nadu, is about 70 km away from Chennai. The major variety of fabric manufactured in Kancheepuram is Silk Saree. The traditional Kancheepuram saree is woven in throw shuttle pit loom by using adai technique. It is carried with the help of two weavers for making solid border (Korvai) and petni technique for making contrast pallu. The sarees are woven the traditional designs inspired from the sculptures of temples in the town. Kancheepuram silk saree is the traditional wedding dress of the bride. 

Materials used 

The materials used for manufacturing of Kancheepuram silk sarees are mulberry silk yarn and gold zari. Normally 2 ply silk threads in warp and 3 ply in weft are used in these sarees. 

The original gold zari used in the ration of 40% silver, Copper 35.5%, 24% silk and 0.5% of gold. Flattened silver wire is coiled to conceal the core silk thread. This silver thread is coated with gold to produce zari used in the production of silk sarees. 

Technique applied 

The speciality of Kanceepuram silk saree is contrast border with Korvai technique and contrast pallu with Petni technique. Contrast border is woven using three shuttles, two shuttles for both side border and one shuttle for body of the saree. Contrast Pallu is woven using Petni technique. After weaving of body of the saree, a separate warp as that of border colour is joined with the ground old warp by weaving both the warp about one inch. Then the ground warp is cut-off and fringes of new and old warp are neatly trimmed. Solid colour Pallu is then woven by using single shuttle. Nowadays Kancheepuram silk sarees are woven using two to three jacquards, each one for border, body and pallu with or without Korvai technique also. 

How to distinguish genuine Kancheepuram Silk Sarees 

1. Kanchipuram saree is the heaviest among all other silk sarees. 
2. Separate set of warp threads are attached in the pallou using petni technique. Trimings are noticed in the joining. 
3. Solid borders of contrast colours are woven using ‘Korvoi’ technique. Interlocking of threads in the borders is noticed. 

13. Karvati Silk Saree:-

 Background: 

In earlier days, handloom weavers of village Andhalgaon, Mohadi and Palandur District Bhandara, the part of Vidarbha region in Maharashtra used to produce cotton gamchha with 20s cotton yarn in warp and weft having two side Karvati border (Solid border). “Karvat” in Marathi is the saw and since the designs look like saw tooth, the fabric is known as Karvati or Karvatkati. District Bhandara is a tasar cocoon producing area. Having plenty raw material the weavers introduced tasar material in weaving of Tasar Karvati Saree. 

Material Used: 

The tasar is wild natural silk obtained from a wide wing moth that is yellowish brown in colour. The tasar produced in the Vidarbha region of Maharashtra State is supposed to be best in quality and colour due to unique environmental conditions of this region. Mostly the tribals are traditionally doing the job of protecting cocoons on trees in forests. The tasar yarn so obtained is used for production of sarees. 

Technique applied: 

The Tasar Karvati Saree is woven with three shuttle weaving (tapestry type of weaving technique) to have solid colour border and body. The border is woven with mercerized cotton yarn and body is woven with pure tasar hand reeled yarn. The saree is woven on pit loom mounted with Nagpuri wooden lattice dobby on the top of the loom above the weaver’s seat. The uniqueness of the Tasar Karvati Saree is that, the border of the saree is woven with various temple designs in different sizes. The traditional motifs are woven with extra warp threads controlled by lattice dobby. 

How to distinguish: 

1. Hand reeled tasar is used. Fabric appearance is not flat and uniform. There are uneven picks in irregular fashion. 
2. Feel is harsh and the colour is darker beige 
3. Saw tooth designs of various sizes are woven in the border of the saree in tapestry technique. 

14. Kullu Shawl:-

 Back ground: 

Kullu is the capital town of the Kullu District in Himachal Pradesh. It is located on the banks of the Beas River in the Kullu Valley about ten kilometres north of the airport at Bhuntar. This valley is famous for its temples, beauty and its majestic hills covered with pine and deodar forest and sprawling apple orchards and hand woven textiles especially stole, shawl, muffler and tweed. The design is inspired from the engraving on wall of temples and Buddhist monasteries. 

