APPLIQUE

A Craft Study
कटाब QALA
The Tale Of Applique
@ Published in the year 2024 by the Department of Fashion Management Studies
NATIONAL INSTITUTE OF FASHION TECHNOLOGY (NIFT)
((Ministry of Textile, Government of India)
GH-O Circle, Gandhinagar-382007 Gujrat, India
Tel: 079-23240832, 23240834, 23265000
Fax: 079-2340772
Website: www.nift.ac.in/ Gandhinagar
All images and text @ NIFT
FMS is gratefully acknowledging financial support from NIFT towards enhancing research education and dissemination
activities of the Institute. No part of the document may be reproduced or copied by any means.
Graphic, electronic, or mechanical, including photocopying, recording, taping, information retrieval system, or reproduction
on any disc.tape, perorated media, or other information storage devices without the explicit permission of the editor.
The project guided by Dr. Raj Kumar Jaiswal
Submitted by : Kritika Singh, Nidhi Meshram, Parul Pal, Ruchika Manavadariya, Shruti Ambekar, Stuti Jaiswal

This document is originally submitted as a part of academic learning and fulfillment of MFM course curriculum to the
National Institute of Fashion Technology (NIFT), Gandhinagar and is for academic purposes only. The opinions expressed
in the document are solely those of the authors and NIFT does not bear any responsibility for the nature of its content.
Production of any part of this document must acknowledge the authors and NIFT Gandhinagar.
 National Institute of Fashion Technology, Gandhinagar
CRAFT RESEARCH & DOCUMENTATION
KATAB QALA - The Tale of Applique

Submitted By:
Kritika Singh|Nidhi Meshram|Parul Pal|
Ruchika Manavadariya |Shruti Ambekar|Stuti Jaiswal

Under the Guidance of:

Dr. Raj K. Jaiswal
(Assistant Professor, Fashion Management Studies)

Sponsored By-

SUBMITTED TO-
Department of Fashion Management Studies (FMS)
National Institute Of Fashion Technology, Gandhinagar
(Ministry of Textile, Govt. of India) GH-0 Road, Behind Infocity , Gandhinagar, Gujarat -382007
March ,2024
 Preface
Applique work, a vibrant art form that breathes life into textiles, has captivated artisans and enthusiasts for centuries. This
document delves into the heart of a specific Applique craft cluster, aiming to capture its essence and celebrate the skilled
artisans who keep this tradition alive.
Within these pages, we explore the history and techniques of the Applique practiced in this cluster. We journey through the
materials used, the design motifs that hold cultural significance, and the meticulous processes that transform fabric scraps
into stunning works of art.
This documentation serves not only as a record of this unique craft form but also as a bridge between the artisans and the
wider world. It aims to raise awareness about the challenges and problems faced by the Artisans of Applique Work. Also,
talking about several initiatives already taken by the government for the promotion of the craft.
Furthermore, this document may serve as a valuable resource for future generations, ensuring the continued practice and
evolution of this beautiful craft.
As you delve into this exploration, we invite you to appreciate the artistry, the cultural heritage, and the enduring legacy of
Applique work practiced by this remarkable craft cluster.
 Acknowledgement
This document is the result of the hard work of many people. We are grateful for the opportunity to do research on Applique
handicrafts in Tharad, India. We would like to thank our college, the National Institute of Fashion Technology (NIFT), the
Government of India, and our campus director, Prof. Dr. SAMEER SOOD, for their support. We also want to thank the people
who have helped keep Applique handicrafts alive, such as the artisans and business owners of Tharad. We especially thank
Mr. Vishnu Suthar and his family for sharing their knowledge and guidance. We would like to thank our course coordinator,
Dr. Jagriti Mishra, for her help and support, and our mentor Dr. Raj K. Jaiswal for his advice and encouragement. We also
thank the entire staff of the Department of Fashion Management Studies (FMS) at NIFT Gandhinagar. Finally, we thank our
friends and family for their support throughout this project.
 Content
1. Introduction.....................................................................
1.1. Introduction to Applique Work............................... 02
1.2. About Tharad.......................................................... 02
1.3. Language................................................................ 03
1.4. Social Norms........................................................... 03
1.5. Costumes and Jewellery........................................ 04
1.6. About Artisans........................................................ 06-07
1.7. Food......................................................................... 08
1.8. Transport and Connectivity.................................... 08
1.9. Market...................................................................... 09
1.10. Climate in Tharad.................................................. 10
2. Tools and raw materials...................................................
2.1.a. Tracing Sheet (Gadwal)........................................12
2.1.b. Fabrics...................................................................13
2.1.c. Dyes.......................................................................13
2.2 Tools Used for Applique...........................................14
3. Production Process...........................................................
3.1. Pre-Production Process..........................................15
3.2. Production Process.................................................
3.2.a Ironing..................................................................16
3.2.b. Thappi (Layering and Stitching)........................16
3.2.c. Drafting the Tracing Sheet................................ 17
3.2.d. Tracing........................................................ 17
3.2.e. Cutting......................................................... 18
3.2.f. Fusing with Fabric glue............................... 18-19
3.2.g. Drying.......................................................... 19
3.2.h. Applique Work............................................ 20
3.2.i. Washing....................................................... 21
3.3.j. Dyeing and Ironing....................................... 21
3.3. Post-Production Process................................. 22
3.3.a Quality Assurance and Repair of Damages.. 23
4. Supply Chain of the Craft.......................................... 24
5. SWOT Analysis.......................................................... 26
6. Business Summary...................................................
6.1. Product............................................................. 27-28
6.2. Price.................................................................. 29-30
6.3. Place................................................................. 31-32
6.4. Promotion......................................................... 32
7. Literature Review...................................................... 34-35
7.1. Ruma Devi........................................................ 35-36
7.2 Case Study-Producer Company Qasab........... 36
8. Research Objectives................................................. 37
9. ResearchMethodology............................................. 39
10. Research Problem .................................................. 40 15. Further Scope of Study............................... 65
11. Order Management System 16. Conclusion.................................................. 66
11.1. Problems Faced ............................................ 42-43 17. About Our Artisans................................... 67-69
11.2. Organizing Order Management ................... 44-46 18. Our Team .................................................. 70
11.3. Benefit of Organized Data System ............... 47 19. References ................................................ 71
11.4. Raw Material Management Sheet .............. 48
12. Proposing B2C Model
12.1. Brand Building .............................................. 50-51
12.2. Creation Of Brand.......................................... 52-53
12.2.a. STP of Brand .......................................... 54-55
12.2.b. Online Presence ..................................... 56
12.2.c. Social Presence ....................................... 57
12.2.d. New Product Category ........................... 58
12.2.e. Product Packaging ................................. 58
12.2.f. Product Catalogue .................................. 59
13. Accessing Government Schemes ..........................
13.1. Comprehensive Handicrafts
Cluster Development Schemes ................... 60
13.2. National Handicrafts
Development Programme ............................ 61
13.3 Mega Cluster Schemes ................................. 62
13.4. Producer Company Initiative ....................... 63
14. Limitation of Study ................................................ 64
Artisan’s House

