diagnostic study report lucknow chikan cluster

DIAGNOSTIC STUDY REPORT

&

LUCKNOWI CHIKANKARI CLUSTER

Dist. LUCKNOW, UTTAR PRADESH

Submitted to

Development Commissioner MSME

Ministry of Micro Small & Medium Enterprise

Govt. of India, Mumbai

Submitted By

General Manager

District Industries Center

Lucknow

SHILP SADHANA 14, Ram Block, Sector-11, Rajaji Puram, Lucknow 226017

Ph. No. 0522-2419005

Fax No. 0522-2414280

Email- [email protected] www.lucknowidastkari.com

DSR_Lucknowi Chikankari Cluster 1 Shilp Sadhana

THE UNIQUENESS OF LUCKNOWI

CHIKANKARI

Due to the variety of stitching-styles

involved in Chikankari, it is claimed to be one

of its kind hand embroidery that is impossible

to imitate in any other part of the world


When the sun smiles strongly, you know it is the time to

celebrate cool muslins and soft mulls.

Traditional yet contoured in a modish contemporary

twist, the ageless chikankari, comes to your cool rescue.

Chikan work with its gossamer quality has become one

of Indian fashion's hottest exports and is an expression

of haute couture, combined with mirror work, muquaish

and even zardozi.


INDEX

Sl. No.

PARTICULARS PAGE

No.

1 Diagnostic Study Report/ Detail Project Report - Check List 1-2

2 Summery Details of The Proposed Cluster 3-4

3 Current Information Required for Cluster Selection 5-8

4 Executive Summery 9-10

5 Scope and methodology of Diagnostic Study 11-13

6 Industry Scenario of Handicrafts in India 14-16

7 Global Scenario of Handicrafts 17

8 Embroidery Traditions in India 18-24

9 Introduction of Chikankari 25-27

10 Stitches of Chikankari 28-29

11 Process of Chikankari 30

12 Production Process 31

13 Craft Map of India 32

14 Map of the state of UP 33

15 Map of the Lucknow District 34

16 About Lucknow District 35-39

17 Important features of the Cluster 40

18 Key Milestone in performance of Chikankari Industry 41-42

19 Support Environment 43-45

20 Products of the cluster 46-48

21 Value Chain Analysis 49-50

22 Analysis of Business Operations in the cluster 51-53

23 Assessment of Organisational Linkages in the cluster 54

24 Cluster Map (Pre Intervention) 55


25 Cluster Map (Post Intervention) 56

26 Inter Firm Matrix (Pre Intervention) 57

27 Inter Firm Matrix (Post Intervention) 58

28 Survey Analyses 59-62

29 Copy of Survey Questionnaires 63-64

30 SWOT Analysis 65-66

31 Common Problems and Need of the Cluster 67

32 Vision & Strategic Goles 68

33 Strategy for Implementation 69

34 Activity Chart 70

35 Proposed Annual Action Plan for Soft Intervention 71

36 Proposed Budget & Means of Finance for soft intervention 72-73

37 Activity wise Break up of the Expenditures of the activities of Soft Intervention

74-75

38 Details of No. of persons to be trained in each program 76

39 Details of outcome envisaged in the cluster 77-78

40 Details of Quantative Outcome 79

41 Copy of Registration Certificate of SPV 80

42 Copy of Meeting of Validation of DSR 81-82

43 Letter of assurance from Technical Agency 83

44 Consent for contribution from SPV 84


DIAGNOSTIC STUDY REPORT - CHECK LIST

NAME OF THE CLUSTER: - LUCKNOW CHIKAN CLUSTER

1. Name & Address of the organisation conducting Diagnostic Study

: SHILP SADHANA

14, Ram Block, Sector-11,

Rajaji Puram, Lucknow

2. Gaps found as per the DSR 1. Unorganised Cluster

2. No Designer Input

3. Lack of Entrepreneurship Skills among artisans & manufacturers

4. Non availability of Design Lab/ Center

3. Name & Address of Implementing Agency/ SPV

: Lucknow Chikankari Cluster Audhyogik Vikas Sahkari Samiti Ltd. 20, Sangam Vihar, Janki Puram Extension, Lucknow