Material used: 

The material used for their weaving is pure wool of counts ranging from 2/32 Nm to 2/64 Nm in warp and weft. For designing, pure wool is used in extra weft. Bright colours are used generally to give an attractive look. 

Technique applied: 

Kullu shawl is woven by tapestry technique of weaving, in which design is created by using different coloured weft yarn of short lengths as per contour of the design. No extra thread is manipulated in its design. It is very time consuming and requires high skill. In this technique the design is first developed on graph paper and then it is woven on ordinary fly shuttle frame loom. 

How to distinguish genuine Kullu shawl: 

1. Designs are developed with different coloured weft threads of short length. 
2. No countinous thread from one end to other is used in design area. 
3. Basic fabric has diagonal twill lines. 
4. Kullu shawl is famous for its intricate multi-colour strong geometrical pattern woven with woollen yarns. 

15.  Kullu Stole:-

 Back ground: 

Kullu is the capital town of the Kullu District in the Indian state of Himachal Pradesh. It is located on the banks of the Beas River in the Kullu Valley about ten kilometres north of the airport at Bhuntar. This valley is famous for its temples, beauty and its majestic hills covered with pine and deodar forest and sprawling apple orchards and hand woven textiles especially stole, shawl, muffler and tweed. The design is inspired from the engraving on wall of temples and Buddhist monasteries. 

Material used: 

The material used for their weaving is pure wool of count 2/56 -2/60 Nm in warp and weft. For designing, pure wool is used in extra weft. Bright colours are used generally to give an attractive look. 

Technique applied: 

Kullu stole is woven by Jamdani technique of weaving, in which one pick is of ground and other pick is used as extra weft for design purpose. The extra weft used is of bright colours to give it an attractive look. In this technique, each warp is controlled separately and interlaced with weft by the use of pirn. In this technique the design is first developed on graph paper and then it is translated on loom. 

How to distinguish genuine Kullu stole 

1. Kullu stole is famous for its intricate multi-colour geometrical pattern. 
2. Bright colours are used for design purpose woven by extra weft technique. 
3. The Pallav of the stole generally have heavy border and small pattern all over the surface. 
4. The design inspiration is always taken from the engraving of temples and Buddhist monasteries. 
5. The designs on these stoles carry special religious significance and colours used in patterning carry mythological background. 

16. Maheswari Saree:-

 Back ground: 

The beautiful conception of the Maheshwari saree dates back to 18th century at Maheshwar in Madhya Pradesh. These sarees were initially made of pure Silk, but with the passage of time, cotton yarn was introduced in the weft. The interesting legend behind these sarees is of Queen Ahilyabai Holkar who ordered various craftsman and artisans from Malwa and Surat to design a special saree of 9 yards length which later came to be known as the Maheshwari saree. These sarees were supposed to be a special gift for the royal relatives and guests who visited the palace. The grandeur of the forts in Madhya Pradesh and their designs play an important role in inspiring the motifs on the Maheshwari saree. 

Material used: 

Un-degummed mulberry silk yarn of 18/20 -20/22 Den is used in warp whereas 2/80 – 2/100s cotton yarn is used in weft. Gold and silver Zari are used for weaving extra warp design in border and for extra weft butta and stripe in pallaw. 

Technique applies: 

Earlier, wooden pit looms made were used for weaving the saree. But now light weight metal frame fly shultle frame loom has replaced the wooden loom. Long warp about 50 mt. in ball form is placed on the loom. Tension is maintained by putting weight on the warp. Lattice dobby is used for weaving border extra warp design. Multiple box sley is used for weaving two different types of weft. 