1
1 INTRODUCTION
1.1. Introduction to Applique Work
Applique, a captivating art form with French roots, which
transforms textiles into vibrant stories. This technique
involves precisely layering of colorful fabric patches onto a
base fabric, creating everything from bold geometric
patterns to lifelike imagery. In India, Applique thrives
particularly in Gujarat and Rajasthan, where each region
injects its own unique flair. Saurashtra boasts warm, earthy
tones, while Kutch explodes with a vibrant palette.
The tradition in Gujarat stretches back generations, with
women crafting intricate designs of flora and fauna on
quilts and wall hangings. Using various applique
techniques, skilled artisans layer fabrics to create stunning
visual narratives. Beyond its artistic merit, applique adorns
a wide range of functional items, from Sarees and stoles to
bedspreads and table covers. Every piece serves as a
canvas for the artistry and cultural heritage of India, adding
a touch of elegance and vibrancy to everyday life.
2
1.2. About Tharad
Tharad (historically known as Thirpur) is a town in Tharad
taluka in the Banaskantha district of the state of Gujarat in
India.Tharad is near the border of Gujarat, 40 km from the
border with Pakistan and 15 km from the Indian state of
Rajasthan. Such a position has been important, which also
explains the sizable settlement of refugees from Pakistan
after the Indo-Pak war of 1971.
Tharad is a region with rich craft practices and cultural
heritage of various communities that reside there.
There is no railway station and the only mode of transport
is through roadways. Crops like Anar and Bajra are crops
that are grown vastly with the help of the Narmada canal as
the town has sparse rainfall. The Central Agriculture Market
Yard represents the economic centre of the town where
farmers can auction their products. There are many dairy
cooperatives, and a cold storage is located nearby. Tharad
also has a major jewellery market.
1.3. Language
In Tharad, Gujarat, Gujarati is the main language spoken,
with Hindi widely used as a second language across India.
Some residents also understand and speak Rajasthani due
to proximity to Rajasthan or personal backgrounds. This
language diversity reflects cultural connections and
historical influences. Gujarati serves as the primary means
of communication, while Hindi enables interaction beyond
local communities, and Rajasthani perception varies among
residents based on individual experiences. Tharad's
linguistic diversity enriches its cultural tapestry.

1.4. Social Norms

In Tharad taluka, a tradition called the parda system
ensures married women are accompanied by 3-4 unmarried
women when they leave home, aiming to shield them from
public view. Another custom, the ghungat, involves veiling a
woman's face from older male relatives to safeguard her
honor and limit interactions. Women also refrain from
appearing before elderly men at home, working separately
to maintain modesty. These practices reflect a cultural
commitment to protecting women within the community.
Social Norms

3
1.5. Costumes & Jewellery

In Tharad, men often wear a ‘kurta’, a long shirt, with ‘dhotis’

or ‘churidars’, types of trousers. They sometimes wear a
‘phento’, a turban.
Women wear ‘chaniya choli’, a colorful outfit with a long
skirt (‘chaniya’), a blouse (‘choli’), and a scarf (‘dupatta’).
These clothes are brightly colored and often have beautiful
embroidery.

A married woman Mangal Sutra, bangles, necklaces,

earrings, and nose rings. Unmarried women wear small
balis (loop earrings) and may even get their noses pierced
and wear nath (studded nose jewelry). Married women also
wear bindi and sindoor. Traditional Gujarati jewelry is heavy,
ornate, and intricately crafted. Women even wear ornate
tassel key rings around their waist.

This region also has some influence on Rajasthan as

Tharad is on the border region and shares his border with
Rajasthan like for example Ivory bangles that cover their
entire hand are worn by married women till their husband is
alive and are given by their mother as gift during the
wedding. That is so auspicious that the couple can perform
other rituals only after that.
Culture
4
Artisans

6
5
1.6. About Artisans
Craft practitioners in Tharad are descendants of Indo-Pak
War of 1971 refugees, who resettled here after leaving
Sindh, a cultural hub. They carried with them their
embroidery skills, patchwork quilts, and a resilient spirit to
rebuild their lives.
One example is the Suthar family, headed by Vishnubhai
Suthar. During our interview with him, we explored the
origins of the appliqué practice, where he shared a
compelling rationale.
During his childhood, Suthar observed his father and fellow
artisans diligently working to fulfill the few orders they
received from an NGO.
The idea of pursuing appliqué work didn't occur to him
initially. However, in 2008, while on a delivery run, he
stumbled upon a newspaper advertisement by the Gujarat
government, announcing an exhibition and sale of
handicrafts in Ahmedabad with all arrangements made by
the organisers.
6
This advertisement sparked Suthar's interest, prompting
him to gather various appliqué pieces like pillow covers and
bedspreads from artisans in his community in a short
period. One thing led to another and soon Suthar bhai was
taking part in many exhibitions. Suthar took it forward and
rallied together a community of artisans, mainly women,
from the villages of Banaskantha district, where he is
based.
The impact of Artisan’s work is visible through the lives of
300 women who are associated with him.“The women in
this region follow a strict purdah system. They do not go
anywhere unless accompanied by a male member of their
family,” says the artisan entrepreneur, therefore material for
appliqué work is delivered to these women, and the
completed pieces are collected once finished. Besides
employing female artisans, Suthar has also provided
training to numerous women in the craft.
Many of these women reside in villages, particularly those
in border areas, which lack basic infrastructure like roads,
electricity, and agricultural opportunities, leading to
widespread poverty among families.
Suthar's involvement extends beyond business; he's deeply
embedded in their lives, offering support during times of
illness and advocating for girls' education, resulting in
positive outcomes.

Partnering with Craft Roots NGO has boosted Suthar's

visibility, attracting individual and retail orders across India,
along with regular contracts from the Gujarat government.
Collaboration with Kaarigar Clinic has further enhanced
Suthar's brand identity, broadening his product range and
market reach. He aims to globalize his offerings,
diversifying into gifting items for corporate companies, tote
bags, pouches, etc,. With aspirations to empower more
women artisans, Suthar's target is to train 1000 additional
artisans, expressing gratitude for Kaarigar Clinic's support
in his mission to uplift artisan communities.

Artisans stitching a saree

7
1.7. Food
In Tharad, typical thali meals include rotli, dal or curry, rice,
and shaak (vegetable dish), accompanied by chaas, pickles,
and snacks like dhokla or samosa. Preparations made from
pulses or beans are common, along with sweets like
mohanthal or jalebi. Salt, sugar, lemon, and tomatoes are
used to avoid dehydration in the hot climate, with sugar or
jaggery often added to vegetable dishes for flavor.

1.8. Transport Connectivity

Tharad lacks direct railway access, relying on road

transportation. The nearest railway station is in Deesa, 61
km away. The state government operates bus services
connecting Tharad to cities like Ahmedabad and Mumbai.
Tharad is on the route of the Bharat Mala project, aiding in
the transportation of imported goods to other regions.

Tharad Food

8
1.9. Market

Tharad, situated in Gujarat, relies primarily on trade and

farming for its economic sustenance. At the heart of its
economic activity lies the Central Agriculture Market Yard,
where farmers have the opportunity to auction their
produce. Additionally, Tharad boasts a significant jewelry
market and numerous dairy cooperatives. Recognizing its
agricultural potential, the Government of India has labeled
Tharad district as an Agri Export Zone (AEZ) specifically for
Vegetables and Mangoes.

The market is known as a bazaar, and is segmented into

several arcades referred to as complexes, encircling the
Sheri or residential area. Within these complexes, various
amenities are available, including general stores, photocopy
centers, mobile and electronics retailers, tailoring shops,
fabric stores (vastra bhandar), fashion boutiques, and
more. Additionally, many individuals belonging to traditional Tharad Market
occupations such as Sonis (goldsmiths), Vajirs (traders),
and Mochis (cobblers) offer their services to the local
residents of Tharad.

9
1.10. Climate in Tharad
Banaskantha district encounters a semi-arid climate,
marked by scorching summers and aridity during non-rainy
periods, intense cold spells from December to February,
extreme heat from March to mid-June, scanty monsoon
rainfall around mid-September, and post-monsoon
conditions extending from mid-September to October. The
area is predominantly covered in sand, leading to a semi-
desert environment as a consequence of the prevailing
climatic circumstances.

Climate in Tharad

10
 RESEARCH OF
VISHNU SUTHAR’S
BUSINESS:

11
2 TOOLS &
RAW MATERIAL
2.1 Raw materials that are used
for Applique are:

2.1.a. Tracing sheet (Gadwal):

The tracing sheet (Gadwal) had one glossy side and one
rough side. When tracing, the rough side faced the fabric
while the tracing was performed on the glossy side.
Subsequently, the fabric was positioned on a wooden block
with newspaper inserted between the cutting board and
layered fabric to ensure accurate cutting.

