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Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Reinventing the Traditional Kashida Embroidery Through
Conventional Hand Painting technique on Ladies Shirt
*Harpreet Kaur (Corresponding Author)
HOD, P.G. Department of Fashion Designing,
Kanya Maha Vidyalaya, Jalandhar
Gurinderjit Kaur
Research Scholar, P.G. Department of Fashion Designing,
Kanya Maha Vidyalaya, Jalandhar
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
technique on Ladies Shirt
Kashida Embroidery and its Origin
According to Dr Purwar S[2015] Kashmiri embroidery is one Universal art that shows
expression and fineness par excellence. The embroidery of Kashmir deserves a volume by itself
for sheer range. The most popular design is buta. Some other motifs such as paisley inspired by
Ambia (Mango). Border is also oldest way of decorating and is done along one selvedge with
ground extending to the other selvedge. According to Dr Naik. D.S [2010] The word Kashmir
can be divided as ‘Kas’ means ‘water channel’ and ‘Mir’ refer to ‘Mountain’. Actually Kashmir
means ‘rock through’ in the regional language. The shawl’s sudden migration in 1800 from
Kashmir to Europe brought a lot of changes in this art form. The present work defines and
classifies the Kashmiri shawl. Kashmiri shawl developed over three hundred years, through four
different periods of foreign and political rule.
According the Jaitly J [1990] Kashmir embroidery is remarkable more for the skilled
execution of a single stitch rather than the elaborate, quality of the stitch itself. Chain stitch, satin
stitch ,the stem stitch, herringbone and sometimes the doori or knot stitch are used. The
technique is executed by splitting the underlying yarn in two with the use of a very fine needle so
that the entire fabric is not pierced.
According to Shrikant U [2010] The artistic faculty of the Kashmir receives a great
stimulus from this beautiful habit. The embroidery has the freshness of Nature which is a
reflection of Kashmir’s rich landscape. The embroidery is distinctly characteristic in its
technique and appearance.
Review of Literature
Kashmiri Shawl:
According to Shah M Haji [2004]1 The shawl had been in existence, in variety of forms,
from the most ancient times, serving as a staple and protective garment not only for the rich and
noble but also and above all for the common people. In ancient Buddhist literature the shawl can
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
be found among recorded inventories of woollen textiles, and its manufacture appears to have
been a cottage industry in Kashmir as early as the eleventh century.
According to Gillow and Barnard [1991] a study conducted on Indian textiles. The
origins and development of the Kashmir shawl owe much both to Kashmir’s location. The
classical Kashmir shawl was woven out of Pashmina wool, whose main source was the fleece
of a central Asian species of mountain goat ,the Capra hircus. Kashmiri shawls were known as
‘kani’ shawls and also as “Jamawars”. Woven in the –tapestry technique, the weft threads of
these shawls alone from the pattern.
According to Dr. Purwar [2015] Designs on Kashmiri shawls remain traditional. The
most popular design is the boota or buta, paisley and chinar leave. These motifs are completed by
various techniques such as- Sozani, Ari , and Crewel work , Kanikar , Raizkar, Watchikaen and
Tilla and Dori work. All of these fine, time consuming techniques are only carried out on the
softest and most luxurious clothes.
A study was conducted by Lehri R.M. [2009] on Indian Textiles. Embroidery is another
ancient variety of designing fabrics. It is decorative needlework in which design and pictures are
created by stitching strands of one material on to a layer of another material. Hand embroidery
and recently Machine embroidery are both used for creative work on individual pieces and for
mass-production.
Techniques of Embroidery:
A study conducted by S. Usha [2002] on designs for lifetime. There are three techniques.
Sozni and Rezkari- is mainly done on shawls using single strand and double strand of silk or fine
Pashmina floss. Zardozi or Couching – is done mainly on shawl and ethnic wear. Gold plated and
imitation metal threads are tied down on the surface using Couching technique, with the help of a
single cotton thread. Watchikan and Papermeshi- are recent developments. These techniques are
used as a faster and simpler version of sozni.
According to Ranjan A, Ranjan M.P [2007], Sozni is a form of extremely fine and
delicate needlework done primarily on shawls- mainly pashmina and high quality raffal. Tilla
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
and dori work are executed with gold or silver zari or silk and are used to embellish pherans,
saris and shawl.
According to Naik D S [2010], the technique of Kashida originated with darning stitch, used as
a finish to the shawl by the Rafugar. It is a simple running stitch gives a woven design effect on
the shawl. Other stitches include Sozni, Zalakdori and Vatachikan.
