Zardozi

d in city of
reams
 d
Zardozi
in city of
reams

National Institute of Fashion and Technology,

Mumbai
Masters Design Space (2016-2018)
 Acknowledgment
We take this opportunity to express our gratitude
to the people who have been instrumental in the
successful completion of this project. Apart from our
efforts, the success of this documentation depended
upon the encouragement and guidelines of many oth-
ers, to whom we are highly obliged.

First of all we want to convey our sincere reverence

to our honourable director, Ms. Nilima Rani Singh, for
Coordinated by : serving as the backbone of our support and inspira-
Mrs. Rashmi Gulati (Course Coordinator, Masters Design space) tion channel. Also our heartfelt gratitude to Course
Mr. Nitin Kulkarni (Cluster Initiative Coordinator) Co-ordinator, Mrs. Rashmi Gulati and Cluster Co-or-
Core Team : dinator, Mr. Nitin Kulkarni, who presented us with
Ankita Rohan this unique opportunity to document- Zardozi (city
Lakshika Gupta of dreams).
Mahi Khare
Rutvi Sheth
Sabina Khan
Sunaina S
Shailja Singh
 Content
1. Introduction...................................................1

2. Origin.............................................................3
2.1 World......................................................4
2.2 India... ...................................................5
2.3 Zardozi in India (Map)...........................6

3. Mumbai
3.1 History....................................................8
3.2 Areas in Mumbai.....................................9

4. Demographics.............................................10

5. Aari and zardozi........................................14

5.1 Difference between Ari and Zardozi...15

6. Zardozi types.............................................16

7. Motifs.........................................................18

8. Tools and Raw Material.............................21

9. Making Process..........................................25

10. Home as workplace..................................29

11. Contemporisation.....................................30

12. Product diversification.............................32

13. Design Development.................................34

13.1 Product Board....................................35
13.2 Conceptualisation...............................36
13.3 Prototype development.....................37
13.5 Prototype Process.............................38
13.6 Final Product.....................................39

15. Sustainability............................................40

16. S.W.O.T. Analysis.....................................42

17. Conclusion.................................................43

19. Glossary....................................................47

20. References................................................49

21. Citation.....................................................50
 Introduction
India has one of the finest textile In this subject we have studied a
traditions in the world with respect local craft and done a research
to dyeing, weaving and surface on its origin , history, techniques,
embellishment. The richness of its materials etc. We have also cov-
crafts is evident in the excavated ered on the aspects of how that
findings of Harappa and Mohen- craft has surrvived over the years
jo-Daro in the Indus Valley, which and is the present scenerio of the
can be dated back to 5000 years. craft relating to contemprorisation.
Indian textile history has been lay-
ered and enriched by nuances of
migratory weavers, foreign inva-
sions and religious influences. The
wide range of design and weave,
specific to the region of their origin,
are masterpieces enhanced by the
skills of the particular craftsmen and
their tradition. The crafts thrived on
the exploration and ingenuity of
the craftspeople and their knowl-
edge of locally available material.
ZARDOZI
Gold Embroidery
The word 'Zardozi' is made up of two Persian terms,
Zar meaning gold and Dozi meaning embroidery.

Origin
Like many other things we take for
granted today, like medicine, irri-
gation, spices and mathematics,
decorative goldwork embroidery
came from the East. It’s believed
that goldwork embroidery origi-
nated in China centuries ago and
the craft was exported from Asia,
via Beirut, Egypt, Assyria and Bab-
ylonia to the Mediterranean by silk
merchants following the old spice
routes. It subsequently spread to
North Africa, and then through
Spain into Italy, and on to the rest
of Western Europe, the British Isles,
Scandinavia and North America.
It’s been found on vestments and
clothes in ancient Egypt, in the
tombs of the pharaohs, Italy, Baby-
lon, Greece, India, and Persia. It can
also be seen in the beautiful gar-
ments of Japan and China, where
the emperor’s gowns were richly
embroidered in gold. Here the gold
threads were couched in coiling pat-
terns to embroider five-clawed drag-
ons, birds and beasts, or laid in pairs
of fine lines to mimic stylised clouds
or to enhance silk embroidery.
metal: it must have been hard work
wearing it in the circumstances.
Sadly, few ancient pieces of gold-
work and metal thread embroi-
dery still exist: many have been
destroyed, others lost in the mist
of time. One of the earliest known
surviving examples of embroidered
goldwork is the St. Cuthbert mani-
ple from the 10th century. On this
maniple the metallic fibres were
added on to the surface of the
fabric rather than woven into it. In
fact, in subsequent years, they of-
ten used two layers of fabric to
strength and support the stitch-
es—generally linen for underneath
with a richer silk on the surface.
The first metallic threads were made
of pure beaten gold, which was sub-
sequently cut into strips. These strips
were later wrapped around materi-
als such as silk, parchment, animal
gut or paper. Most goldwork thread
was only produced in quantities suf-
ficient to make a particular garment.
There was no metal thread manufac-
turing industry to speak of until the
late sixteenth century. 13th centu-
ry English ladies actually prepared
their own gold thread before work-
ing it. From the written transcrip-
Indian Origin
Zardozi is a style of embroidery
that has its earliest mentions in Ve-
dic literatures, the Ramayana, and
the Mahabharata. The original pro-
Fig. 4
cess, known as “Kalabatun”, used
silk threads wrapped in real gold
Aurangzeb’s wife Rabia and silver wires to decorate satin
(1658 - 1707)
and velvet fabrics. Along with the
threads, other opulent embellish-
ments such as sequins, beads, pre-
cious and semi-precious stones
Fig. 1
English Gothic Opus and pearls were also sewn on. At
Anglicanum embroidery its peak, it was used in the Mughal
dating to (ca. 1320-1340).
Era by the royalty to adorn tent
walls in the form of tapestries and
wall hangings, as well as on acces-
sories for elephants and horses.
Lucknow became a central hub for
this embroidery technique during
Aurangzeb’s reign in the 12th Cen-
Fig. 5
tury, when this imperial art form was
Fig. 2 Zardozi under the patronage
encouraged under ruling Mughal
of Mughal Emperor Akbar,
Stole and maniple of saint 17th century beneficiaries. Their patronage en-
cuthburt (Durham Cathe-
couraged Zardosi artists to spread
dral) (909-916)
throughout India. However, Luc-
know remained the main center
of production due to the high de-
mand from the city of Nawabs.
Fig. 3
a focus on simple but large motifs.
The inspiration for all motifs has
always been nature. From flowers,
leaves and trees to animals and
birds, the national ecology of India
seeps in to all Zardozi embroidery.
Evolution of the Craft
However, over time, with the rise
of gold and silver prices, the use
of such expensive materials be-
came difficult and artisans resolved
to use synthetic threads or copper
wires polished in gold and silver.
In doing so, Zardozi was commer-
cialized as a technique, though
some of the glory of the tradition-
al heritage of this craft was lost.
The Geographical Indication Reg-
istry has accorded all Zardosi tex-
tiles manufactured in Lucknow and
its surrounding districts with the GI
tag. Cities like Hyderabad, Delhi,
Agra, Kashmir, Kolkata, Varanasi and
Farrukkbadare are also known as
Zardozi specialty regions. This has
differentiated the craft from imitation
products for shareholders and has
also helped to retain one of the fin-
est and oldest art forms of Lucknow.