Cotton mercerized thread, matching the fabric's color, was

preferred to avoid potential dyeing unevenness post-
stitching. Utilizing three-ply mercerized threads enhanced
thread durability, ensuring resilience in the stitching
process.
Tracing the design using Gadwal

12
2.1.b. Fabrics:
Fabrics were sourced from weavers directly to maintain
quality and have the desired design in the woven pattern.
Pure cotton, cotton silk, silk, tissue silk fabric, cotton blend,
etc were some of the fabrics that were predominantly used.
Polyester fabrics were generally avoided for their durability,
they were used sometimes.Gray fabric is ordered in bulk i,e
(2000-3000 mts) from Bhiwandi (Mumbai).

Traditional silks like maheshwari, chanderi silk, and kota

doria were directly sourced from weavers.Kanjivaram was
also sourced from weavers in the south. The fabrics
generally saree and dupatta, were ordered from the
weavers in the bulk of 100-200 each month, and 50 extra
pieces were kept in stock to meet the deadlines and to
replace damaged pieces. Saree fabrics is ordered 1 inch
extra as 1 inch goes into applique work stitching.

2.1.c. Dyes:
Glue (Kanji in the local language) is a solution of ararot
starch and water. This paste is used to paste 2 layers for
applique work.
Fabrics

13
2.2 Tools that are used for Applique are:
Chisels (Straight Farsi and curved Nakhla) are Made by
the local community in the locality and cost around
100/- to 150/- per piece. Different sizes were available
as well as curve chisels (Nakhla) were available. Hard
steel which was called Garhwal in the local language
was used to make these chisels.
Hammer (hatodi in the local language), Not like a
normal hammer, and was made from wood.
The shape of the hatodi was like a cricket bat and had a
flat surface for hammering. whiv=ch can be confused
with Dhoka which was used in washing clothes.
Bucket for soaking fabric and washing.
Machinery- Washing machines for washing clothes
after the applique work was done because there are
chances of getting stains as women can put stains
while working on the fabric.
14
The needle (9-10 darning needle), the eye of the needle
(Naka), and the thread should be of the same width and
feel seamless.
The newspaper was placed between the cutting board
and layered fabric for proper cutting.
The sewing machine required stitching multiple layers
of fabric together for the cutting process and finishing
the edges of the saree pr dupatta.
Ruler, right angle ruler, and measuring tape.
Iron and spray bottle for ironing. Water was used to
resolve creases in the fabric.
Fabric scissors and thread clippers in some cases (to
cut the fabric after unfolding the bundles) were used to
cut fabric and patches for applique.
3 PRODUCTION
PROCESSES

3.1. PRE-PRODUCTION
PROCESSES
Both 100% Cotton and Cambric fabrics are used, for
cambric fabric (originating from Mumbai and bleached in
Ahmedabad), the bleaching process precedes production.
Bleaching is conducted in Chhipawad, Ahmedabad. Before
production, the fabric undergoes an overnight soaking to
eliminate starch and facilitate maximum shrinkage,
ensuring minimal post-wash shrinking in the final product.
Additionally, the dyeing of the fabric is performed according
to the desired product specifications.

15
3.2. PRODUCTION
PROCESSES

3.2.a. Ironing
Before starting the tracing and cutting process of the
design, the fabric underwent ironing, with water sprayed
onto it to eliminate any creases that may have developed
during the pre-production soaking and washing stages.
Tool:- iron and spray bottle

3.2.b Thappi (layering and stitching )

To avoid the entanglement of fabric fibers on the cutting
board, the cutting process necessitated bundling either by
stacking or folding along the pallu of a saree. Typically,
around 3 sarees were folded into 4 layers along the pallu,
forming a 12-layer bundle. Silk required fewer layers (7-10)
to prevent slipping, while cotton allowed for more layers
(about 15-20). The bundled fabric, known as "thappi," was
then securely stitched in a grid pattern atop each other to
prevent slippage during cutting.
Tool:- Sewing machine Women Artisans

16
3.2.c. Drafting the tracing sheet

Before creating a new design, a draft must be prepared. The

artisan crafts paper cutouts of the design elements,
experimenting with various combinations before settling on
the final design. This chosen design is then traced onto the
tracing sheet using the stencils, forming a blueprint.
Subsequently, the tracing sheet is punctured with a needle
to create the "Farma." For geometric designs, the artisan
directly employs rulers and precision instruments to draw
the patterns.
Tools and equipment- farma (tracing sheet gadwal paper),
paper, pencil, ruler, and needle.

3.2.d. Tracing
To trace the design, a distinct fabric layer was positioned
atop the bundled fabric. Apple green food color, diluted in
water, was used for tracing, applied with a cotton thread
bundle instead of a sponge. When questioned, the artisan
explained that using a cotton thread bundle improved
application and minimized dye wastage through absorption.
Tools - food color, a container for a dye, and a cotton
bundle.
Tracing Design

17
3.2.e. Cutting
After the tracing was completed, the bundle was positioned
on a cutting board made from a cross-section of a neem
tree trunk, providing a sturdy surface for cutting. The
newspaper was layered underneath to cushion and protect
the tools from damage. Cutting was carried out using
various-sized chisels and a hatodi hammer. Notably, care
was taken to avoid cutting through any interesting lines
(Char Rasta) during the process. In some instances, a
scissor or thread clipper was utilized to cut the design after
the bundle was unfolded. The design was traced and cut on
a bias, likely to prevent fraying of the fabric.

Tools and equipment - cutting board, scissors, Farsi and

nakhla (chisels), hatodi (hammer), newspaper.

3.2.f. Fusing with Fabric glue

After the cutting process was completed on the cotton
fabric (60-60 cambric), the bundle was unraveled and
affixed onto the organdy fabric (Avergandi) using Kanji, a
mixture of ararot starch and water. This solution served to
bond the layers together temporerily until washing (two
layers for reverse applique). Cutting Process

18
Craftsmen had to work quickly and under sunlight to ensure
proper adhesion, as high humidity could hamper the
bonding process. Approximately 2 tablespoons (1 muth) of
Kanji were dissolved in 3 liters of water for adhering. This
solution was adequate for affixing the pallu or palav of
three sarees. Adhering was conducted on the floor to
facilitate the even unfolding of the entire saree or dupatta
without causing wrinkles.

Tools and equipment - Ararot (tapioca starch), water,

bucket.

3.2.g. Drying
Following the pasting phase, the fabric was hung on drying
strings to air dry. The duration of drying varied based on the
prevailing climate conditions and air quality. In humid
weather, there was a risk of insufficient adherence between
the fabrics, necessitating re-pasting. Once fully pasted and
dried, the fabric was distributed to artisans residing in 20
villages across 5 talukas within the Banaskantha district to
proceed with the stitching process.

Drying

19
3.2.h. Applique work

The stitching process involved manual work, with artisans

employing blind hem stitches (taaka) to firmly secure the
two layers of fabric. Artisans adopted a specific seated
posture aimed at preventing back pain and enabling longer
working hours, thus enhancing productivity. In this posture,
one leg supported the body's weight while the other was
bent upwards to stabilize the fabric layers and provide
support for stitching. Mercerised cotton threads of
matching colors were utilized to ensure consistency, as any
dyeing performed during post-production stages would also
affect the threads. Hand-stitched applique typically
featured stitch per inch (SPI) counts ranging from 5 to 8,
depending on the product (5- 6 for bedsheets and 7-8 for
sarees and dupattas, preferably). A crucial skill involved in
stitching was the ability to handle the fabric with a needle
by folding it, thereby minimizing pinch folding.

Tools and equipment - 100% cotton mercerised thread,

thread clippers.