Hand Painting:
According to Dr. Randhawa R.K [2009], printing is a form of colour decoration applied
to the fabric. Actually printing was popular in India even thousands of years before Christian
Era.
Brush:
According to the Hauser P [2007], there are many type of brushes, and different shaped brushes
to do different things. Flat brush- flat brush are designed for plain brush strokes and blending.
Round brush -Round brush are used primarily for strokes and blending.
Chain Stitch:
According to the Gillowand Sentence [1999], chain stitch is a very versatile stitch with
many variations and is in wide use in many parts of the world. It is often used to define lines or
borders and can also be used as a filling and padding when a raised effect is required. Chain
stitch is one of the most ancient stitches.
According to Jailty J [1990], chain stitch embroidery employed the use of an ari, a small,
hooked awl which is believed to have been introduced by the Mughal emperor Akbar. The ari is
inserted through the cloth in the form of a loop and is finally pulled up through the surface of the
cloth to form a stitch. The chain was also used for gabbas and numdas, floor coverings used in
homes.
Motifs:
According to the S. Usha [2010], outcomes of the study revealed that the designs are
floral, of sprawling creepers. Common motifs are chinar leaves, Aambi{mango}, Badam
{almond}. Sometimes birds and animal motifs are used.
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
According to the Naik D Shailaja [2010], animal and human figures are not found
commonly, probably due to the influence of Muslim religion. But few old pieces depicted
hunting scene popularly known as “shikargarh” available only in Museums of Srinagar. The
border of such motifs had bands of marching soldiers and horse riders embroidered on separated
panels. The use of such motifs slowly declined and has given an impression that, such figures
were never used in Kashida of Kashmir.
Aims and Objectives:
To study the present status of Kashida embroidery in India.
To create designs for ladies shirt using Kashida motifs with Hand painting.
To paint the most preferred designs on shirt.
To revive the glory of Kashida embroidery through cheaper reinvented techniques which
are within the reach of middle class.
To find out the consumer acceptability and marketability of the created shirt.
Limitations:
Only 5 motifs from each category were selected. Consequently total 20 motifs were
shortlisted for second round of ranking. Only five compositions were made using these
motifs.
Only one selected composition was executed on shirt.
Designs were made on Cotton shirt.
Material and Methods:
In order to facilitate the presentation the methodology was divided into the following parts:
1. Selection of method
2. Pre-testing
3. Selection of motifs
a. Categories
4. Analysis of design
a. Ranking
b. Coding
c. Tabulation
5. Selection of Placement
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
a. Five Designs Prepared
b. Ranking
c. Coding
d. Tabulation
6. Selection of color
a. Pantone color chart
7. Technique
a. Hand painting
The study “Reinventing the conventional Kashida embroidery through hand painting of
ladies shirt” was undertaken to achieve the goal of creating hand painted ladies shirt
using Kashida motifs in design
Sourcing of designs was done from various books.
Pre testing: To test whether hand painting is suitable for representing Kashida embroidery
a 8’x8” sample was prepared using one of the Kashida motifs. It was found to be giving a
justifiable representation of the same thus it was selected for proceeding further.
To ensure objectivity the motifs were categorized as per type of motifs like Buti, Jaal,
Border, Bel {twine}.
From each category only 5 motifs were selected i.e., total 20 motifs were shortlisted.
To ascertain freedom from personal prejudice, a panel of judges ranked each category of
motifs. Coding and tabulation was done to find out the highest ranked motif from each
category. The method of weighted ranking was used to ensure high quality result.
The highest ranked motif from each category was used to create five compositions.
Various placement styles were used and five prototypes were prepared for ranking by the
panel of judges.
Panel of judges was selected for ranking of final composition. The panel comprised of:
10 Post graduate students of fashion designing
Coding and tabulation was done to find out the highest ranked composition
Highest ranked composition was selected for hand painting on the cotton shirt.
For Colour selection latest forecast of Pantone colour , spring 2018 chart was
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
used. The colours used were Panton 18-1140 chili oil , Pantone 17-1563 cherry tomato,
Pantone 16-4132Little Boy Blue, Pantone 18-1028, Emperador, Pantone 13-0646,
meadowlark, Pantone 19-4034 Sailor blue.
Using the technique of Hand painting, the effect of chain stitch used in the embroidered
designs was reinvented.
To test consumer acceptability the prepared ladies shirt was shown to 10 randomly
selected respondents [using convenience ranking technique ]from the department of
Fashion Designing.