&

District Industries Center, Lucknow

4. Registration No. and Date :

5. Name of the main promoter : Mr. Vibhu Dixit

Address : 20, Sangam Vihar, Janki Puram Extension, Lucknow

Phone No. : 0522 2754877

Email : [email protected]

6. Name of the Cluster Development Executive

: Mr. Sharad Srivastav

Assistant Manager

Address : District Industries Center, Lucknow

Phone No. : 80044 33135

Fax No. : 0522-2614 083

7. Out Line of the Project :

A Soft Intervention/ Training etc., time limit

Skill Upgradation of Artisans (4 months)

Design & Product Development Workshops (15 days)

Seminar on Geographical Indication Registration


B Permanent Assets- details and time limit

Design Development Center

Information Center

Product Display Center

(To be established with in the cluster with in 1st & 2nd year of the project)

C Time limit of Project Self sufficient/ Hand Over/ Exit

After completion of three years

8 I Details of the project

A Does the land is required Yes/ No Yes

B Details of availability of Land/ Building

C Does the cost of Land/ Building is included in the project cost

Yes (as state govt. contribution)

II Pattern of Financial Sharing

A Total Project Cost (Rs. In Lakhs) %

B Percentage Share of Govt. of India & Amount

C Percentage Share of Govt. of UP & Amount

D Percentage Share of SPV/ IA & Amount

E Percentage Share of Financial/ Support Institutions/ Bank & Amount

9 Any other details if necessary


SUMMERY DETAILS OF THE PROPOSED CLUSTER

1. Location: State/ City/ Town/ Village:

Urban & Rural areas of Lucknow District

Chowk, Thakur Ganj, Kashmiri Mohall, Husianabad, Khadra etc. in urban

Area

Kakori, Sarojini Nagar, Chinhat, Malihabad etc. in Rural Area

2. Cluster Product : Traditional artisanal or traditional industrial or modern/ high

tech product

Traditional hand embroidery products like Apparels, Saries, Dress Materail,

Furnishings and Accessories etc.

3. Likely age of the cluster and weather naturally evolved or recently induced with

external policy support

About 200 years.

Naturally Evolved (believed to be started by the wives of ruler of Avadh)

4. Nature of the cluster : vertical (one to one large firm centric)/ horizontal where

several small enterprises are the key cluster firms/ mixed

It is a Vertical cluster where all artisans are working for few Manufacturers/

Traders

5. Major cluster problems : as per your perception

Literacy Level of Artisan is very low

Highly Unorganised Cluster

No design and technology intervention

Low level of skills of artisans and no facility of capacity building/ training

No designer input

Technology input in production is very less

Support from Business Development Service Provider is nil

6. Key Strategic Intervention for Proposed Cluster Development: Technology/

Product/ Market/ Export/ quality etc.

Capacity building through training, workshops & Exposure visits to other

clusters

Design & Product Development Workshops for development of new designs

and products as per latest market demand


Direct Marketing platform will be provided to artisan‟s and manufacturers of

cluster to enhance the reach

Workshops of Export Procedures will be conducted to make the cluster

actors familiar with Export market and Export Procedure & Documentation

7. Extent of Competition: With large domestic firms or other similar clusters in

India or abroad.

There are many clusters where embroidery is done to give value addition to

the products.

Lucknowi Chikankari has its own place in the market.

8. Proposed Project Duration:

One Year for Soft Intervention

Two years for Hard Intervention

9. Gross Project Fund Requirements and Likely Sources of Funds: Institutional

coordination and developmental expenditure separately

Item Total

Project

Cost

Ministry of

MSME/

DC(MSME)

State

Govt. &/

or other

support

intuitions

Cluster

Stake

Holders

(SPV)

A - DEVELOPMENT EXPENDITURE

SUB TOTAL A 8.20 6.48 0.00 1.72

B - COORDINATION EXPENDITURE OF IMPLEMENTING AGENCY (IA)

SUB TOTAL B 7.30 5.29 0.00 2.01

TOTAL (A+B) 15.50 11.77 0.00 3.73

10. Key Indicators to Reflect the outcome of the project: At the firm level and cluster

level (attributable to the proposed project)

After completion of the project Skilled artisans will be available in the cluster

Artisans & entrepreneurship will have technology support through CFC.