Hand Work in Process

20
3.2.i. Washing

Following the assembly of applique work, materials sourced

from different villages are gathered at a central location.
Subsequently, any stains present on the products are
treated using a solution made from lemon water and
thoroughly washed to eliminate them.

3.2.j. Dyeing and Ironing

After the washing stage, the items proceed to the dyeing

process, managed by artisans in Dani-Nimda, Kutch. The
final step involves ironing the fabric or product before it is
packaged.

Washing and Dyeing

21
3.3. POST PRODUCTION
PROCESS
The complete production timeline, spanning from ironing to This discrepancy is primarily due to the complexity of
the final finishing of the products, varies greatly, ranging certain items, such as sarees and dupattas with elaborate
from five days to several months. designs, which may require up to one-and-a-half months for
stitching to be completed.

22
3.3.a. Quality assurance and repair of damages:-

The quality-checking process comprises three Occasionally, he also retrieves products

stages. Initially, Vishnubhai receives the final
stitched pallu from the artisans and examines
the products for any stitching defects or
tears. If any issues are identified, he rectifies
them himself before sending the products
back to the artisans for border and body
stitching, involving sawtooth and tikli work,
respectively. Upon receiving the final product,
he washes it and conducts a thorough
inspection for color bleed or defects after
ironing, ensuring nothing is overlooked.
midway through production to assess
progress before returning them for finishing.
Products often require replacement due to
damages incurred during transportation or
handling by the artisans during stitching.
Open stitches are restitched, while the
damaged fabric is seamlessly patched.

23
4 SUPPLY CHAIN OF THE CRAFT
Sending the Sample No
Yes
Order inquiry Sample sample to the Accepted
received Creation for buyer Order
from Buyer order Yes
No Confirmation
(If Repeated
order is received)

Raw Material
(Raw material
Sourcing Fabric Sketching &
Cutting of Design Spreading of received)
(Cotton & Silk Selection Designing
fabric as per tracing on the fabric
fabric tissue from
set peice
Maharashtra)

Collecting the
Fusing the Distributing the fabric
hand crafted fabric Sending to
fabric to different villages for Washing the
from different dyeing units
handcrafting by women fabric
villages

Shipping to
the Packaging of Final
Procurement the fabric Finishing
Centre

24
Applique work by Artisans

25
5 SWOT ANALYSIS
STRENGTH OPPORTUNITIES

Good Craftmanship B2C market expansion

Transparency towards both customers and employees Having Online presence
Empowering women through employment Having retail outlet
opportunities Collaboration and partnership
High skill sets New product line

SWOT
Rich heritage craft journey

ANALYSIS
WEAKNESSES THREATS

Absence of trends forecasting Falling behind competitors due to

limited usage of color schemes limited design availability
Unorganized operations Replicated designs by other manufactures
Improper packaging of goods Employees becoming competitors
Unavailability of in-house dyeing Price wars with competitors
Unstructured supply chain Competitors have superior access to
channels of distribution

26
6
6.1. PRODUCT
BUSINESS SUMMARY

Applique involves layering patches of fabrics onto a

base fabric that could cut patterns and motifs of
different shapes to create ornamented textile made
from Pure cotton, cotton silk, silk, tissue silk fabric,
cotton blend etc.
The products that they offer are-
Saree- Kota Doria, Shibori, Cotton-Silk, Kanjivaram
Dress Material - Cotton
Dupatta - Cotton, Kota doria, Cotton Silk
Stole - Cotton, Kota doria, Cotton Silk
Bed Sheet and Cushion Cover - Cotton

6.1.a. SAREE
A saree is a traditional stitched garment commonly worn by
women in India and various other countries such as Sri
Lanka, Pakistan, Bangladesh, and Nepal, each with its
unique draping style. It is typically draped around the body,
with one end secured at the waist and the other draped over
the shoulder. Sarees come in dimensions ranging from 4.1
to 8.2 meters.

27
6.1.b. KURTI SET - KURTA SET
Kurti set are often sold as coordinated outfits, where the
kurta and bottom wear are designed to complement each
other in terms of color, fabric, and embellishments. These
sets are versatile and suitable for a range of occasions.

6.1.c. DUPATTA
A fabric commonly utilized in the Indian subcontinent to
cover the head, shoulders, and chest, the dupatta has
evolved in modern times with the emergence of indo-
western fashion. People now experiment with various
styling techniques for dupattas, expanding their usage
beyond traditional norms. (Dimensions: 80” * 30”).

6.1.d. STOLES
Pieces of stitched fabric that can be wrapped around the
shoulders.

28
6.2. PRICE

The price of the product depends on the amount of

Applique and patchwork the piece has. Also, the Price has
been set according to the product ex. Saree (5000-60,000+
Rs)
Dress Material (2000-4000 Rs),
Dupatta (1000-6000 Rs),
Stole (500-1500 Rs),

Note - All the above prices mentioned are wholesale.

PRICES DEPEND ON –
Raw Material Cost.
Transportation Cost.
Labour Cost
Applique and patchwork pieces have.

Example - Shibori Saree

Applique Product

29
 Material Price

Raw Material (Fabric) 2200

Shibori Fabric 1500

Applique stitching price done by artisan 800

Cutting Expense 50

Washing Expenses 50

Tassel Expenses 100

Ironing Expenses 20

Transportation Cost 100

Waste considering loss due to defect in product

300
during manufacturing process

Margin % 2380 (32%)

Note - Approx they sell it at 7500 / saree at wholesale to

TOTAL 7500
government organisation like “Garvi Gurjari”

30
6.3. PLACE

Artisans showcase their work at exhibitions to connect

directly with customers, and also sell in government
organizations like Garvi Gurjari, Craft Roots and Tribes of
India, dedicated to supporting traditional crafts. Other than
this it sells across the globe through Facebook.

6.3.a. Garvi Gurjari

A government initiative, Garvi Gurjari, aims to revive and
celebrate Gujarat's rich tradition of handlooms and
handicrafts. Acting as a bridge, they connect skilled
artisans with a wider audience.

6.3.b. Craft Roots

Craft Root, an initiative by Gramshree Sanstha NGO,
champions India's diverse handicrafts. Their mission is to
empower artisans and ensure the survival of traditional
craft forms. Craft Root connects skilled artisans directly
with a global audience through fair trade practices. They
provide artisans a platform to sell their creations and earn
sustainable incomes.

31
6.3.c. Tribes of India
Tribes of India, an NGO, champions the well-being of India's
diverse tribal communities. Founded on social justice and
cultural preservation, they bridge the gap between these
marginalized groups and mainstream society. Education is
a key focus.
32
6.4. PROMOTION
Applique is being promoted through different channels
through good old-fashioned word-of-mouth and Happy
customer recommendations. and participation in fashion
events contributes to its visibility and popularity among
consumers. These diverse channels serve to inform,
inspire, and connect individuals with the artistry and
craftsmanship of appliqué, driving demand and
appreciation for this timeless decorative technique.
Applique in Process
33
7 LITERATURE
REVIEW
India is one of the important suppliers of handicrafts to the
world market. The Indian handicrafts industry is a highly
labor-intensive cottage-based industry and decentralized,
being spread all over the country in rural and urban areas. In
the changing world scenario, craft products exported to
various countries form a part of lifestyle products in
international market. The impact is due to the changing
consumer taste and trends. In view of this it is high time
that the Indian handicraft industry went into the details of
changing designs, patterns, product development, and
requisite change in production facilities.
(MARKET FOR INDIAN HANDICRAFTS, 2012)
Further, it is to be noted that the cluster development
primarily depends on social environment, network of
organisations, innovation of entrepreneurs and
interventions. While implementing recommendations one
needs to focus on policy implications for the local, State
and Central government agencies. From empirical studies
it is noted that the cluster development is better when the
34
responsibility is given to the cluster members with a focus
on regional development. Facilities like CAD centers,
communication networks, resource centers, raw material
bank, design bank, marketing infrastructure etc. are being
developed under public private partnership (PPP) model.
During our field survey, the unit holders who have adopted
productivity improvement approaches and institutional
support reported various benefits. (Building
Competitiveness: A Case of handicrafts manufacturing
cluster units, 2011)
But now, most of the utility products of everyday life are
mass-produced, made by machines. And we should accept
the fact that craft products, made with hands, cannot
compete with mass-produced products in terms of
affordability and availability. Therefore, it becomes quite
important that crafts must have a higher perceived value,
globally, to satisfy the needs of the artisans and the entire
craft industry itself, it must turn into luxury. And this very
perception can turn craft products into items of luxury, and
may result in the identification of the true value of crafts
and recognition, respect & benefits to thecraftsmen and
more. (Craft of India: Luxury context, 2017)