For testing consumer acceptability these respondents were administered a questionnaire ,
which was evaluated for above criteria.
Results and Discussions1. Selection of motifs: For designing the motifs were collected from various books of traditional
textile, books on Kashmiri embroidery ,internet etc. The categories were made according to the
type of motifs:
Jaal,
Buti ,
Bel,
Border
Total of five motifs were short listed from each category. A panel of 10 judges comprising of
post graduate students of Fashion Designing were further asked to rank the motifs from each
category.
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Fig. 1 Jaal
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Fig 2 Buti
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Fig. 3 Bel
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Fig. 4 Border
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Table 1
Buti
Table 2
Bel
Design No. Marks Rank
Design 1 53 1
Design 2 45 2
Design 3 28 5
Design 4 41 3
Design 5 33 4
Table 3
Jaal
Design No. Marks Rank
Design 1 28 4
Design 2 47 1
Design 3 30 2
Design 4 29 3
Design 5 27 5
Design No. Marks Rank
Design 1 51 1
Design 2 42 2
Design 3 39 3
Design 4 32 5
Design 5 36 4
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Table 4
Border
Design no Marks Rank
Design 1 41 3
Design 2 24 5
Design 3 49 1
Design 4 46 2
Design 5 38 4
2. Evaluation of design placement: Design placements were evaluated by the same panel of
judges. The designs were given ranks and marks subsequently. The most preferred design was
design no- 4
Fig. 5 Placements
Fig. 5 A Fig. 5 B Fig. 5 C
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Fig. 5 D Fig. 5 E
Table 5
Placement Ranking
Placement No. Marks Rank
Placement 1 21 5
Placement 2 22 4
Placement 3 27 3
Placement 4 43 1
Placement 5 32 2
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
One top ranked placement as per table no.5 was painted with selected colour from Pantone
colour chart, Spring 2018.
Selection of colour:
The colours selected were Pantone 18-1140 chili oil , Pantone 17-1563 cherry tomato, Pantone
16-4132 Little Boy Blue, Pantone 18-1028, Emperador, Pantone13-0646, meadowlark, Pantone
19-4034 Sailor blue. The exact hues of Pantone colour chart were not available in the acrylic
colours in the market so the researcher prepared them by adding other shades tones and tints of
various colours.
Fig. 6 Selected Pantone Colors Spring-18
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Working on Final Ladies Shirt
Fig. 7 A Fig. 7 B
Consumer acceptability of the ladies shirt: The ladies shirt were shown to 10 randomly
selected respondents from department of Fashion Designing, a questionnaire was given to them
to collect information and to to check acceptability for the estimated cost of shirt.
Fig. 8 A Fig. 8 B
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
1. Would you buy this painted ladies Shirt at the following selling Price?
Distribution on the basis of selling price
Table 5. A
S. No. Price N %
1 200-250 2 20%
2 250-300 8 80%
3 300-450 -- --
20%
80%
200-250250-300
Pie chart no. 5.A
For table number 3.A it is observed 80% of the respondents would like to pay Rs.300/- for
This ladies shirt while 20% respondents are ready to pay Rs.250/-.
2. Do you like its innovative design?
Yes
No
Yes, 100% respondents like it is innovative design because of its motifs and designing.
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
3. Would you refer it to your friend/ relatives etc?
Yes
No
Yes, 100% respondents are refer it to our friends and relatives.
4. Do you associated with the concept of reinventing the embroidery as hand painting?
Yes
No
Yes, 100% respondents are like the concept of reinventing the embroidery as hand painting.
5. Would you like to suggest any changes?
Fabric
Design
Colour
Any Other
Table 5 B
Distribution on the basis of Changes
Changes N %
1. Fabric 4 40%
2. Design 1 10%
3. Color 2 20%
4. Any other 3 30%
40%
10%20%
30%fabricDesignColourAny other
Pie Chart No. 5. B
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
For table no 3. B it is observed 40% of the respondents suggested changes in fabric while 30%
have suggested other changes like variation in placement of design or size of design and 20%
respondents want the colours to be changed. Interestingly none of the responded wanted a
change in design which is very heartening for the researcher as it behoves that it is a successful
design
6.Is this shirt suitable as per current fashion?
Yes
No
99% of the respondents accepted this shirt suitable as per current fashion and 1% of
respondents are not accepted.
7.Would you like to order more similarily designed Ladies Shirts?
Yes
No
Yes, 100% respondents like to order similar designs.