With development of new Designs and Products the cluster will be able to

have growth in the market.


CURRENT INFORMATION REQUIRED FOR CLUSTER

SELECTION

Sr.

No.

Parameters Answers

1. Does the cluster have a minimum

critical mass?

Yes

Number of firms, structure of firms

(large/ medium/ small/ micro/

across the value chain)

about 1800 manufacturers & about

135000 artisans in Lucknow District

more than 2.00 Lakhs artisans in and

around Lucknow District

Presence of support firms and

service providers

There are many departments of Central &

State Govt. to support the artisans of the

cluster-

Marketing & Service Extension Center,

Barabanki of The Office of The

Development Commissioner

(Handicrafts), Ministry of Textiles,

Govt. of India

District Industries Center, Lucknow

District Rural Development Authorities

State Urban Development Authorities

National Cooperative Development

Corporation

NABARD

Besides These Many Chartered

Accountant Firms, Transporters, Cargo

Agents are available within the cluster

Estimated turnover of broad groups

in cluster

Estimate turnover of the Lucknow Chikan

Cluster is about 600 crores.

Level of employment (number of

men and women) and likely income

levels

More than 1.35 Lakhs artisans and mostly

are women.

Income level of these artisans is very low

Unskilled Labour earns about Rs. 10 to 15

per day

Skilled Labour earns about Rs. 20 to 40

per day.


Manufacturers earnings depends on their

Turnover which ranges from Rs. 2.40

Lakhs to 8.00 Lakhs per annum.

Contribution of cluster to export Direct Export from the cluster is almost

negligible in comparison of the turnover

of the cluster. Only 3-4 firms are doing

direct export.

Some products of the cluster are

purchased by exporters of New Delhi,

Mumbai for further exporting it to other

countries.

Importance of the product in terms

of its linkage with other products/

sector

The main product of the cluster is

Apparels, Dress Material, Saree, Kurta,

Furnishing Items etc. Mostly the products

of the cluster are directly used by the

consumers.

Growth trends in the recent past

(turnover, employment,

investments, exports etc.)

The cluster has seen very slow growth in

recent past that is due to increase in cost

& price of the products.

Special features of the cluster in the

terms of seasonal/ mainstay

activities/ dependence, if any

Products of the Cluster are treated as

summer wear garment as usually chikan

work is done on fine cloths.

2 Location of cluster and its

geographical contours

Within a city/ village/ linkage with

nearby cities/ villages (if executing

agency has a specific rural/ urban

mandate) – Attach a geographical

map, if available

Rural & Urban Areas of Lucknow District.

Chowk, Thakurganj,

Kakori, Sarojini Nagar, Chinhat,

Malihabad etc. in rural area

Map of Lucknow District is attached

3 Replicability potential

Size of the total industry at the

national level, number of similar

clusters with a few names

Turnover of the cluster is approx Rs 800

crores.

There are so many other clusters within

the country which are involve in similar

activities but comparative data is not

available.

Linkage of the proposed cluster

with other clusters or sectors, if any

Raw Material of the cluster products is

procured from other clusters such as

Mumbai, Ahmedabad, Surat, Tanda etc.


4 Social and environmental conditions Given in the Diagnostic Study Report

Summary profile of typical owners/

managers and workers and their

economic status

The cluster actors of Lucknow Chikan

Cluster are artisans, Manufacturers, &

Traders.

Artisans belong to lower income group.

Manufactures and Traders are earning

enough to meet out their family

requirements.