7.1. Ruma Devi’s Inspirational Journey

Ruma Devi's journey unfolds as a captivating saga of
resilience, creativity, and empowerment in Rajasthan's
Barmer. Ruma Devi's artistic brilliance earned her a
spotlight in the form of Gramin Vikas Evam Chetna
Sansthan, a local organization. In 2006, Ruma Devi scripted
a new chapter in her life by uniting 10 women from her
village in a self-help group. (Srivastava, 2023). Ruma Devi is
a sustainable brand that reminds the world of the richness
of India’s handicraft heritage. It bridges the gap between
the artisan and the aesthete – connecting buyers directly to
the makers of the uniquely crafted pieces.

These opportunities enabled her to train and upskill more

women and grow her team. today , the journey that she
started alone is a sisterhood of 30,000+ artisans. Here at
Ruma Devi, we believe that artisans are no less than
designers – and thus deserve equal visibility. Our success
at these fashion shows proves that the world agrees. Ruma Devi

35
 London Fashion Week
Rajasthan Heritage Fashion Week (2016 and 2017)
Indian Fashion Jewellery & Accessories 2018
Textile Fair India
(About Us, n.d.)

7.2. Case Study - Producer Company,

QASAB
Qasab is a Kutch Craftswomen's Producer Company Ltd.
that was established in 1997 by Pankaj Shah with the aim
of providing business support to embroidery craftswomen
in the remote areas of Kutch, India. Qasab operates as a
collective enterprise owned by artisans and managed by a
professional team. The organization is structured as a
producer company, where artisans are the shareholders
and have ownership and decision-making roles within the
company. Qasab operates on a business-to-business (B2B)
and business-to-consumer (B2C) model. By following this
working procedure, Qasab effectively supports artisans,
preserves cultural heritage, and promotes traditional
craftsmanship while creating meaningful connections
between makers and users in the market.

36
8 RESEARCH
OBJECTIVES
The objective of this research is -

1.To study the Applique Craft practiced in the Tharad

Region of Gujarat including its history, techniques,
production process and Supply chain and identify the
problem and suggest measure concerning the identified
problems of the craft studied.

2.To improve efficiency and effectiveness of the current

unorganized business operation of applique artisan by
implementing strategies.
24

3.To explore new business model for expanding the market

presence of Applique products.

Applique and Embroidery

37
A discussion with VishnuSuthar and his artisans

38
9 RESEARCH
METHODOLOGY
Sample Size
Research Design

The research design used in this study is a combination of
descriptive and exploratory research design. The
descriptive research design has helped to provide a
detailed understanding of the craft being studied. The
exploratory research approach has been applied to identify
problems associated with the operations of the Applique
craft of Tharad.
The primary research method was done by interviewing
artisans of the Tharad Cluster who were associated with
Applique work as their main livelihood activity.
Sampling Technique
A Non - Probability Sampling technique is used for the
study.

39
10 RESEARCH
PROBLEM
As, the primary research was being conducted for the
Applique Craft of Tharad, by observing, interviewing and
documenting. It was identified that the order management
system followed by artisans is outdated. They record their
transactions in a simple book in a very disordered format
which leads to improper management of business
operations. This can be improved by forming a simple yet
proper format for order management where all transactions
can be recorded. A Tool like this can help in further
expansion of business, helping the artisans to understand
their business in a better way.
40
Another prevalent problem , which was identified during the
research was that the business of artisans are solely
dependent on Government Organisations Like - Garvi Gurjari
and NGO - Crafts Villa, Tribes of India. An excessive
dependency creates a problem of Limited Market reach and
Scalability for the Applique art of Tharad, while other
artisans practicing same craft have explored new market
areas. This problem can be tackled by exploring new
business models like B2C, which can be implemented in the
business. Thus, this can be done by Going to new
marketplaces like- Online and creating a direct to consumer
Brand.
 PROPOSED
SUGGESTIONS

41
11 ORDER MANAGEMENT SYSTEM
11.1. Problems Faced due to Unorganized Order Management
The problem Applique artisans are facing is due to the non-
execution of business management strategies in their
unorganized structure.
Order Tracking Issues: Appliqué artisans face problems
because they don't keep track of the orders they
receive. This leads to situations where they might end
up repeating orders or forgetting to fulfill them
altogether. Such mistakes can cause confusion and
frustration among customers.
Difficulty in Prioritizing Orders: Since there's no proper
tracking system in place, artisans find it hard to
prioritize orders based on deadlines, urgency, or
customer preferences. This lack of prioritization makes
it challenging for them to manage their resources
efficiently. As a result, there could be delays in fulfilling
orders, and customers might end up disappointed.
42
Challenges in Production Planning and Inventory
Management: Without a record of received orders,
artisans struggle to plan their production schedules and
manage inventory levels effectively. This can lead to
problems like overproduction of some items and
shortages of others, wasting resources and causing
inefficiencies.
Lost Sales Opportunities: Inefficient order management
due to the absence of proper tracking leads to lost
sales opportunities and potential revenue.
Operational Inefficiencies: Without a systematic
approach to order tracking, artisans waste time,
resources, and effort in managing orders manually.
This inefficiency adds to their workload and reduces overall
productivity.

Difficulty in Determining Costs: Appliqué artisans face

challenges in accurately determining the costs
associated with producing their products because they
don't keep proper cost management records. This lack
of clarity can result in inconsistencies in pricing their
goods. They might end up under-pricing or overpricing
their products, which affects their overall profitability.

Lack of Profit Margin Understanding: Without proper

cost management records, artisans may not have a
clear understanding of their profit margins for each
product or order. This lack of insight can lead to
reduced profitability because they might unknowingly
sell products at prices that don't cover their production
costs.

Difficulty in Expense Identification and Control: The

absence of cost management records makes it
challenging for artisans to identify and control
expenses related to production materials, labor,
overheads, and other operational costs.

43
11.2. Organizing Order Management 12. Order Received Date
13. Expected Delivery Date
11.2.A. CUSTOMER INFORMATION: 14. Actual Delivery Date
Date 15. Delivery Status
Name 16. Feedback
Phone number 17. Additional Comments (If any, whether the order is
from India or any other country)
11.2.B. ORDER DETAILS:
1. Order received through
2. Product Code
3. Product Name
4. No. of units
5. Per Piece Price
6. Original Price
7. Discounted Price
8. Total Price
9. Advance Received
10. Due Amount
11. Customization Details (If any)
Unorganised Inventory Management

44
Order Management Sheet

This is the basic information required for the records and

further smooth order making and delivery process.
In here,
1. Order received medium is required to track in which 5. Difference of order received date and expected delivery
channel do they have be present and focus more on it date tracks in how much time the order has to be
to gather more customers from that medium. completed and difference of expected delivery date and
2. Product Code will navigate the artisan very easily to actual delivery date is track how fast/slow the delivery has
understand the type and colour of the product, following been done and can take measures if required.
with product name and no of units. 6. Feedback helps to improve customer requirements.
3. Original price and discounted price will show how
much margin has decreased and have a track on
discounting, similarly we can track per piece price.
4. Keeping track of advance received and due amount is
necessary to maintain accurate financial records,
ensure timely payments and manage cash flow.