How to distinguish genuine Maheshwari Saree: 

1. Generally the border design of the Maheshwari saree is reversible. The design look similar from both sides. 
2. In warp, un-degummed mulberry silk yarn and in weft cotton yarn are used. 
3. These sarees are heavier and more compact than Chanderi Saree. 
4. Normally, there is no designing work with extra threads in the body of the saree.

17.  Pochampalii Ikat Dress Material:-

 Back ground:

 

Pochampally is a well known Cotton and Silk Ikat weaving centre in Telagana State, located just 50 km from Hyderabad. The colours of Pochampalli Ikat fabrics are mesmerizing and even more astonishing is the simple method they use to produce bold geometrical designs of flowers, birds and animal pattern. The technique of Ikat weaving, which requires true precision and skill, is believed to be brought in the town of Pochampally from Chirala where it is locally called as chit-ku. Characterized by their bold, geometrical motifs, in red, black and white, they were used in as loincloths, lungis or turbans. In the 1930's they were exported in large numbers to Burma, the middle east and East Africa where they were known as Asia Rumals . In the 60's, weavers of Pochampalli started weaving sarees initially on cotton and then silk was introduced. 

Material used: 

The materials used for their weaving are different counts of twisted cotton yarns, silk yarns and zari depending upon the quality of the fabric. 

Technique applied: 

Ikat is a weaving style that employs resist dyeing technique to impart colors to the yarns before their interlacement. The fabric woven in this technique shows a feathered and hazy pattern which is a wonderful classic in its own way. This is universal style of producing fabric patterns and exists in various countries for years. When only warps are resist dyed, the Ikat is called Warp Ikat, and when only wefts are resist dyed, it is called Weft Ikat. When both warps and wefts are resist dyed to create woven patterns, the Ikat is called Double Ikat. Along with the traditional parrot, elephant, diamond and flower motifs, the ikat saree designers these days are developing new and modern designs to go with the current trends of the market. 

How to distinguish genuine Pochampally Saree: 

1. It is perfectly reversible cloth with same appearance of the design on both sides. 
2. Intensity of the colours in the design also appears same on both sides of the fabric, whereas if the fabric is printed, then colours in the back side of the fabric will be lighter. 
3. Contours of the designs are always hazy 

18. Pochampally Ikat Saree:-

 Back ground: 

Pochampally is a well known Cotton and Silk Ikat weaving centre in Telagana State, located just 50 km from Hyderabad. The colours of Pochampalli Ikat fabrics are mesmerizing and even more astonishing is the simple method they use to produce bold geometrical designs of flowers, birds and animal pattern. The technique of Ikat weaving, which requires true precision and skill, is believed to be brought in the town of Pochampally from Chirala where it is locally called as chit-ku. Characterized by their bold, geometrical motifs, in red, black and white, they were used in as loincloths, lungis or turbans. In the 1930's they were exported in large numbers to Burma, the middle east and East Africa where they were known as Asia Rumals . In the 60's, weavers of Pochampalli started weaving sarees initially on cotton and then silk was introduced. 

Material used: 

The materials used for their weaving are different counts of twisted cotton yarns, silk yarns and zari depending upon the quality of the fabric. 

Technique applied: 

Ikat is a weaving style that employs resist dyeing technique to impart colors to the yarns before their interlacement. The fabric woven in this technique shows a feathered and hazy pattern which is a wonderful classic in its own way. This is universal style of producing fabric patterns and exists in various countries for years. When only warps are resist dyed, the Ikat is called Warp Ikat, and when only wefts are resist dyed, it is called Weft Ikat. When both warps and wefts are resist dyed to create woven patterns, the Ikat is called Double Ikat. Along with the traditional parrot, elephant, diamond and flower motifs, the ikat saree designers these days are developing new and modern designs to go with the current trends of the market. 

How to distinguish genuine Pochampally Saree: 

1. It is perfectly reversible cloth with same appearance of the design on both sides. 
2. Intensity of the colours in the design also appears same on both sides of the fabric, whereas if the fabric is printed, then colours in the back side of the fabric will be lighter. 
3. Contours of the designs are always hazy. 