References to a cloth of gold are

even found in the Bible, linking
goldwork embroidery to Egyptian,
Assyrian, and Babylonian cultures.
One such cloth of gold (which was
woven rather than embroidered)
was found in the tomb of Empress
Honorius, who died in 400AD. It was
subsequently melted down, and
weighed in at 36 pounds of pure
tions that have been discovered,
this type of gold thread appears to
be almost identical to the thread
used today—gold that was twisted
around a core of flax or silk. Howev-
er, artisans stopped using pure gold
for embroidery as it was so brittle
and extremely expensive. Instead
they used threads that consisted of
gold laid over silver to help maintain
its strength and reduce the costs.
The Pelican portrait of
Elizabeth I, c. 1575
Sources of
Inspiration
Lucknow Zardozi has more ornate
Fig. 6
and heavy designs, with a 3D qual-
Indian Zardozi work from
Awadh 19th century ity to their motifs. This is a simi-
lar style to the Delhi Zardozi work,
Sources whereas Hyderabad and Agra tend
http://www.culturalindia.net/indian-crafts/zardozi.html
http://www.utsavpedia.com/motifs-embroideries/zardozi-weav- to keep patterns minimalistic, with
ing-in-the-shimmers/
 Zardozi In Mumbai
1.Kashmir

History Population of Evolution in Mumbai

Mumbai is built on what was once an
Mumbai In Mumbai, several such zardozi
workers live and work in cramped
2.Delhi archipelago of seven islands: Bom-
Current Population of Mumbai, the workshops in Santacruz, Dharavi,
bay Island, Parel, Mazagaon, Mahim,
lifeline of Maharashtra is estimated Madanpura and Govandi, where
3.Agra Colaba, Worli, and Old Woman’s Is-
to be over 22 million people. The city traditional embroiderers from Luc-
4.Lucknow land (also known as Little Colaba).
ranks at number 6 spot in terms of know, Allahabad and Bareilly in
After India’s independence in 1947,
5.Ajmer most populated cities in the world. Uttar Pradesh and Kolkata in West
the territory of the Bombay Presi-
According to various Government Bengal come to earn a better living.
dency retained by India was restruc-
sources, Mumbai metropolitan area These men, who earn between Rs
tured into Bombay State. The area
6.Bhopal is one of the most densely populat- 500 and Rs 1,500 a day, are the in-
of Bombay State increased, after
ed areas in India. visible workforce behind the glitter-
7.Ahmedabad several erstwhile princely states that
ing fashion world, showcased dur-
joined the Indian union were inte-
ing the recent Lakme Fashion Week.
grated into the state. Subsequently,
Mumbai-based designers such as
the city became the capital of Bom-
Anita Dongre, Neeta Lulla and Pal-
bay State. Mumbai is the commer-
lavi and Bhairavi Jaikishan — who
cial capital of India and has evolved
showed their works at the recently
into a global financial hub. For sev-
8.Mumbai concluded fashion week — and Na-
eral decades it has been the home
chiket Barve have confirmed that
of India’s main financial services,
9.Hyderabad they employ the services of these
and a focus for both infrastructure
zardozi workers, either outsourcing
development and private invest-
the work or calling them to their
ment. From being an ancient fishing
1. Kashmir community and a colonial centre of
own workshops, paying them at the
2. Delhi same rates.
trade, Mumbai has become South
Two factors are driving them back:
3. Agra Asia’s largest city and home of the
Rising living costs in Mumbai and
4. Lucknow world’s most prolific film industry.
growing demand for their skills
10.Chennai 5. Ajmer in emerging markets such as Luc-
6. Bhopal know, where there is now enough
7. Ahmedabad work and comparative pay, and the
8. Mumbai added advantage of living closer
to home, where the cost of living is
9. Hyderabad much lower.
10. Chennai
 About the areas
Santa Cruz
Santa Cruz is bordered by Vile Par-
le in north, Khar in south, Juhu in
west and Kurla, Bandra in east. It is
broadly divided in two areas: Santa
Cruz (East) and Santa Cruz (West) by
the Mumbai Suburban Railway line.
The Milan Subway and Khar Sub-
way connect the two areas, passing
under the rail line. Recently Milan
flyover has been built which has im-
proved connectivity between Santa-
cruz East and West.
Andheri West
Andheri is a suburb of Mumbai, situ-
ated in the west of the city on the Sal-
sette Island. Sher-e-Punjab Housing
Society is the single largest co-op-
erative residential housing society
in Mumbai with 1,251 members.
The Andheri railway station is the
among the busiest railway stations
in the countryand also on the West-
ern Line of the Mumbai Suburban
Railway and the expansion of the
metro in the Ve sova-Anderi-Ghat-
kopar corridor is part of the govern-
ment’s master transportation plan.
Dharavi
Dharavi spread over 200 hectares
(500 acres), this corresponds to an
average population density esti-
mate between 1500 and 5000 (600
to 2,000 people per acre).
About 33% of the population of
Dharavi is Muslim,The Christian
population is estimated to be about
6%, while the rest are predominant-
ly Hindus (60%), with some Bud-
dhists and other minority religions.
Among the Hindus, about 20% work
on animal skin production, tanner-
ies and leather goods. Other Hin-
dus specialize in pottery work, tex-
tile goods manufacturing, retail and
trade, distilleries and other caste
professions - all of these as small
scale household operations. The
slum residents are from all over In-
dia, people who migrated from rural
regions of many different states.The
slum has numerous mosques, tem-
ples and churches to serve people
of Islam, Hindu and Christian faiths;
with Badi Masjid, a mosque, as the
oldest religious structure in Dharavi.
Byculla
Traditionally, Byculla has been in-
habited by Parsis, Christians, Jew-
ish, Marathi and Muslims. Byculla,
like many other locations of Mum-
bai have witnessed strong real es-
tate growth, particularly in the Moti-
sha Lane area where there are lots
of tall residential buildings, occu-
pied by affluent Jain community. Of
late, Byculla has also witnessed the
increase of population of Dawoodi
Bohra and other traditional Mus-
lims, who are primarily a business
community like most of the Guja-
ratis. The Magen David Synagogue
of Byculla the place of worship of
the Jewish community is one of the
most beautiful buildings in this area
it is well known for the tourist attrac-
tion place as most of the Foreigners
in this area are in search or related to
this place There is also a BIT Chawl,
primarily housing Marathi working
class community, home to one of station to the neighbourhood is
the largest Ganesha idols during Mahalaxmi, while Elphinstone and
the Ganeshotsav celebrations. Lower Parel are also the nearest
railway station from Worli. With the
Govandi commissioning of the Sea-link, Wor-
li Sea-Face is now better connected
Govandi (South), with Postal PIN with Western Suburbs.
Code 400043/400088 has an excel-
lent infrastructure, with close road Madanpura
connectivity to the Sion-Trombay
Highway, on the eastern side. Deo- Madanpura is a km away from By-
nar Village is home to the Deonar culla and Mumbai Central stations.
Telecom Exchange, adjacent to the The area is mainly populated by
Sion-Trombay Highway. muslims. It is popular for its zari,
Notable landmarks in Govandi footwear, bags and other ladies ac-
(North) are the Deonar Municipal cessories. Madanpura is a Locality in
Colony, Deonar Slaughterhouse, Mumbai City in Maharashtra State,
Tata Nagar, Gautam Nagar Plot 1 India. It belongs to Konkan region
to 4, Lumbini Baug, Sankara Colo- . It is belongs to Konkan Division.
ny, Assisi Nagar, Indian Oil Nagar, It is near to arabian sea. There is a
MHADA Transist Buildings, Shivaji chance of humidity in the weather.
Nagar, Lotus Colony, Gajanan Col-
ony,Kamla Raman Nagar, Zakir Hus-
sain Nagar, Baigan Wadi, and Maha-
rashtra Nagar.
As population of this area due to
MHADA Transist Building is ex-
pected to be increased by 30% of
GOVANDI POPULATION by the
year 2020, after full allotment of the