45
46
11.3. Benefits of Organized Data System
The benefits that appliqué artisans will receive due to
the implementation of business management
strategies.
Cost Reduction: When artisans effectively manage their
costs, they can figure out where they can spend less or
use resources more wisely. By closely examining
expenses such as materials, labour, and overhead,
artisans can cut down on waste, negotiate better deals
with suppliers, and ultimately, make their business more
cost-efficient.
Improved Profitability: By lowering costs and
maximizing earnings through better handling of orders,
artisans can increase their profits. This means setting
prices that cover costs and leave room for profit, while
also refining how they fulfil orders to keep operational
costs in check.
Enhanced Financial Stability: When artisans manage
costs and orders well, it helps keep their finances
steady. Staying within budget and earning enough
revenue to cover expenses reduces the chances of
running into financial problems, making the business
more secure in the long run.
47
Better Resource Allocation: Handling costs effectively
lets artisans use their resources – like materials, labour,
and equipment – more wisely. This means putting
these resources where they're most needed, boosting
productivity, and getting more done.
Streamlined Order Fulfilment: Managing orders
effectively means making the process of taking,
processing, and sending out orders smoother. This
includes keeping track of orders, managing inventory,
and scheduling deliveries to ensure customers get their
products on time
Reduced Errors and Delays: By using order
management systems, artisans can cut down on
mistakes and delays when processing orders.
Automating routine tasks, and standardizing
procedures can help ensure that orders are fulfilled
correctly and promptly.
Data-driven decision-making: Both managing costs and
orders involve gathering and analysing data on
spending, sales, inventory, and customer orders. By
using this data, artisans can make smarter choices to
improve their operations, spot chances for growth, and
adapt to what customers want.
11.4. Raw Material Management Sheet

VENDOR INFORMATION: This is the basic information is required for maintaining a

Name record of all raw materials that the business orders time to
Phone number time. It also aims to record the Vendor Name, Time Taken
DETAILS: by vendor and payment made to them.
Raw Material Description This management would be helpful in having a streamlined
No. of units business process, making it easier for business to function
Per Piece Price properly.
Total Price It would be helpful in having a check on Inventory level and
Advance Given easy decision making on when to re-order the raw
Due Amount materials.
Delivered Date Recording per-piece price and total price helps artisans
Order Date calculate the total cost of raw materials for each order,
Comments aiding in pricing decisions and proper profit margin setup.
With such systems in place , all the operations can be
reviewed properly which can help in expansion of business.

48
12 PROPOSING B2C MODEL
As other artisans like Ruma Devi are exploring the B2C Thirdly, it provides a platform to preserve and promote
model, it is high time the artisans of Tharad also expand the rich cultural heritage of the craft, ensuring its
further and work towards the B2C Model. This can be continuity and recognition in a rapidly changing market.
achieved through the creation of the brand. Building a brand
for the handicraft industry, particularly focusing on artisans Additionally, building a brand facilitates access to
like those working in applique work in Tharad, India, is professional expertise, such as designers for product
crucial for several reasons. development and government initiatives for support and
Firstly, instead of depending only on government promotion, ultimately enhancing the overall
organizations, creating a B2C business model allows sustainability and growth of the artisan industry.
artisan to cater to niche markets and clientele who
appreciate fine craftsmanship and are willing to pay a
premium for it. Secondly, by emphasizing authenticity,
exclusivity, and superior quality, a branded approach
allows artisans to differentiate their products from
mass-produced goods, thereby commanding higher
value and preserving the integrity of their craft.

49
12.1. BRAND BUILDING
Brand building empowers Applique artisans to effectively
promote their products, connect with customers, and thrive
in the marketplace by minimizing the gap between their
offerings and consumer demand. It allows them to
showcase their unique craftsmanship, style, and story,
which can attract customers seeking authentic and original
items. Branding enables artisans to reach broader
कटाब QALA
audiences beyond their local communities. Through online
platforms and social media, artisans can showcase their
products to potential customers worldwide, helping them
tap into new markets and opportunities. Investing in
branding can carve out a niche for themselves, attracting
customers who value craftsmanship, authenticity, and
unique design.
Brand Identity –
Creating a strong brand identity has become crucial in
online commerce, where countless businesses compete for
consumers' attention. A brand identity goes beyond just a
logo or a catchy tagline; the essence of an e-commerce
business sets itself apart from the competition and vibrates
with a target audience
Brand Name, Logo, and Tag Line –
Brand Name - कटाब Qala

50
"कटाब" signifies "Applique" where “Qala" is derived from
Hindi and Gujarati denotes "Art".
Tag line “कटाब Qala – The tale of Applique “likely refers to a
story or narrative surrounding the art of applique, possibly
exploring its cultural significance, historical background, or
the stories behind the creation of applique artworks.
Brand resonance is critical to the success of your business.
If composed correctly, it’s the culmination of all your
marketing efforts. It is the relationship that exists between
your business and your customers after all the foundational
questions they have are answered to their satisfaction.

Color Code - Maroon Oak

Color Signification - The maroon Oak color is often used to
represent intense and passionate things like confidence,
creative thoughts, excitement, power, passion, love,
ambition, strength and beauty.

51
12.2. CREATION OF BRAND

The handicraft industry of India is majorly threatened by

speeding up the process of craft and competing it with
mass-produced machine goods. This creates pressure on
Artisans to either discontinue the craft or deteriorate the
quality of raw materials used. Hence, It should be accepted
that Crafts can never compete with mass-produced
machine goods and would be used as utility goods items as
it was in the past.
To promote the craft, the artisans should focus more on
creating authenticity over attractiveness, and generate a
sense of exclusivity for customers who are using it. It
should target the niche population rather than all. This can
help the industry, artisans, and craft to receive the value it
deserves.
To implement such changes, the artisans of applique work
in Tharad can come together and form groups like -
Producer Company (discussed earlier) to create a Luxury
Brand for the craft.

52
The Craft has all that is required for it to be luxurious from
the use of the finest Raw materials with the insight of the
rich cultural heritage of the country to the excellent
craftsmanship of intricate detailing to being sustainable.
Thus, It can be positioned as a Luxury in the minds of
consumers by simple techniques of using Price Skimming
rather than Price penetration for the products. Targeting the
right set of customers, who value the superior quality of
products over price. The business can then be converted to
a “Brand”.
The products should have Designs, motifs, and colors that
blend well with Indian traditions and international trends.
For this, they can hire designers who could help in new
product development.
The logos as well as Brand name can be created which
resonates with brand aesthetics and the core value of
valuing the craft. The presentation should be done to
deliver more value to customers by using suitable
packaging and presentation. The selling platform of the
brand should be User friendly for a good customer
experience. This all can be achieved through taking aid
from Government initiatives.