19. Shantipur Cotton Saree:-

 Back ground 

This fabric is named after the place Shantipur, a village in Nadia district in West Bengal about 100 KM from Kolkata. This place is well known for its Baishnab culture propagated by ‘Sri Gouranga Mahaprabhu’. 

Since ancient times, Shantipur and the surrounding region have been famous for handloom saris. After the partition of India, many skilled weavers from Bangladesh, migrated into West Bengal and settled in and around Shantipur of Nadia district and Kalna (Ambika Kalna) of Bardhaman district. Both are traditionally renowned centers for producing hand-woven fabrics. Shantipur is especially known for super-fine dhotis and saris with jacquard designs. 

Material used 

Traditionally, fine cotton yarn ranging from 60s to 100s is used both in warp and weft, 2/80s – 2/100s cotton muga and tassar silk are used in extra warp for weaving border design. Jacquard machines of 100 hooks and 200 hooks capacity are used weaving designs. Steel reed of 72 to 76 count is generally used and high picks per inch are inserted to produce compact structure. 

Shantipur has been famous for its elegant designs inspired from nature and some of them are named as ‘Bhomra’, ‘Terchi’, ‘Rajmahal’, ‘Chandmala’, ‘Gont’, ‘Dorokho’, ‘Nilambari’, ‘Ganga Jamuna’, ‘Ans par’, ‘Moi par’ etc. 

Technique used 

Shantipuri cotton saree find its place in traditional fabrics of West Bengal due to its elegant look, elaborated design details and typical loom finish. Hank sizing using indegenous ingredients like puffed paddy(khoi), boiled rice, sagoo etc. for both warp and weft is practised in Shantipuri saree weaving. Now, starch is applied on the cloth beam and sun dried for getting stiffness effect. Fly shutlle frame looms filted with jacquard are invariably used in Shantipur. 

How to distinguish genuine Santipuri Saree 

1. Shantipur saris can easily be identified from the extra warp designs. No other saris will have unique design arrangements like ‘Bhomra’, ‘Terchi’, ‘Rajmahal’, ‘Chandmala’, ‘Gont’, ‘Dorakho’, ‘Nilambari’, ‘Ganga Jamuna’ etc. 
2. Generally, no extra weft Buti designing is done in the saree. 
3. Comparatively stiffs starch finish is applied on the same. 
4. Comparetively high ends and picks are seen in the saree. 

20. Uppada Jmadani Silk Saree:-

 Back ground: 

Handloom industry has retained the age old rich tradition of hand weaving in our country. Uppada is on the east coastline and is about 25 kms north east of Kakinada district head quarters and a port town in Andhra Pradesh. It is understood that the technique of jamdani weaving was passed on from West Bengal to Uppada. Fascinating, unique and alternative extra weft designs are produced on plain fabric in jamdani weaving. In jamdani fabrics, designs intermingled with the basic plain ground weave are produced and therefore they look pretty and artistic. Jamdani weaving is locally called ‘Ani Butta’ weaving, “ANI” means “SHED”. 

Materials used: 

In olden days Uppada Jamdani Saree were produced using finer count cotton yarn. Of late these are produced with mulberry silk in 2 ply (Gintam) in warp and 4 ply mulberry silk in weft for ground weaving. Silk / Zari is used for extra weft designs. 

Technique used: 

Weaving of this saree requires artistic skill of the weaver as in Jamdani thick extra weft is introduced as per the design in plain shed followed by a thin ground pick in the same shed. This causes the designs look alike in both sides of the saree. In weaving of jamdani saree depending upon the number of breaks / colour combinations in the design, the no. of thills to introduce extra thick weft will vary per pick, which is laborious, difficult and production is comparatively low. Jala technique is used for production of Jamdani saree. Of late, Jacquard technique is used which is easy, simple and more productive. 