premises/Flats in transit buildings
some of these MAHDA transit build-
ings are still under planning, some
under construction and allotment
stages.
Worli
Worli is a part of South Mumbai
which extends from Haji Ali to Prab-
hadevi. It is bounded by the Arabian
Sea to the west and the neighbor-
hoods of Haji Ali to the south, Ma-
halaxmi to the east and Prabhade-
vi to the north. The nearest railway
 WORLI
1. Name : Siklajhar Pahi
2. Age: 26
3. Hometown: Kolkata (Birlapur)
4. Education: 8th
5. Family members: 4, Parents into
farming, married
6. Experience: 10-12 years, learned
craft from Mumbai
7. Area of work space: 12x15x6.5ft
8. Income: 10,000-15,000 during
seasons (October- February),
least earnings during June and
July.
9. Number of labours: 2, Sabir (25)
and Suragi (26)
10. Labours pay: 30rs per hour,
labours earn 6000-7000 per
month.
11. Working hours: 14 hours a day
12. Material Sourcing:
13. Designer and Brands: Biba, Nee-
tika Shah and Krishna Mehta
14. Health issues: Weak eye sight
due to intricate work, issue for
artisans who are initially learning
and a problem with older age
Demographics group artisans.
15. Exhibition: Not aware of any ex-
hibitions.
16. Promotion: mouth to mouth
SANTA CRUZ
1. Name : Motia rehman Sheikh
2. Age: 35
3. Hometown: Kolkata (Midnipur)
4. Education: 8th
5. Family members: 5, Parents into
farming, married
6. Experience: 15 years, learned
craft from Mumbai
7. Area of work space: 8x22x7 ft
8. Income: 10,000-15,000 during
seasons (October- February),
least earnings during June and
July
9. Number of labours: 5-6
10. Labours pay: 30-40rs per hour
11. Working hours: 14 hours a day
12. Material Sourcing: Paiduni and
Malad
13. Designer and Brands: Libaas
and Manish Malhotra
14. Health issues: Symptoms of
weak eye sight after the age of
40. Back problem for the work-
ers who are at learning stage.
15. Exhibition: Aware about the ex-
hibition but don’t go directly.
16. Promotion: mouth to mouth
ANDHERI WEST
1. Name : Asgar Jamadar
2. Age: 24
3. Hometown: Kolkata (Shaida)
4. Education: 8th
5. Family members: 4, unmarried
6. Experience: 12-14 years, learned
craft from Mumbai
7. Area of work space: 20x12x7 ft
8. Income: 30,000-40,000 during
seasons (October- February),
least earnings during June and
July
9. Number of labours: 4-5
10. Labours pay: Pays artisans on
daily basis depending upon
their work (Nafti)
11. Working hours: 14 hours a day
12. Material Sourcing: Paiduni and
Malad
13. Designer and Brands: Libaas
and Manish Malhotra
14. Health issues: No health issues.
15. Exhibition: Aware about the ex-
hibition but don’t go directly.
16. Promotion: mouth to mouth and
advertisement on Just Dial.
DHARAVI(1)
1. Name : Meeraj
2. Age: 30
3. Hometown: UP (Mughal Sarai)
4. Education: 12th
5. Family members: 4, unmarried
6. Experience: 15 years, learned
craft from Mumbai
7. Area of work space: 2 units , one
in Dharavi other in Byculla
8. Number of labours: 8-10 in
Dharavi, 40-50 in Byculla
9. Labours pay: 50rs per hour,
costs on the amount of time in-
vested in the making with 10%
profit margin
10. Working hours: 9am to 10pm
11. Material Sourcing: Paiduni and
Malad
12. Designer and Brands: Neeta
Lulla and Rohit Verma. Also into
export (Ricama and Armani)
13. Health issues: No health issues.
14. Exhibition: Aware about the ex-
hibition but don’t go directly.
15. Promotion: mouth to mouth
DHARAVI(2) DHARAVI(3) BYCULLA
1. Name : M.T. Jilani
1. Name : Ajmeer Sheikh 1. Name : Chameli Arts Both ex-
2. Age: 33
2. Age: 21 port and retail
3. Hometown: Bihar
3. Hometown: Kolkata (Vardha- 2. Experience: 14 years
4. Education: 8th
man) 3. Number of labours: 20
5. Experience: 9 years
4. Education: 5th 4. Labours pay: 600 per day
6. Area of work space: 8x15x7 ft
5. Family members: 6, Family into 5. Working hours: 8-9 hours
7. Labours pay: 35-40 per hour
farming, unmarried 6. Material Sourcing: Paiduni
8. Working hours: 14 hours
6. Experience: 8 years, learned 7. Designer and Brands:Retail-
9. Material Sourcing: Dharavi local
Conclusion
craft from Jaipur. Manish Malhotra; Export- Gucci,
stores and Paiduni
7. Area of work space: 15x15x7 ft Armani, Roberto Cavelli
10. Designer and Brands: Few show-
8. Labours pay: Charge 200 per 8. Health issues: Eye sight prob-
rooms in Mumbai (Bhumi Plaza,
hour including material lem; Tie up with local doctor to There is a fall in the market due to
Dadar) and Pune(Jeenam show-
9. Number of labours: 8-10 in resolve this problem recession, that is why many of the
room)
Dharavi, 40-50 in Byculla 9. Exhibition: Not aware of any ex- artisans have left this craft and ei-
11. Health issues: Weak eye sight
10. Working hours: 14 hours hibitions. ther went back to their native places
due to intricateEye sight prob-
11. Material Sourcing: Dharavi local 10. Promotion: mouth to mouth or have switched to other industries.
lem
storesDesigner and Artisans prefer working inde-
12. Exhibition: Not aware of any ex-
12. Brands: Libaas and showrooms pendently as a separate unit as per
hibitions.
in Mumbai their convenience, they take orders
13. Promotion: mouth to mouth
13. Health issues: eye sight problem from various designers and don’t
14. Exhibition: Aware about the ex- get any kind of recognition as such
hibition but don’t go directly. Ladies don’t get involved in these
15. Promotion: mouth to mouth activities as many artisans get to-
gether and work; they also live from
their place of work. The infrastruc-
ture is such that it is suitable for one
gender only. Females work from
their home.
 Aari
• Aari work traces out its emer-
gence way back in the 12th
century, which marked the rule
of the Mughal emperors. Floral
motifs, traditional designs and
fascinated the Mughal royals
during that period.
• The original aari work is Kutch,
which is called as aari bharat
(embroidery).
• Aari is done with colored anchor
threads or silk threads as well
using colour gradations to make
the motifs and figures highly rep-
resentational, No replacement
in the thread but the colours has
changed acoording to choice.
• In Aari work tool used is called
Aari.
• Products like clothing, bags,
purses, accessories, shoes etc. is
made out of Aari embroidery.
• Today, with the help of advanced
stitching procedures, and the
role of more artisans, it takes
lesser time to complete the em-
broidery work on an outfit.
Fig. 7
Ari and Zardosi Embriodary
Fig. 8
Fig. 10 Aari Embroidery
Fig. 9 Aari needle
Zari
• Zardozi the traditional art of
court embroidery is the sheer
magic of nimble fingers and im-
aginative designs, envisaged by
the ensemble of lustrous metal-
lic wire, wire was traditionally
the silver wire coated/ plated
with gold, silk threads, beads
and stones.
• The original embroidery of Zari
was done with pure silver wires
coated with real gold known as
Kalabatun.
• Zari work done with metal wire
and metal pieces or sequins on
velvet, satin and heavy silk bas-
es.
• In Zari work tool used is called
Sui.
• It is used to make exquisite
evening dresses, coats, fashion
accessories like purses, hand-
bags, belts, shoes, ceremonial
adornments like badges and
insignia, furnishing accessories
like cushion covers, wall hang-
ings and boxes etc.
• Now- a- days Silver and gold
threads have been replaced with
synthetic and artificial threads.
Fig. 11
Fig. 12
Zardozi needle
Zardozi Embroidery called as sui
 Gota Work : The woven gold bor-
Multiplicities in Zardosi embroidery der is cut into various shapes to
Kamdani : This is a lighter needle- create a variety of textures in the
work which is done on lighter mate- patterns. In Jaipur the border of the
rial like scarves, veils, and caps. Or- material or sari is cut into shapes of
dinary thread is used and the wire birds, animals, and human figures,
is pressed down with the stitching attached to the cloth, and covered
producing a satin-stitch effect. The with wires of silver and gold”;” it is
effect produced is glittering and is surrounded by coloured silks. The
called hazara butti (thousand lights). work resembles enamelling.