Average yearly earnings (man/

woman) workers/ unit owners

Income of the artisan is Rs. 10/- to 40/-

per day depending upon the skills of the

artisans. Yearly income ranges from

Rs. 3,000/- to 15,000/-

Manufacturers earn more Rs. 2.00 Lakhs

to Rs. 5 Lakhs per year

Drudgery in activity, if any The craft need concentration, skill and

dedication.

Pollution related issues in the

cluster

Washing of the products is done at Gomti

River and chemicals/ soap used for

washing are polluting the river.

Mandatory/ legal issues related to

product quality, if any

Nil, there is no quality marking system in

the cluster.

5. Viability

Prospects of upgrading production

technology/ investments/ financial

off take/ quality?

Upgradation of technology through

Common Facility Center

Does the product have a future in

current national/ global settings?

Yes, good scope in Domestic and Export

Market

Main markets of the future in

current national/ global settings?

All over India and export to UK, USA,

Europe & Gulf Countries

Main markets of the cluster

products (geographical, consumer

segments)

All over India and export to UK, USA,

Europe & Gulf Countries

Major threats/ challenges Competition from other clusters

producing cheaper items such as screen

printing, machine embroidery etc.


Stage of product in the product life

cycle, if known

Final products usually ready to wear

Where do the cluster product(s) fit

into the global value currently?

Insignificant

6. Promotability It is an artisanal cluster and during the

project, design and product development

programmes will be implemented.

Have some firms undertaken

product upgrading or

diversification, explored new

markets, made technological

innovations, invested significantly

in or updated equipment etc. in the

recent past?

Although there are few manufacturers and

traders who have earned good money out

of this business but activities related with

product upgrading or diversification, new

markets, technological innovations,

updated equipment etc. are not very

common in the cluster.

Very few manufactures have established

their own Cutting & Stitching Units.

Does the birth rate of new firms

substantially exceed the closure

rate of existing ones?

Birth rate of new enterprise is fast. As the

manufacturing of Chikan Garments

doesn‟t need much infrastructure, people

enter in chikan manufacturing easily.

How sensitive are the firms to

major issues that are bothering

them?

Artisans & Manufacturers are not very

sensitive about the issues which are

bothering them. Lack of unity among

artisans & manufactures is also a cause of

this.

Local institutional capacities for

collective developmental action in

the private and public sector

Nil

7. Complementarily

Other development work either

already under way or likely to start

in the near future

Nil

Scope of the proposed project for

value addition to other

developmental work, as stated

above


EXECUTIVE SUMMERY

CHIKANKARI

Chikankari is a fine and intricate shadow-work

type of embroidery done by white yarn on colorless

muslins called tanzeb (tan meaning body and zeb

meaning decoration). The word 'Chikankari'

according to one school of thought appears to have

had its origin in Persia, being derivative of chakin

or chakeen. It may also be a distorted form of the

work chikeen or siquin, a coin valued at Rs. 4 for

which the embroidery was sold. Another

explanation ascribes its origin to East Bengal

where the word Chikankari meant 'fine'.

The earliest reference in literature to Chikankari dates back to the 3rd century B.C. In

his records Megasthenes, a Greek traveler, had mentioned the use of flowered

muslins by the Indians.

Folklore attributes the origin of Chikankari to various sources. It is believed by many

craftsmen that a traveler while passing through a village near Lucknow asked for

water from a poor peasant. Pleased with his hospitality, the traveler taught him the

art of Chikankari that would never allow him to go hungry. The craftsmen believe

that the traveller was a prophet. Another story imputes its origin to Queen Noor

Jehan, who inspired by Turkish embroidery, introduced this needlework. The origin

of this craft is also ascribed to the harem's of Avadh's Nawab where a seamstress

from Murshidabad embroidered a cap for the Nawab to please him. Jealous of the

attention she received from the king, other inmates of the harem followed her and

thus the art of Chikankari was evolved.

LUCKNOW

Lucknow, the capital of Uttar Pradesh is situated 123 Mts. above sea level. It is

situated on 26.30 & 27.10 North latitude and 80.30 & 81.13 East longitude. Lucknow

covers an area of 2528 sq. km. It is surrounded on the eastern side by District

Barabanki, on the western side by district Unnao, on the southern side by Raebareli

and on the northern side by Sitapur and Hardoi districts. Sai river flows from the

south of the city and in the east enters district Raebareli.