How to distinguish Uppada Jamdani Silk Saree: 

1. The designs are perfectly woven along with the plain ground cloth without any float on both sides of the fabric. 
2. The extra un-cut weft is interlaced with warp threads to form the design from left to right and vice versa in such a way that it cannot be pulled off. 
3. Turning of design thread from left to right and vice versa is clearly seen in the back side of the fabric. 
4. in Uppada silk jamdani saree, floral patterns, parrots and animal designs in bold form are woven by using silk / zari  

21. Venkatagiri Cotton Saree:-

Back ground: 

Venkatagiri is a small town situated about 60 kms away from Nellore in Andhra Pradesh. Weaving at Venkatagiri first originated over 300 years ago and was patronized by the “Velugoti “ dynasty. A small group of weavers were supported by the dynasty for the exclusive purpose of weaving dhoti and turbans made of soft cotton with sophisticated embroidery to the Royal family. Gradually the weavers started moving into saree weaving which was exclusively made for the queens, royal women and other zamindar. 

Material utilised: 

In olden days, the saree used to be woven with super fine 120s cotton yarn in warp and weft with border zari “kaddi Anchu”(Plain zari stripe). At present it is eminently a cotton saree woven in fine 100s cotton yarn in both warp and weft. The saree is ornamented with zari in pallow and border. Jacquards are used to weave extra weft designs. Generally, soft and pastel colours are used in the sari. 

Technique applied: 

The saree is woven on a traditional fly shuttle pit loom. The shuttles used for weaving are comparatively longer to the other fly shuttles Jacquard is used for weaving of extra weft designs. Zari is used in extra weft for ornamentation of the designs. Rope let-off motion and pocker rod take-up motions are employed. Though this saree used to be woven white but now pastel colours and designs are being woven as per taste of the market. 

How to distinguish genuine venkatagiri saree: 

1. Venkatagiri saree is not having very compact texture as compared to Balrampuram Sari. 
2. Borders have plain Zari stripe without extra warp design 
3. Small extra weft design in body and pallow with zari adds beauty to the Venkatagiri saree. 
4. Generally it is light coloured, light weight and soft to touch since very less designing is done and also less starch is put on yarns. 

22.  Mangalagiri Saree:-

 Back ground : 

Mangalagiri is a small town which is 19 Kilometres away from Guntur district head quarter and 12 Kilometres from Vijayawada. Mangalagiri was always known as a piligrim centre. There is a famous and elegant temple on a hillock in the heart of Mangalagiri town dedicated to Lord Panakala Narasimha Swamy. There is another temple dedicated to Lakshmi Narasimha Swamy. It is said that pilgrims were expected that to offer their respects to Lord Panakala Narasimha on the Hilltop, and then buy a saree from a local weaver before leaving the place. This clearly emphasized the patronage and impetus given to the handloom industry even as part of the tradition. 

Material used: 

Mangalagiri saree is a fine count saree normally woven with 80s combed cotton yarn for both warp and weft with extra warp design in the border. The extra warp design is specially known as “Nizam Border”. The speciality of the extra warp design is a combination of twill, rib and diamond weaves and these weaves are arranged side by side continuously without any gap and that too design starts from the edge of the selvedge without leaving a single thread. Zari is used for extra warp design in the borders. Mangalagiri sarees are made in resplendent colours and also in vibrant shot colours 

Technique used: 

Mangalagiri sarees are woven on pit looms with dobby attachment. Nylon clasped healds and roller shedding mechanism are used for getting proper shedding. For getting heavy texture, one middle rest (dandi) is kept in between cloth beam and warp beam at a higher level. Pocker rod take- up and rope let-off motion are arranged. 8 and 12 lever barrel dobby are used for weaving extra warp Nizam border design. 