Makaish : This is one of the oldest

styles and is done with silver wire
or badla. The wire itself serves as
a needle, piercing the material to
complete the stitches. A variety of
designs are produced in this man-
ner.

Kinari Work : A small variation is

Mina Work : This is thus called ow- kinari work where the embellish-

TYPES ing to its resemblance with enamel ments are done only at the edges
work. The embroidery is done in in the form of tassels. This is done
gold. mainly by men and women of the
Muslim community.
Design is an important device to
make the textile look more beautiful
and attractive. Motif is an element
of pattern, image, or part of one, or
more themes. Motifs include lines in
Tilla or Marori Work : This is the
various forms, such as vertical, hori-
kind of embroidery where gold
zontal, diagonal and curved. Motif
thread is stitched on to the surface
means a design that consists of re-
with a needle.
curring shapes or colours. A design
starts with a motif. When a motif is
repeated at certain intervals over a
surface it is called a pattern. Repeti-
tion of this pattern creates a design. Kataoki Bel : This is a border pattern
made of stiff canvas and the whole
surface is filled with sequin edging.
A variation of this border technique
is lace made on net and filled with
zari stitches and spangles.
 Classification of
Motifs under the
Zardosi embroidery
The motifs or units of a textile de-
sign may be classified as
• Geometrical
• Realistic or Natural
• Stylized
• Abstract
Geometrical Motifs:
Design and motifs created by using
various geometrical shapes, such
as lines, circle, squares, rectangle,
triangle etc. are called geometrical
motifs. Earlier Indian designs were
consisted of floral, bird and animal
patterns but during the Mughal
period the floral designs used with
geometrical patterns gained prom-
inence. But the use of geometrical
designs on Zardosi fabric was less
preferred in comparison to the flo-
ral designs. These geometrical de-
signs gained prominence during
the period of early Mughal rulers
and up to the age of Akbar. Though
the geometrical designs were not
strictly followed but it was a domi-
nant character.
Natural or Realistic Motifs:
Designs in nature change all the
times. As the name suggests, these
are the motifs inspired from nature.
Designs in naturalized motifs were
very close to nature. With the ad-
vent of Mughals the old motifs like
animal, bird and human figures
were replaced by the floral ones,
though the motifs of animals and
birds continued to some extent. Re-
alistic representation of flowers and
plants are often classed as botani-
cal. Among the animal figures, the
most popular were tiger, cheeta,
and elephant, known as gaja-sim-
ha, in Indian mythology. Among
birds the most common is simurg
, a mythological bird of the Persian
epic, which is perhaps equivalent to
the Indian Garuda, vehicle of Vish-
nu.
Beween1620 to 1670 a number of
botanical paintings of Mansur (fa-
mous painter in Mughal court) went
to Kashmir and had drawn paint-
ing which were successfully trans-
formed into Zardosi embroidery
designs. The most famous Mughal
motifs, i.e., iris and narcissus flow-
ers were frequently used in Zardosi
embroidery borders with tulips, red
roses and lilies. Nur-Jahan also con-
tributed to the development of dec-
orative motifs.
Stylized Motifs:
Motifs which have more curves and
details are away from their natural
form and look more complicated
such motifs are called stylized mo-
tifs. The naturalistic art of Jahangir’s
court was replaced by an extensive
use of stylized art. Different type of
flowers such as narcissi, rose, poppy,
tulip, marigold, jasmine and cham-
pa were used in a highly stylized
way. Shah Jahan was a great lover of
architecture, and the gardens. Alike
the chaharbagh patterns, the plot
divided into four parts, the fabric
was also decorated with the scheme
of squares of four different colours.
Abstract Motifs:
The natural motifs of a leaf will look
like a leaf but an abstract motif of
the same can be created by only us-
ing its texture, veins, patterns or col-
our to produce an attractive motif.
These are also called non-figurative
design.
Maturation in Designs and Motifs
During the reign of Shahjahan the
floral motifs were arranged in a
more delicate manner with high
ornamentation of zari wire. Plants,
foliage, sprays, blossoms and flo-
ral scroll all began to be embroi-
dered in a more delicate manner.
Above all distinctive feature of the
floral designs of Mughals led to the
development of Mughal School of
art, which contributed a lot to the
evolvement of Zardosi embroidery.
The realistic art of Jahangir’s court
was replaced by an extensive use
of stylized floral motifs. The Zardo-
si designs of Aurangzeb’s period
were the repetitions of the motifs
used during the reign of Shahjahan.
According to Welch, the designs fa-
mous during the reign of Shah Ja-
han lost its magnificence as it was
the time of general decline.2
Floral motifs are of different types
i.e. flowers, creepers, sprays,
springs, plants etc. These floral
forms are used symmetrically in the
textiles. To balance the plants with
leaves and flowers other elements
were added to them. The Mughal
designers borrowed floral motifs
chine in zardosi embroidery took
place which consumes less time in
such as Iris, Tulip, Nargis, Marigold, the production process and var-
ious designs can be explored in
Bela (Jasmimum sambae ), Chameli
(Jasmimum officinale), Malti, Lotus, less time. There are designers who
Lily, Rose, Champa from Persia. always work on new design inter-
ventions and come up with new and
Mughals invited the Iranian artists innovative designs as per the con-
and craftsmen to India, which led to sumer needs in the field on zardosi
the development of the style com- embroidery. In Mumbai lot of export
bined with the naturalism of pre-Is- houses make zardosi designs and
lamic India. In the early seventeenth motifs given by the foreign com-
century, Mughal designs shifted panies which are geometrical and
away from idealized Persian floral more structural. Designs such as
motifs to naturalistic ones, most like- florals, veils, big butas, small butis
ly as a result of travelling European and overall patterns are prominent
merchants, emissaries. in Mumbai. Now days, two different
textile design technique are used
Though the Mughals copied Persian together such as block printing and
motifs, no one can make difference zardosi on a same fabric, which is
between them. The designs of the very new and popular in the market.
Mughal court were more realistic
and less decorative in compari-
son to the Persian court. The large
but with a single flowering plant
became very famous during the
Mughal period.
Primary study on Mumbai Zardosi
designs and motifs
In Mumbai, the city of dreams the
type of Zardosi embroidery done is
contemporary. The newness is seen
with the use of different designs lay-
out, motifs, sequins, stone and the
other materials used to make the
embroidery. The use of semi-pre-
cious stones is also a unique feature
in the Zardosi embroidery. The mo-
tifs are stylised and modern. Tradi-
tional motifs are transformed into
contemporary style and different
materials are explored in the de-
signing art. Now days, use of ma-
Tools and Raw Materials
 Tools Raw Material:

Glue or Fevicryl
3. Fevicryl or glue is use to paste
sequences on the fabric zardozi
embroidery.
3. Metal Wires:
The raw materials required for mak- In recent times the original gold
ing Zardozi embroidery are pro- and silver has been replaced by
cured from the local market in bulk metal wire made out of copper and
and stored for later use. resham threads. Anchor threads are
also commonly used these days.
The materials used are as following:
1. Kadiya (Chalk Powder): It is
used in the solution for tracing the
motifs. Mitti ka tel (Kerosene Oil) is
used to mix with chalk powder.

4. Dabka and sitara:

Adda (wooden Frame)
1. Adda (wooden Frame): It is a
wooden adjustable frame consist-
ing of four wooden bars. The cloth
on which the embroidery is sup-
posed to be done is stitched on the
two horizontal bars and stretched. It
is then fixed tightly and locked on
the other two vertically parallel bars.
This prevents the cloth to move
while working and also enables
clear vision and faster movement of
the tools.
2. Gold and Silver Threads: Dabka and Sitara are used as em-
Originally the embroidery of Zardo- bellishments in the Zardozi em-
zi was done by using real gold broidery. These are spring kind of
and silver threads. These threads threads. They are cut into small size
Aari Tool/ Needle were made by the craftsmen them- and used as per the requirement.
Hammer and Base selves in the small workshops at Sitara are small spangles, golden or
2. Aari (Needle): their homes. The blocks of metals silver color.
4. Hammer is used to flatten the
Needle is the main tool in the Zardo- (gold and silver) were melted and
zari threads called pita work.
zi embroidery. It has a hook at the pressed through iron sheets having
tip and wooden handle at the back. perforations to make thin wires.
For Zardozi work 10 no. needle is The size of the perforations varied
required. The cost of needles range according to the requirement of the
from Rs. 5 - Rs. 10/-, depending on threads. Simple plain wire is called
the quality of handle. The needles as Badla. These Badlas are some-
are also available with plastic and times wrapped around a thread
iron handle. and is called Kasav. The twisted
wire is called as Nakshi.
Making Process

Step 1: Designing
The initial stage of the process,
where the entire design is drawn on
to a tracing sheet.
Holes are made along the traced
pattern using a needle.
While the patterns from the Mughal
period all comprised of complex
nature, floral and leaf motifs, con-
temporary patterns are more ge-
ometric stylizations of similar mo-
tifs.
Step 2: Setting ADDAA
The fabric to be embroidered is
stretched taut over a frame called
the adda. This concept has evolved
from a knockdown camp bed called
the khatia used in rural areas.
The adda follows the assembly and
tightening principles of the kha-
tia, and gives the cloth a uniform
tension. It consists of four wooden
spars (sometimes, bamboo is used
for the end members) resting on
wooden posts.
The frame can be made to fit any
size of fabric.
It keeps the fabric clean and gives
the cloth a uniform tension, mak-
ing the stitches even. It can also be
made to fit any size of the fabric.
 Then the process of doing Zardozi
embroidery starts with the crafts-
men sitting cross-legged around
the Adda, the wooden framework,
with their tools.  is placed on a fabric for further trac-
The artisan sits on the floor behind
the wooden frame working on the
piece of cloth. The frame itself is
quite large, and can comfortably
accommodate five to seven artisans
working together on the pre-traced
designs.
Step 3: Tracing
The process of zardozi embroi-
dery starts by manually positioning
the tracing the design by the eye,
but for a more precise placing, the
center of the tracing paper is de-
termined by folding the paper and
then marking this folded line with a
scale and a pencil.
Perpendicular line at the center
acts as a base for as symmetrical
design, which has to be mirrored
on either side of this line.
After tracing the design, the paper
is placed on a soft surface like foam
or a felt to prick holes close to each
other along the marked lines or de-
sign.
Then this perforated butter paper
ing.
After which a small pouncing pad
or a small cloth dipped in a solu-
tion of kerosene and white powder
(made from the dressmakers chalk)
is rubbed through the holes of the
perforated tracing paper.
The rubbing is done with uniform
circular movements so that the
solution seeps through the holes to
trace the design on the fabric..
Step 4: Embroidery
A simple needle or a crochet like
hook fixed to a wooden stick called
the zardozi are used for the em-
broidery.
The Zardozi greatly enhances the
speed of the work, as it enables
the artisan to pass the threads both
above and below the fabric.
The zardozi has its disadvantages,
though. One tug at a loose thread
can spell disaster to the entire de-
sign as it can unravel in a matter of
minutes.
The needle and thread method is
far more dependable.
All kinds of combinations are used
to add to the grandeur of Zardo-
zi. A little bit of thread work here
or a few sequins or semi precious
stones added there, can make the Step 5: Finishes
fabric appealing while giving it a Once the embroidery is done extra
unique exclusivity. threads are cut and the cloth is tak-
Needle is used to pull out each en out from the adda.
zardozi element and then, it is in- Then it goes for washing and final-
tegrated into the basic design by ly gets ironed and packed and then
pushing the needle into the fabric. sold in the market.
 Artisans prefer working inde-
pendently as a separate unit as per
their convenience, they take orders
from various designers and don’t
get any kind of recognition as such.
The artisans live and work togeth-
er in a group They manage their
livelihood in one small room that is
mostly rented. Approximately 4-8
artisans live together and they work Having all the things they require under one
on an Adda during the day time room Artisans working during day time
and sleep in the same place. They
have a small space for cooking and
a small washroom in the area they
live. Ladies don’t get involved in
these activities as many artisans get
together and work; they also live
from their place of work. The infra-
structure is such that it is suitable
for one gender only. Females work
from their home.