53
12.2.A STP OF BRAND
SEGMENTATION
Psychographic Segmentation:
Craft Appreciators: Individuals who deeply value
craftsmanship and seek out products that showcase
intricate design and skill.
Status Symbol Seekers: Consumers who use luxury items
as a means of expressing their social status and prestige.
Handicraft Enthusiasts: People who have a genuine
appreciation for handmade items and are drawn to the
unique charm and authenticity they offer.
Demographic Segmentation:
Middle to High-Income Conscious Consumers: Individuals
with disposable income who are willing to invest in quality
products that reflect their lifestyle and status.
Upper Class and Rich Individuals: Affluent consumers who
have the financial means to indulge in luxury purchases and
appreciate the finer things in life.
54
Behavioural Segmentation:
Premium Product Buyers: Consumers who prioritise
sustainability and are willing to pay a premium for products
that align with their values.
Occasion-Driven Shoppers: Individuals who purchase
handicrafts for both regular use and special occasions,
seeking items that add a touch of elegance and uniqueness
to their lives.
Craft Aware and Intending to Buy: Consumers who are
knowledgeable about the art of appliqué handicrafts and
are actively considering making a purchase, displaying
positive intent and enthusiasm.
TARGETING
Brands strategically target and connect with niche
customer segments who are best aligned with their
products, crafting customised marketing initiatives to
deeply engage with their intended audience. This approach
ensures that their marketing endeavours are not only
impactful but also efficiently allocated, fostering genuine
connections with customers ultimately driving customer
engagement and loyalty.
Upper Class and Rich Individuals: This segment is the
primary target due to their appreciation of craftsmanship,
willingness to invest in luxury products, and desire to use
handicrafts as a symbol of status.
Status Symbol Seekers: By positioning the brand as a
symbol of prestige and luxury, it appeals to individuals who
value the social recognition associated with owning
exclusive and meticulously crafted items.
Handicraft Enthusiasts: The brand caters to individuals who
have a genuine passion for handmade goods, offering them
an opportunity to connect with artisanal traditions and
support skilled craftsmen.
POSITIONING
Brands should position themselves as having a strong
emotional connection with their target audience. The brand
will establish itself as a trusted brand that embodies
authenticity, quality, sustainability, and artistry that is made
to last. By highlighting the historical significance and
55
cultural stories woven into each creation, Brand should
offer customers a deeper connection to their heritage or the
opportunity to explore new cultural experiences. This
positioning as a custodian of cultural heritage bridges the
past and present, enriching customers' lives with
meaningful narratives.
Brands should take pride in preserving ancient techniques
and collaborating with skilled artisans, ensuring the
continuity of generations of craftsmanship knowledge. This
dedication to excellence and meticulous craftsmanship
positions the brand as a purveyor of unparalleled quality
and authenticity, and offers limited-edition pieces,
customized options, and collaborations with renowned
artists. This positioning creates a sense of desirability and
exclusivity among its audience, appealing to individuals
who value owning unique, exceptional, and exclusive items.
Brand should strike a balance between tradition and
modernity, seamlessly blending timeless craftsmanship
with contemporary design sensibilities. This approach
caters to diverse tastes and preferences, ensuring the
brand remains relevant and appealing in today's ever-
evolving market.
12.2.B. ONLINE PRESENCE
Having an online presence is important according to
Adaptive Marketing, 97% of consumers use the internet to
find a business. 63% of shopping journeys start online.
Websites are crucial for consumers, offering information,
convenience, comparisons, reviews, support,
personalization, accessibility, and transparency. Consumers
depend on them to research, evaluate, and engage with
businesses in today's digital world. The brand should create
a website that resonates with the brand image, through
which major of the order would be received.
SEO is a super-effective way to improve online presence.
Earning a top spot in search results is critical because most
people (around 75%) stick to the first page of search
results, with the first three results earning 75% of traffic.
Incorporating keywords into brand websites and their pages
to reach target customers like applique design, Hand
crafted applique products.
The Brand can feature testimonials from satisfied
customers who have purchased products from the artisan.
Include their names, photos (with permission), and a brief
statement about their experience with the product and the
artisan.
56
Include photos or videos that showcase the materials up
close, highlighting their texture, color, and craftsmanship.
Show the raw materials as well as the finished product to
illustrate the transformation process.
Share stories and insights from the artisan about their
creative process, inspiration, and the meaning behind their
work. This personal connection helps consumers feel more
invested in the products and the artisan's story.
Highlighting Features like high-quality photographs allow
businesses to showcase the intricate details and
craftsmanship of their products or services.
Close-up shots can emphasize small details that set the
product apart, such as fine stitching on a product that
attracts customers and allows them to get a close look at
the product.
Displaying certifications on websites demonstrates
transparency and credibility. It shows that your business is
committed to meeting certain standards and regulations,
which can reassure customers about the integrity and
reliability of your brand.
12.2.C. SOCIAL PRESENCE

As of January 2024, there were 5.35 billion internet users

worldwide, which amounted to 66.2 percent of the global
population. Of this total, 5.04 billion, or 62.3 percent of the
world's population, were social media users.
With the presence of digitalization, it has become really
important to be present over the internet to create an
impact in the minds of customers and to make them aware
of one’s brand and its offerings. Social Media like
Facebook, and Instagram help in creating an image of a
brand among the customers as well as potential
customers.
The Customers can be educated about the craft, process,
and storytelling format that can be utilized to create
compelling stories, evoking the emotions of the customers.
The brand identity can be established as a “brand” that
supports the social cause of preserving the indigenous and
traditional craft of India, helping rural women by providing
them with employment opportunities. Artisans can share
their videos of manufacturing the products, and the efforts
that are invested in making it so intricately.

57
12.2.D. NEW PRODUCT 12.2.E. PRODUCT
CATEGORY PACKING
Everyone loves exploring new things. Businesses can Effective Branding of the products creates a positive
launch totally new products with fresh designs or modify outlook in the minds of consumers for the brand. This can
their current products and launch them as an upgraded be achieved very easily by developing effective packaging
version. It creates a boost in sales and attracts consumers that helps to distinguish the brand from other brands,
from the very first day a new product is introduced in the creating a good first impression of the brand, and
market. Arts and crafts is one of the major exporting communicating the brand message. The product is a hand
industries earning foreign exchange and generating revenue crafted item, so the packaging should also depict the same.
for the government. The handicrafts market size is There shall be no use of plastics in packaging, only
estimated to grow at a CAGR of 8.87% between 2022 and sustainable packaging material like Corrugated Boxes, Kraft
2027. The market size is forecast to increase by USD paper & Jute fabric can be used.
407.15 billion.
Due to the increased competition in the market, product
diversification has emerged as an essentiality for business
growth.“Product diversification plays a vital role in creating
new markets by attracting potential buyers. The current
products available with artisans are traditional handicraft
applique products including Saree, Dress Materials,
Dupatta, and Stole now it’s time that the producers offer
new designs and new products that will once again bring a
boom in the market.

58
12.2.F. PRODUCT
CATALOGUE

A product catalogue gives clients in-depth details on the

goods and services that a brand offers, acting as a
thorough showcase of those goods and services. It
improves consumer shopping experiences by encouraging
brand loyalty and helping consumers make well-informed
purchases. Additionally, a visually appealing and well-
organized catalogue can increase sales, draw in new
clients, and support the expansion of the brand as a whole.
While product cataloging on instagram, a well decribed
product details like (Raw materials used, Price, Colour &
Lead Time of the products) is necessary.
There are many advantages to using Instagram as an online
platform's product catalog. It increases brand exposure
through frequent product showcases, improves visibility to
a large audience, and makes direct sales easier with
features like product tags. Likes, comments, and direct
messages encourage engagement.

59
13 ACCESSING GOVERNMENT
SCHEMES
13.1. COMPREHENSIVE HANDICRAFTS CLUSTER
DEVELOPMENT SCHEME (CHCDS)

The Comprehensive Handicrafts Cluster Development

Scheme (CHCDS) is a program by the Indian government
that offers support to handicraft artisans through various
initiatives, but marketing support & services fall under the
National Handicrafts Development Programme (NHDP)
which works in tandem with CHCDS.
The NHDP offers a comprehensive marketing and service
support program for handicraft artisans and exporters in
India. This includes financial aid for participating in
domestic and international events, organizing themed
exhibitions to target specific audiences, and promoting
Indian handicrafts through international media campaigns.
To understand market demands, NHDP conducts research
abroad and educates potential customers. They even help
artisans register on the government's e-marketplace
platform, expanding their reach and sales opportunities.