STRATEGY FOR INTERVENTION

Formation of Artisan guilds and Women SHG units in the villages. These units

will be empowered through awareness generation, training and exposure visits.

The capacity of the networks and institutions will be built through this process.

Other NGOs/ Institutions/ Cooperatives etc. working in this Sector within the

cluster will also be involved for networks and capacity building.

Result oriented activities like process up-gradation; setting up of CFC,

productivity improvement, training in new product preparations as per the

present trends and joint exposure to markets etc. can be promoted.

The networks will be promoted for long run activities such as SHGs and artisans

will be empowered through better technical knowledge, creation of jobs and

additional income through better productivity. The artisans will be empowered

through better access to credit facilities.

Simultaneously the research and studies will be conducted for various long run

activities like regular joint marketing, choice of new product range, infrastructure

provision etc. for sustained impact on the cluster with respect to growth and

development.

Common Facility Center (CFC) will be set up within the cluster for improvement

of processing capabilities. All the facilities will be availed for and processing of the

products in the cluster itself. This will help the cluster for sustainable

development.

Other interventions such as designing, technical up gradation, market promotion,

cluster information center, buyer sellers meet and the welfare activities including

health and education for artisans will be undertaken.

MAJOR INTERVENTIONS PLANNED

Soft Intervention

Awareness Camp for building awareness and SHG Formation

Formation of SHGs

Meeting of Cluster Actors/ SHG Members/ SPV Members

Skill Upgradation Training Center

Design & Product Development workshop

Seminar on Geographical Indication

Launching of Web Site

Hard Intervention

Design Center and Product Display Center


SCOPE AND METHODOLOGY OF DIAGNOSTIC STUDY

NEED FOR AN INTEGRATED APPROACH

The development of a country is an intricate process that advances human

capabilities, development and living levels of its people. Every industrial sector needs

to contribute to this process. Handicrafts industry is providing considerable

employment generation avenues, through its rich historical values, to the people of

rural Area of our country.

Presence and growth of handicrafts industry in a geographical region is strengthened

by the growth of various micro and small units involved in molding, designing,

trading, exporting, etc. They provide vital backward and forward linkages to the

units. These units support the growth of the handicraft industry.

Again, various support and technical organizations that provide training, business

directions, linkages to growth avenues, etc. like technical institutions, industry

associations, financial institutions, etc. are also a part of the same sub-sector. They

act as catalysts and have great potential to energize the growth phenomenon.

Together, they constitute what is referred to as a “cluster” in a generic sense.

The cluster approach has been developed to address knowledge fragmentation, lack

of coordination and joint action. It is based upon the realization that the lack of

communication among the various cluster actors and their skepticism towards joint

endeavors are deeply entrenched within traditional business practices and that the

latter cannot be replaced without the investment of significant resources.

In the context of Handicraft cluster the following actors play a major part:

Raw Material Providers

Artisan

Manufacturers/ Traders

Government and private financial and R&D institutions

Business Development Services (BDS) providers and Associations.

In order to look at the concerted effort of the program it is all the more necessary to

adopt an integrated approach – CLUSTER DEVELOPMENT PROGRAM. The

implementation of cluster development program starts by gathering dispersed

knowledge through a participatory study not only about its constraints and potential

but also local linkages and support mechanisms through a diagnostic study. The


participatory process helps to build initial trust among the possible partners and

secure the positive involvement of diverse actors.

SCOPE

Understand and analyse the current scenario under which the units are operating

in the cluster; analysis of business operations, nature of production activity,

profiling of products, pattern of production and existing market potential for it

and possible market tie-ups.

SWOT analysis of the cluster in terms of finance, market, production and

product, which will help evolving intervention instruments for multiplying the

strengths of different components and at the same time improve upon the

weakness while taking into consideration the threats inherent in the cluster.