How to distinguish genuine Mangalagiri Saree: 

1. Basic texture is more compact than that of similar cotton sarees. 
2. Extra warp design are spread continuously without any gap upto the selvedge of the saree. 
3. The texture of the saree is relatively soft since there is no starch finish. 
4. Mangalagiri saree do not have any extra weft designs on the body. 

23.  Tweed:-

 Back ground: 

Tweed is a rough, woollen fabric, of a soft, open, flexible texture, resembling cheviot or homespun, but more closely woven. It is usually woven with a plain weave, twill or herringbone structure. Colour effects in the yarn may be obtained by mixing dyed wool before it is spun. 

Material used: 

The material used for their weaving is pure wool of count 9 Nm -2/40 Nm in warp and weft. It is generally used for Coat, Blazer, Shirts and muffler for winter season. 

Technique applied: 

It is generally woven on frame loom. The weave used is Plain, Mat, Twill and Herringbone weave. 

How to distinguish genuine Tweed 

1. It’s medium-to-heavy weight fabric. 
2. Rough in surface texture, and produced in a great variety of colour and weave effects 
3. Weave designs used in Tweed includes herringbones, diamonds, chevrons, cross twills, and checks. 
4. Most tweeds are colour woven from dyed yarns, but some are piece-dyed.

24.  Tussar Silk Dress Material:-

Background:

                                                          
            Tussar is a variety of wild silk, popularly known as Vanya Silk. The

unique feature of Tussar Silk product lies in its unique texture and

unevenness. Bilaspur, Champa and Raigarh districts of Chhattisgarh are

known for Tussar silk weaving which is being practised in this area for

more than 100 years. 


                  Tussar silk is generated by the silkworm Antheraea Mylitta which mainly thrives on the food plants Asan and Arjun. Weavers of these areas have been producing Tussar silk saris, Dress material, Stoles, Scarf etc. with small butti designs in Jala and Patiya technique. Ruiphool, Machhi-kacho or Fish-Turtle are the traditional motifs mainly used. Small geometrical designs are also used for butti design.

Material used:

Traditionally, Tussar silk fabrics are woven using domestic reeled Tussar silk yarn (Kosa) both in warp and weft, but recently warp is replaced by other varieties of imported Tussar. 

                However, in weft, desi Tussar 50/70 D hand reeled and machine reeled yarns still in fashion due to its unique texture. Sometimes, cotton and spun silk yarns are also being used for ornamentation and extra wefted design.

Technique applied:

Tussar silk, traditionally, is hand reeled yarn produced by the women member of weaver’s family. This technique of producing yarn rarely seems in practice in other silk producing areas. Generally, Pit loom is used for weaving with Jala and Patiya technique for making small butti design.

How to Distinguish:

1. Generally hand reeled Tussar (Kosa) is used in natural state in

weft.

2. Rough, coarse texture and weft bars are visible due to unevenness

of the yarn.

3.  Color varies from yellowish beige to brown in natural state.

4.  Causes creases/wrinkle easily, especially with water.

5. Creates rustling sound when rubbed together. 

25.  Chettinad Cotton Saree:-

 The Union textile Ministry has bestowed the Indian Handloom Brand tag on Chettinad cotton saris for its unique designs and identity. This tag was bestowed under the India Handloom Brand Scheme after checking its various quality parameters stipulated by the Standard Operating Procedure (SOP). The Ministry also has offered a logo to use the brand for marketing the product. It will also enable weavers of these saris to promote the material in the international market. About Chettinad cotton saree Chettinad cotton saree is also known as “kandaangi”. It is the traditional sari of the Chettinad region in Sivaganga district of Tamil Nadu. It is characterised by its silk-like texture, contrasting border and body colours with intricate designs along the border. It has unique pattern with bold checks, stripes and contrasting hues that reflects dramatic and spontaneous use of colours. These sarees are already popular in few North Indian states of India and are also popular in other countries such as Singapore and Malaysia.