Home as Workplace
 Zardosi has kept alive by contem-
porary fashions leading it to a stage
of unlimited popularity. Through
commercialization of the craft, and
taken its form in useful and so-
cio-religious equipment. It is thriv-
ing in India with rapid growth in
both domestic and export markets.
Zardosi embroidery as a handicraft
is an enviable possession of our
national heritage that contributes
substantially to Indian economy.
Zardosi as a craft is omnipresent in
India, in urban as well as their rural
hinterland in homogenous clusters.
The traditional craft of Zardosi to-
day, assumes variegated approach-
es and forms.
and the opulent during the British
period. The craft has regenerated it-
self over the years even in absence
of patronage; today commercializa-
tion of the craft and increased sales
has helped, to retain the karigars
and the craft The tradition of Zardo-
si craft has continued and expand-
ed in demand for both domestic
and export markets. Today, Zardosi Use of Zardosi in Accessories
was widely used on apparels, more
often for marriage costumes and
occasional wear. A lighter variety
of Zardosi known as Zari work was
common for semi-formals. The sur-
vival in a market totally depends on
producing new and exclusive work
The dissolution of Quota regime

Contemporization
is not seen as a threat for the busi-
Through commercialization of the ness The Zardosi embroidery craft
craft, the age old Court and Tem- had enormous business potential Use of Zardosi in Garments
ple embroidery has reached the to stay in the market since Zardosi
common man. The contribution of craft has been successfully sculpted
Use of Zardosi in Home Furnishing
fashion designers (Contemporary into a marketable form
fashions) has elevated the status
of craft to a fashion statement find-
ing its way to fashion houses round
the world making this sector more
competitive Also, progressing tech-
nologies have contributed to the
change in production and market-
ing of Zardosi craft.
Therefore, the demand for Zardo-
si products has increased, but the
quality of work has suffered, since
cheap materials and quick tech-
niques of,embroidery were em-
ployed, Dogh / Vasli work prevalent
then did not exist today. Yet, the
growth of this craft was enduring.

Thus, to conclude, the Zardosi

craft was patronized by the kings,
queens, nobles and then by the rich
 Past

Craftspeople, who set precious
stones, beads and gems with metal
wire, were known as zardoz work-
ers. Archetypal zardozi embroidery
made use of pure silver wires coat-
ed in real gold, or pure gold leaves.
he history of Zardosi embroidery in
India dates back to Rig Vedic times.
In fact the last 5 decades has seen
a phenomenal progress in terms of
revival of this golden art.
emonies. Today the Indian ramp is Zardozi on accessories
ablaze with products of the crafts-
people- the material may not have
the same aesthetics as the mughals,
but they do cater to demands for
higher ornamented garments with
glittering beads and sequins. With
the change in times and demands,
the zardosi craftsman has become
vital to the garments in Hollywood
and Bollywood.

Present

Product Diversification These days zardosi is used to make

exquisite evening dresses, coats,
Zardozi on Clothing
fashion accessories like purses
handbags, belts, shoes, ceremo-
nial adornments like badges and
insignia, furnishing accessories
like cushion covers, wall hangings,
table covers and boxes. Modern
zardozi usage, in marked varia-
tion, consists of synthetic threads,
as they are lightweight and dura-
ble. Zardozi art, at present, may be
likened to synthetic embroidery.
This gold and silver multicoloured
thread hand-embroidery technique
embellishes textiles and garments
and gives them an aristocratic
façade. Zardosi embellished out-
fits have always been “en vogue”
especially for weddings and spe-
cial ceremonies. It is not only found
the latest designer outlets, but it is
being used yet again for interiors
of mega weddings and grand cer-
 Theme Board And colour palette
In traditional times, zardosi was
done on thick fabric with heavy
embellishments with the use of tra-
ditional motifs such as keri, popat,
mor, jaal etc. In the Design devel-
opment and Product range, we
have use an element of nature that
is Raindrops to showcase contem-
porised, simpler and modern ver-
Design Development sion of zardosi and the products
includes stationery items such as
book covers (diary), bookmarks,
paper-weight.

Barish (rain)
Bunde (drops)

Bold Kingfisher Ingido Uniform Scarlet Alert Lemon Fizz Beacon Glow Brownstone

Pa n t o n e Pa n t o n e Pa n t o n e Pantone Pantone Pa n t o n e
Coated Coated Coated Coated Coated Coated
7719 C 296 C 7620 C 7408 C 2026 C 7603 C
 Product Board Conceptualisation

Stationery Items 1
1. Bookcover Bookcover (Diary)
2. Bookmark Size- 5.5” X 8.5”
Diary
3. Paper weight Cover- Fabric
Pages- 200
GSM- 70
Hard Bound cover
Surface- Zardosi embroidery
Book Mark Concept 1 Book Mark Concept 2 Book Mark Concept 3 Book Mark Concept 4 Book Mark Concept 5

BOOKMARK
Bookmark
Size- 2” X 6”
Material- Ivory sheet and Fabric
Surface- Zardosi embroidery
Book Mark Concept 6 Book Mark Concept 7 Book Mark Concept 8 Book Mark Concept 9 Book Mark Concept 10

3
Paperweight
Size- 2.5- 3” wide X 2- 2.5”
height (aprx)
Material- Fabric
Weight- 10-15 grams Book Mark Concept 11 Book Mark Concept 12 Book Mark Concept 13 Book Mark Concept 14 Book Mark Concept 15
Surface- Zardosi embroidery

Book Mark Concept 16 Book Mark Concept 17 Book Mark Concept 18 Book Mark Concept 19 Book Mark Concept 20
 Prototype
Development Prototype Development Process Final Product

Setting fabric on the frame

Zardosi work done on the

marked design
Selected design which is carried
forward for pototype develop-
ment.