60
13.2. NATIONAL HANDICRAFTS
DEVELOPMENT PROGRAMME (NHDP)

The NHDP's Marketing Support and Services scheme helps This comprehensive approach empowers artisans with
handicraft artisans (with Pahchan Card) participate in market insights, fresh design ideas, and knowledge of
export promotion. It financially assists travel and effective marketing techniques.
accommodation for up to 10 artisans at international fairs
(capped at ₹75 lakh) and offers similar support for
domestic events (capped at ₹60 lakh). Additionally, the
scheme provides exhibition space rental for a maximum of
10 exporters and facilitates participation in domestic
marketing events to broaden artisans' reach. This program
is further complemented by skill development and design
workshops to enhance the marketability of their products.
The National Handicrafts Development Programme (NHDP)
goes beyond just marketing and infrastructure by offering a
dedicated Research and Development (R&D) program for
Indian handicraft artisans. This initiative aims to
understand the social, economic, and artistic landscape of
the handicraft industry. It gathers feedback on promotion
strategies and uses surveys and studies to identify areas
for improvement. Additionally, workshops and seminars
educate artisans on new design trends, technologies, and
best practices.

61
13.3. Mega Cluster Scheme

The Indian government's Mega Cluster Scheme tackles

infrastructure limitations in established handicraft clusters.
It targets high-performing clusters with growth potential
and allocates ₹70 crore per cluster for improvements. This
funding goes towards building common facilities with
equipment for production and quality control. By improving
infrastructure and offering skill development programs, the
scheme aims to boost production efficiency, product
quality, and market access for artisans. This includes
connecting them with domestic and international markets
through trade fairs and marketing initiatives. Overall, the
Mega Cluster Scheme empowers artisans with better
working conditions, advanced technology, and business
skills, transforming handicraft clusters into modern
production hubs for the global market.

62
13.4. Producer Company Initiative

A Producer Company is a type of company registered under The company will function under the rule of the Indian
the Companies Act, 2013 in India, with the primary objective Companies Act, of 2013
of carrying out the activities of production, harvesting, Authorized Share Capital of the Company is ₹10,00,000
procurement, grading, pooling, handling, marketing, selling, divided into ₹10,000 for each member. Equity Share of
and export of primary produce of the Members or import of ₹10/- each.
goods or services for their benefit. It is a hybrid between a
cooperative society and a private limited company, aimed
at improving the economic conditions of farmers, artisans,
and other producers of primary products.

Requirements for Producer Company

The Assistant Director of the Directorate of
Commissioner(Handicraft) identifies and maximizes
feasible project proposals under their respective jurisdiction
and recommends the formation of a Producer Company in
the Identified Cluster Area.

Basic Requirement
Minimum 15 or more members
Pre Registration to form Producer company, minimum
no. of 5 directors to be identified out of which 2/3rd
directors must be of artisan community.

63
14 LIMITATION OF STUDY
The study's focus on a specific region or cluster may limit
the generalization of findings to other regions or clusters.
The uniqueness of the Tharad region's context may not be
fully representative of all appliqué craft practices in other
areas.
• Sample Size: The primary research involved interviewing a
small number of artisans due to time constraints, due to
which we may not be able to fully capture the diverse
experiences and challenges faced by all artisans involved in
the appliqué craft. A larger sample size might provide a
more comprehensive understanding.
• Temporal Constraints: The study's duration and timing
may have imposed limitations on exploring seasonal
variations, long-term trends, or evolving dynamics in the
applique craft industry.
·Time-Consuming Process: Appliqué handcraft requires a
significant amount of time and effort because it’s done by
hand.
64
62
For one saree, the duration required depends on the extent
of the appliqué design and its complexity, typically ranging
from 45 to 50 days. Additionally, the time consumption
varies based on factors such as the product type, size,
appliqué design intricacy, and dyeing lead time.
·Limited Design - Appliqué artisans are still relying on
traditional designs and motifs that are already prevalent in
the market. Consequently, there is a lack of uniqueness,
which fails to meet the demands of today's customers.
·Cultural Constraints - The participation of female artisans
is frequently limited by cultural norms that confine them to
their homes, preventing them from pursuing work outside.
Bound by domestic responsibilities and the purdah system,
they face challenges in gathering at centralized workplaces
and adhering to standard working hours
15 FURTHER SCOPE OF
THE STUDY
Owing to the limitations of the studies, as previously
indicated there are more areas in Applique that can be
taken into focus and explored in depth Some of the
suggestions for future research are as follows-
Design Limitations: Applique artisans predominantly
rely on traditional designs and motifs prevalent in the
market. Future research could explore the development
of a training program or design curriculum specifically
tailored for artisans associated with Applique.
65
63
Regional Specificity: Applique is a traditional craft
passed down from generation to generation Research
can focus on multiple regions practicing Applique Craft
to compare practices across different areas, leading to
a more comprehensive understanding of the craft's
variations.
Cultural Constraints on Female Artisans: Applique work
is primarily done by female artisans. Future research
could investigate initiatives such as awareness
campaigns and skill-building programs to overcome
societal constraints and encourage the active
participation of female artisans in the craft industry.
16 CONCLUSION
In conclusion, this research aimed to delve into the intricate
world of Applique Craft in the Tharad region of Gujarat,
exploring its history, techniques, production processes, and
supply chain. Through this on-ground exploration, several
problems and challenges faced by artisans were identified.
A major problem of an unorganized order management
system was identified which causes more problems for the
artisans in their day-to-day work and its further expansion.
A suggestion of using simple tools like- Excel has been
suggested. Another issue was that the artisans mostly sell
their crafts through Government Organizations or NGOs,
rather than directly to customers.
66
The study suggested that there's a chance for artisans
to sell their crafts directly to customers, which could
help them make more money through Brand Creation.
This can help the artisans explore new markets which
are already being explored by applique crafts from
different regions across India, which can be achieved
through different government financial Initiative
programs.
These suggestions would assist Artisans in flourishing
their business as well as empowering and educating
them. Applique Craft has a lot of potential to grow and
prosper as India’s rich handicraft heritage.
17 ABOUT OUR ARTISANS

Vishnubhai Suthar
Vishnubhai Suthar, a resident of Tharad, Gujarat, has dedicated the past
20 years to mastering the art of applique work. Inspired by his father, a
middle retailer in handicrafts, Vishnubhai has honed his skills to become
a true craftsman. His expertise extends beyond design; he handles most
of the production work himself, including the intricate cutting and
pasting techniques. This dedication to quality sets him apart, as some
artisans lack the space or experience for such detailed processes.
Vishnubhai's innovative spirit shines through in his development of new
tracing and pasting methods, making the applique process more
efficient.

67
Leriben Suthar
Leriben Vishnubhai Suthar, residing in Dharnidhar society, Tharad,
Gujarat, exemplifies the dedication and skill required in the art of
applique work. For the past 13 years, she has mastered this craft, initially
learning from her husband after their marriage. Leriben seamlessly
blends her artistic talent with her role as a homemaker, managing
household duties while her husband focuses on production. This
experience has provided her with a valuable understanding of the
applique market. Her commitment extends beyond creation, as she plays
a vital role in the family's business by ensuring a smooth home
environment that supports their artistic endeavors.

68
Students with Artisan Vishnubhai Suthar, his Family and his Team

69
18 OUR TEAM

KRITIKA SINGH NIDHI MESHRAM PARUL PAL

RUCHIKA SHRUTI AMBEKAR STUTI JAISWAL

MANAVADARIYA

70
19 REFERENCES

https://zeenews.india.com/india/who-is-ruma-devi-the-rajasthan-woman-showing-indian-art-and-craft-to-world-
2647210.html
https://rumadevi.com/pages/about-us
https://rumadevi.com/pages/about-ruma-devi
https://warwick.ac.uk/fac/arts/history/ghcc/eac/oralhistoryproject/resources/bibliography/market_for_i
ndian_handicrafts1.pdf
https://www.iimidr.ac.in/wp-content/uploads/Building-Competitiveness.pdf

https://www.allsubjectjournal.com/assets/archives/2017/vol4issue9/4-8-97-136.pdf

71
APPLIQUE SAMPLE

72