Value chain analysis to identify the gaps and constraints which will help to look at

the needs for each value activity and to access whether each activity will lead to an

addition to the value more than the cost incurred on that activity. This analysis

would also have significance for issues like resource allocation, cost efficiency of

products, controls over resources and effectiveness of firm and financial analysis

of the cluster.

Social/institutional analysis of the local organizations which will help in

identifying stakeholders involved in various levels in the promotion of the

entrepreneurship serving handloom producers; Feasibility analysis of institution

around credit and marketing, community acceptance and its role in strengthening

backward and forward linkages which will help evolve mechanisms to improve

upon the same and creation of suitable platform to address the concerns.

Recommendations in terms of action plan required for harnessing the potential of

the cluster vis-à-vis the market.

OBJECTIVE OF DIAGNOSTIC STUDY

To identify villages where artisans of Chikankari Embroidery are working in

Lucknow dist.

To evaluate the present socio economic status of the artisans in the cluster.

Identify the products being manufactured by the artisans.

Assess the technology being used in production.

Identify the sourcing for raw materials & semi finished products and their

method of use in the cluster.


Identify the problems being faced by the artisans in the cluster.

Identify the bottlenecks in development of the cluster and solutions there off.

Determine the necessary measures to be taken for development of the

cluster.

Analyzes the Strength Weakness Opportunity and Threat.

Prepare an action plan and Strategy for implementation.

METHODOLOGY

The Study is comprised of analysis of secondary data/information and primary data

collection in the field. Primary data has been collected through pre-designed

questionnaire and sample based responses. Interaction with local stakeholders and

their views and remarks have constituted in the part of the study. Unstructured

focused group discussion, structured questionnaire survey with a set of stake holders

have also been conducted to verify and cross check primary data collection.


INDUSTRY SCENARIO OF HANDICRAFTS IN INDIA

During recent years, the importance of handicrafts has been surged due to their

cultural and financial values. The small-scale industries - including handicrafts can

play a major role in the development of the economy of both developed and the

developing countries equally. The 90-95% of the total industrial products of the

world are produced in small workshops run by less than 100 people. For instance,

Japan, which is at the peak of the economic development, has considered 84% of its

industries as small and medium scale industries. In countries such as India and

China, handicrafts are as high as the mechanized products in quality and volume,

and are a major source of their foreign earnings. These countries are focusing on the

development of handicraft industry, in order to strengthen the economy.

CLASSIFICATION

Handicrafts industry comprises diversified products portfolio and there is large

variety available in market. Handicrafts products can be distinguished into following:

Metal ware, Wood ware, Hand printed textiles, Embroidered and crocheted goods,

Shawls, Carpets, Bamboo products, Zari goods, Imitation jewellery, Paintings,

Earthenware, Jute products, Marble Sculpture, Bronze Sculpture, Leather Products

and other miscellaneous handicrafts.

The 6 million craft persons who are the backbone of Indian Handicraft Industry as

provided with inherent skill, technique, traditional craftsmanship but that is quite

sufficient for primary platform. However, in changing world market these craft

persons need an institutional support, at their places i.e. craft pockets for value

addition and for the edge with other competitors like China, Korea, Thailand etc.

In addition to the high potential for employment, the sector is economically

important from the point of low capital investment, high ratio of value addition, and

high potential for export and foreign exchange earnings for the country.

HANDICRAFT INDUSTRY IN INDIA

India has a great history of art and craft traditions. Each part of the country has its

own unique cultural ethos, which is manifested in the handicrafts of that particular

region. Indian crafts and handicraft traditions are influenced by local topography,

climate, and socio-religious factors. These craft traditions have withstood the ravages

of time and numerous foreign invasions and continue to flourish till date owing to

the assimilative nature of Indian culture and broadmindedness of the craftsmen to

accept and use new ideas.


The Indian handicrafts industry is highly labour intensive, cottage based and

decentralized industry. The industry is spread all over the country mainly in rural

and urban areas. Most of the manufacturing units are located in rural and small

towns, and there is huge market potential in all Indian cities and abroad. Handicraft

industry is a major source of income for rural communities employing over six

million artisans including a large number of women and people belonging to the

weaker sections of the society.