Traced

Product specifica-
tion: With the use of hammer, mak-
Bookmark ing the work flat, this process is
6” X 2” called pita.
Fabric- Cotton
Thickness- Thick
Canvas
Embroidery thread-
Gold colour Zari Tracing the design made on trac-
Trim- Thick Golden ing-paper with zinc-oxide powder
Wire and kerosene
and Bead
 India has always been in the limelight
of the global market for its varied
and rich traditional fabric decoration
techniques. Zardosi reflects royalty
and was known to adorn the attire of
Gods and thus holds a distinguished
place among all crafts. The common
mango motif of Zardosi has found a
place in the wardrobe of Kings and
Queens of various eras.
Environment
dentity has been devalued from
what it was earlier. As observed in
the field the sub-contracted kari-
gars 1 were working under exploit-
ative conditions. They worked long
hours, especially in the peak season,
for low piece rates and with delay in
payment in several cases. Therefore
following points can be derived :-
There is no significant relation-
ship between commercialization of

Sustainable outlook
Progressing technologies have con- Zardosi embroidery craft and im-
tributed to the change in produc- proved standard of living of the ka-
tion and marketing of Zardosi craft. rigars.
The development of chemical com- There exists.relationship’between
pounds has assisted in production the skill ofthe karigars and design in-
of non-tarnishing Zari threads, and novation.
its wide acceptance. With the break- There exists no difference between
down of traditional structures, along the workmanship of having formal
with competition from organized in- training and the traditional karigars.
dustry, artisans find it challenging to
buy quality raw materials at afforda-
ble prices. In the absence of raw ma-
terial banks, they are often forced
to rely on local traders who provide
them with raw materials against or-
ders, albeit at high prices, or switch
to non-traditional raw materials They
opt for cheaper material like plas-
tioc which had a smaller lifecycle ,
hence reducing the logitivity of the
product. Also Zardosi is done with
material that is very sustainable, so
if the longitity can be increased the
product can contribute towards the
environment as it wont be discarded
as odten.

Economic and Social Constrains

A Zardosi karigar today has become

more of a worker than
craftsperson. His role and sense ofi
 Strengths
Large, diversified and po-
tential market.
There is large product
variety and range is availa-
ble because of diversified
culture.
Diversified product range
that service different mar-
ket.
Cheap labor rates that re-
sult to competitive price.
Low barriers of new entry.
S.W.O.T. Analysis
Weakness Opportunity Threats
Lack of infrastructure and Rising demand for this Competition in domestic
communication facilities. embriodary in developed market.
Lack of co-ordination be- countries such as USA, Balance between high
tween government bodies Britain, etc. demand and supply.
and private players. Developing fashion in- Quality products pro-
Inadequate information of dustry uses zardosi embri- duced by competing
current market trends. odary in their designs countries like China, South
Less interest of young Development of domestic Africa.
people in craft industry. and international tourism Increased and better
Lack of promotion of sector. • technological support and
products. E-Commerce and Internet R&D facility in competing
are emerged as promis- countries.
sory distribution channels
tomarket and sell the
products.
 Gold and Silver embroidery com-
monly known as Zardosi was an
ancient Persian art. Zar m Persian
meant gold and Dozi was embroi-
dery. Today, the word ‘Zardozi’
carries a different connotation
Zardosi was also known as Karcho-
bi, since it was done on karchob
- a Persian word meaning a wood-
en frame. Zardosi work was done
by hand using a regular needle,
while Zari work was done with the
use of a hooked needle, known
as Aari. Zardosi has evolved from
the-court tradition-and taken its
form in utilitarian and socio-reli-
gious paraphernalia It is thriving
m India with rapid growth in both
domestic and export markets.
raw materials used in the craft
to the making process. We also
researched upon the motifs and
layouts used in the craft and the
contemporised version.
Through our secondary research
we developed sketched and nar-
rowed down to bookmarks as our
contemporised product range.
After developing sketched, final
concept was taken forward and
developed.

Zardosi embroidery as a handi-

craft is an enviable possession of
our national heritage that con-
tributes substantially to Indian
economy. Zardosi as a craft is
omnipresent in India, in urban as
well as their rural hinterland in ho-
mogenous clusters. The traditional
craft of Zardosi today, assumes
variegated approaches and forms.
The inquisitiveness m this craft,
led the investigator to undertake
the present study to document
the methods, materials, designs
and techniques existing today.

Through this project we looked

upon the present scenario of

Conclusion
the craft. To reach till that point
we looked upon the history and
evolution of the craft. Later we
focused on how the craft start-
ed in Mumbai. We studied vari-
ous aspects of Zardosi from the
 A-
Adda- structure or frame where
pattern is attached
Aari- needle used in Aari embroi-
dery, also a term for Embroidery
Awadh- region in the modern
Indian state of Uttar Pradesh
B-
Baddla- sequins made of glass,
mirrors
Badimasji- mosque in Mumbai
Badla- thin plain wire
Bharat- embroidery
C-
cheeta- leopard
Chikna- shinyzari
Kamdani- lighter needlework
done on lighter material like
scarves, veils etc.
Karchob- rectangle wooden frame
Karchob- rectangle wooden frame
Kora-dullzari
Karchob, Dhadha, Khatia ,Khatla-
different names of the wooden
frame
Kasav- thin wire wrapped around
the thead
KataokiBel- border pattern made
of stiff canvas and the whole sur-
face is filled with sequin edging
Katori- a type of embroidery stitch
Kinar- embellishments are done
only at the edges in the form of
tassels on the cloth
Sui- Needle
T-
Thapa- wooden legs of the rectan-
gle frame
Tikora- gold thread spirally twist-
ed for complicated designs
Tilla, Marori- embroidery where
gold thread is stitched on to the
surface of cloth with a needle
Z-
Zar- Gold
Zardozi- Persian word that means
sewing with gold string
Zari- gold wire used in embroi-
dery

D- M-
Dabka- wire used in embellish- Makaish- embroidery done with
ments silver wire and mirrors
Dosi- embroidery Mina- resemblance with enamel,
done with golden zari
F- Mittikatel- Kerosene Oil
Fa¬tilaand kauri- a wooden ham- Muthiya- a sharp edged needle
mer with a dabber
N-
G- Nakshi- twisted wire
Garuda- eagle Nawab-honorific title ratified and
Gijai- thin stiff wire bestowed by the reigning Mughal
gaja-simha- elephant emperor to semi-autonomous
Gota- small chips of different Muslim rulers
shapes cut and stitched
P-