8. Would you order for other traditional embroidery with same technique?
Yes
No
Yes, 100% of the respondents are order traditional embroidery with same techniques.
9. If yes, which embroidery you selected?
Kantha
Phulkari
Chikankari
Any other
Table 5 C
Distribution on the basis of Embroidery
Embroidery n %
Kantha 5 50%
Phulkari - -
Chikankari 3 30%
Any other 2 20%
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
0.5
0.3
0.2
KanthaPhulkariChikankariAny other
Pie Chart No.5 C
For table No. 3.C it is observed that 50% of the respondents selected the kantha embroidery done
through technique of hand painting while 30% of the respondents selected Chikankari and 10%
suggested Katch embroidery.
Summary and Conclusion
In Today’s world where fashion is ever changing, it is important to keep innovative but at the
same time taking inspiration from rich treasure of our traditional textiles will help to keep them
alive. Kashmiri embroidery is one Universal art that shows their expression and fineness. The
study “Reinventing the conventional Kashida embroidery through hand painting of ladies shirt”
was undertaken to achieve the goal of creating hand painted ladies shirt using Kashida motifs in
design. To ensure objectivity the motifs were categorized as per type of motifs like Buti, Jaal,
Border, Bel [twine].From each category only 5 motifs were selected i.e., total 20 motifs were
shortlisted. Various placement styles were used and five prototypes were prepared for ranking by
the panel of judges. Panel of judges was selected for ranking of final composition. The colours
Selected were Panton 18-1140 chili oil , Pantone 17-1563 cherrytomato, Pantone 16-4132 Little
Boy Blue, Pantone 18-1028, Emperador, Pantone.
13-0646, meadowlark, Pantone 19-4034 Sailor blue. The ladies shirt were shown to Randomly
selected . A questionnaire gave to 10 randomly selected respondents from the department of
Fashion Designing were collected to check acceptability for the estimate cost of shirt. Using the
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
technique of Hand painting, the effect of chain stitch used in the mbroidered designs was
reinvented.
References
Srikant, U. (2010). Designs for a Lifetime. Mumbai: The South Pacific Clothes Export
Company Pvt. Ltd.
Ranjan, A. and Ranjan, M.P. (2007). Crafts of India Handmade in India. New Delhi:
Mapin Publishing.
Gillow, J. and Barnard, N. (1991). Traditional Indian Textiles. London: Thames &
Hudson.
Gillow, J. and Sentance, B. (1999) World Textile a Visual Guide to Traditional
Techniques. Boston: A Bulfinch Press Book.
Hauser, P. (2007). The Complete Guide to Painting on Porcelain and Ceramic. New York:
Sterling Publishing Co., Inc.
Purwar, S. (2015). Indian Folk Arts. New Delhi: GRD Prakashan.
Naik, S.D. (2010). Traditional Embroideries of India. New Delhi: A.P.H. Publishing
Corporation.
Jaitly, J. (1990). Crafts of Jammu, Kashmir & Ladakh. Ahmedabad: Mapin Publishing
Pvt. Ltd.
Dr. Brar Pradhdip, Prof. Kaur Harpreet, Sikka Sumita. (2015) Reinventing the
conventional craft of Ikat through screen printed stole. Textile Trends. Kolkata: Eastland
Publications. ISSN00405205. Page No. 1-9.
Kushwaha, S., Swami, C. (2016) Upcycling of Leather Waste to Create Upcycled
Products and Accessories. Textile Trends. Kolkata: Eastland Publications.
ISSN00405205. Page No. 187.
Website: https://en.m.wikipedia.org
https://www.googlesholargoogle.com
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
Appendix
1. Would You buy this painted ladies shirt at the following selling price?
a. Rs 200/-
b. Rs 300/-
c. Rs400/-
2. Do you like its innovative designs?
a. Yes
b. No
3. Would you refer it to your friend/ relatives etc?
a. Yes
b. No
4. Do you associated with the concept of reinventing the embroidery as Hand painting?
a. Yes
b. No
5.Would you like to suggest any changes?
a. Fabric
b. Design
c. Colour
d. Any other
6. Is this shirt suitable as per current fashion?
a. Yes
b. No
7. Would you like to order more similarly designed ladies shirt?
a. Yes
b. No
8. Would you order for other traditional embroidery with same technique?
a. Yes
b. No
9. If yes, which embroidery you selected?
a. Kantha
b. Phulkari
Reinventing the Traditional Kashida Embroidery Through Conventional Hand Painting
c. Chikankari
d. Any other