Glossary H-
hazarabutti- thousand lights
Pita- Flat

K-
KadiyaChalk- Lime stone powder
Kalabatun - original embroidery
of Zari done with pure silver wires
coated with real gold
S-
salma-sitara- intricate pattern em-
broidery done using thin-stiff wire
and star shape metal piece
Sitara- small star-shaped metal
piece
Websites
http://www.culturalindia.net/indi-
an-crafts/zardozi.html
http://www.utsavpedia.com/mo-
tifs-embroideries/zardozi-weav-
ing-in-the-shimmers/
http://thegoldworkguild.com/His-
tory.html
http://www.goldenhinde.
co.uk/36/HistoryOfGoldWork.htm
http://thegoldworkguild.com/His-
tory.html
http://www.needlenthread.
com/2009/01/tools-for-metal-
thread-embroidery.html
http://sidneyeileen.com/
artisan-works/embroi-
dery-articles-and-tutorials/
basics-of-opus-anglicanum-em-
broidery/#.V9lyi1t97IU 8. http://
cerridwencreations.weebly.com/
uploads/1/0/5/6/10561349/oa_
embroidery_website.pdf
http://shodhganga.inflibnet.ac.in/
bitstream/10603/59392/14/13_
summary%20and%20conclusions.
pdf
http://www.tamilnavarasam.com/
Books/Embroidery/Zardoziem-
broidery.pdf
http://www.craftandartisans.com/
zari-zardozi-tinsel-embroidery.
html

Books and articles

Zardozi- Glittering gold embroi-
dery/Charu Smita Gupta/Abhinav
Publications/nift mumbai resource
center
746.44 GUP/Craft document

References
submitted in partial fulfilment of
under graduate programmwin
Knitwear Dseign/ Department of
Knitwear Design/ 2011-2015
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d9KEqgsbu2RY0-vk7LBv9g7D-
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pin/420523683929747705/
Fig. 14 : https://minakariproject.
wordpress.com/
Fig. 15 : https://in.pinterest.
com/samia_ostadi/badlakasab-
mukaish-embroidery/
Fig. 16 : https://in.pinterest.
com/samia_ostadi/badlakasab-
mukaish-embroidery/
Fig. 18 : https://encrypted-tbn1.
gstatic.com/images?q=tb-
n:ANd9GcRmHyBqloyvrr-
sq-X4SS5V7bjC1HyTUB7gVp5z-
86vXfxeIMJnp1
Fig. 19 : https://sareepe-
vaaree.wordpress.com/
page/3/?app-download=ios
Fig. 20 : https://in.pinterest.com/
pin/77335318575600990/
Fig 21 : http://www.exoticindiaart.
com/product/textiles/green-ba-
narasi-fabric-border-with-woven-
birds-SFA78/
Fig. 22, 23, 24, 25, 26, 27, 28, 29
and 30 : http://www.tamilnavaras-
am.com/Books/Embroidery/
Zardoziembroidery.pdf
Fig. 31 : http://dir.indiamart.com/
impcat/zari-yarn.html
Fig 32 : http://nmmetallics.co.in/
products/zari-kasab/index.php
Fig 33 : http://dir.indiamart.com/
impcat/half-fine-zari-thread.html
Fig 34 : https://www.etsy.com/
shop/Indianlacesandfabric?sec-
tion_id=16883040
Fig 35 : http://dir.indiamart.com/
impcat/indian-dupion.html
Fig 36 : http://www.brocades.in/
index.php?route=product/pro-
duct&product_id=131
Fig 37 : http://www.utsavpedia.
com/textiles/chiffon/
Fig 38 : http://www.edenhouse-
fabrics.co.uk/pink-poly-cotton-
fabric-96-p.asp
Fig 39 : https://in.pinterest.com/
hinernurse/what-fabric-is-that/
Fig 40 : https://www.fabric.com/
Citation
b u y / d l - 9 7 0 / d u p i o n i - s i l k- f a b -
ric-gold
Fig 41 : http://fabricandart.com/
Silk-Dupioni-Shantung-Fabrics.
html
Fig 42 : http://www.honey-yarns.
com/product2.html
Fig 43 : http://www.lesouk.co/di-
rectory/jacquard-fabric
Fig 44 : http://paulinemoss.
deviantart.com/art/Gold-Tex-
ture-309704004
Fig 45 : https://trade.indiamart.
com/search.mp?search=polyes-
ter+net+fabric
Fig 46 : https://www.lunss.com/
blog/organza-fabric-knowledge-6.
html
Fig 47 : https://in.pinterest.com/
pin/451134087650950667/
Fig 48 : https://www.etsy.com/
listing/75363947/fuchsia-pink-vel-
vet-fabric-yardage
Fig 49 : http://www.shopclues.
com/satin-fabric-2.html
Fig 50 : http://www.shopclues.
com/satin-fabric-2.html
Fig 51 : http://www.ebay.com/
i t m / 2 0 Y- 1 0 0 - S I L K -TA F F E TA -
FA B R I C - S E L E C T- F R O M - 1 0 0 -
COLORS-/400118318713
Fig 52 : https://in.pinterest.com/
lruther3670/fabric/
Fig 53 : http://firstsilk.en.
m a d e - i n - c h i n a . c o m / p ro d u c t /
iMFnbQvPCyWJ/China-100-Vis-
cose-Viscose-Woven-Fabric.html
Fig 54, 55, 56, 57 : http://www.
dsource.in/resource/zari-zardosi-
agra/tools-and-raw-materials
Fig 58, 59, 60, 61 : http://www.
idc.iitb.ac.in/dsource/gallery/
hand-embroidery
Fig 62,63, 64,65,66, 67, 68, 69, 70,
71, 72, 73 : http://www.dsource.in/
resource/zardozi-embroidery-alla-
habad/making-process
Fig 74 : http://www.dnaindia.com/
india/report-last-of-the-zardozi-ar- line-p47636
tisans-only-80-of-them-left-in-vara- Fig 87 : http://www.rakhisale.com/
nasi-2126933 Online/1647-Unique-Zardosi-Ra-
Fig 75 : http://timesofindia.in- khi.asp
diatimes.com/news/In-elec- Fig. 88 : https://www.sweetcouch.
t i o n - s e a s o n - L u c k n o w - z a rd o - com/womens/8039416-tarusa-
zi-artisans-demand-MNREGA- clutch-zardosi-work-done-golden
like-scheme-for-job-guarantee/
articleshow/34685836.cms
Fig 76 : https://strandofsilk.com/
journey-map/zardosi-embroidery/
producer-communities
Fig 77 : http://www.dsource.in/
resource/zardozi-embroidery-alla-
habad/introduction
Fig 78 : http://www.cosmopoli-
tan.in/fashion/news/g206/all-the-
looks-from-samant-chauhan-at-
aifw-ss16/
Fig 79 : http://luxurionworld.com/
Youth-fashion-accessories-appar-
el-footwear-handbags
Fig 80 : http://www.craftsvil-
la.com/catalog/product/view/
id/1422967/s/pink-silk-designer-
handmade-zardosi-bangles-with-
kundans
Fig 81 : https://designfivestudio.
blogspot.in/2013/02/zardozi.html
Fig 81 : https://www.zeelclothing.
com/
Fig 83 : http://www.carmaonline-
shop.com/products/clothing-le-
hengas%C2%A0/carma/zardo-
zi-embellished-black-lehenga-set/
pid-10565702.aspx
Fig 84 : https://in.pinterest.com/
pin/311663236696734124/
Fig 85 : http://dir.indiamart.com/
impcat/embroidered-cushions.
html
Fig 86 : http://klip.in/antique-pen-
dant-cushion-covers-fur-
n i s h i n g s - d e s i g n e r- l a t e s t - o n -