The Handicraft sector is highly creative sector and produces large variety of crafts

products. This industry is localized segment of the domestic and international

market. In India the production of craft products are done on both large and small

scale. Because of low capital investment people can start their business on small

scale. Through this flexibility the demand and supply can be managed.

Though Indian Handicraft industry is considered a cottage industry, but it has

evolved as one of the major revenue generator over the years. There has been

consistent growth of 15% over few years and the industry has evolved as one of the

major contributor for export and foreign revenue generation. There is huge demand

for the Indian Handicraft products in both national and international market. To

match the demand and supply with quality, there is need to have greater

technological support and innovativeness with the uniqueness in industry.

India‟s rich cultural diversity and heritage provides a unique and huge resource for

developing craft products. The Indian Handicraft Industry is showing continuous

growth rate of 20% every year. Handicrafts industry is one of the important segments

of decentralized sector in India.

Major parts of industry operates in rural and semi urban areas throughout the

country and has potential Indian and International market with around 67000

exporters to tap the market. According to the national census of handicrafts,

undertaken by the National Council for Applied Economic Research the value of

handicrafts produced last year were of Rs.26,213 Crore.

This Industry provides huge employment opportunities to artisans that include

women and people belonging to backward and weaker society. This is one of the

major source of income there. The Indian Handicraft Industry is a $100 billion

industry worldwide. India‟s contribution in world market is 1.2% The total exports of

crafts items: - Rs. 13412.92 Crore. Industry‟s share in India's exports is 1.51%. Inspite

of having diversified products, some part of Indian market are still untapped and

market is price sensitive.


Products are high priced in big and metro cities, which are beyond, reach of people

belonging middle and lower middle class. Craft producers have to compete on price,

quality and delivery for different segments.

There is poor promotion for craft products in national market. There is lack of

awareness about new traditions and among craftsmen and there is need of

technological support and training.

Handicraft Industry has evolved as one of the major contributors for Export and

foreign earnings. Exports of handicrafts including hand knitted carpets during 2005-

06 were Rs.13412.92 Crore. Export items- Art Metal wares, Wood wares, Hand

printed textiles, Embroidered and Crocheted goods, Shawls as art wares, Zari goods,

Imitation jewelry, Carpets, Leather products, Jute products, Paintings, Bamboo

products, Earthen ware, Marble Sculpture, Bronze Sculpture etc. India's major

export markets are USA, Germany, UK, France and Japan, Saudi Arabia, Canada,

and Italy etc.

MAJOR DESTINATIONS FOR INDIAN HANDICRAFTS


GLOBAL SCENARIO OF HANDICRAFTS

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,

requisite change in production facilities for a variety of materials, production

techniques, related expertise to achieve a leadership position in the fast growing

competitiveness with other countries.

India is one of the important suppliers of handicrafts to the world market. The

Indian handicrafts industry is highly labour intensive cottage based industry and

decentralized, being spread all over the country in rural and urban areas. Numerous

artisans are engaged in crafts work on part-time basis. The industry provides

employment to over six million artisans (including those in carpet trade), which

include a large number of women and people belonging to the weaker sections of the

society.

In addition to the high potential for employment, the sector is economically

important from the point of low capital investment, high ratio of value addition, and

high potential for export and foreign exchange earnings for the country. The export

earnings from Indian handicrafts industry for the period 1998-99 amounted to US$

1.2 billion.

MAJOR DISTRIBUTION CHANNELS

In the world handicrafts are generally distributed through five major channels:

Wholesalers

Importers/distributors

Commission agents/sales representatives

Department stores

Mail-order

Internet sales

Tele-shopping


EMBROIDERY TRADITIONS IN INDIA

Indians craftsmen were engaged in the process of beautifying and embellishing

multiple fabrics since very long time. Embroidery is the name of one such craft that

glorifies the cloth when worked upon. There are several embroidery traditions in

India that have been the major factor behind the beautiful clothing of the royalty and

the common people. Some important embroidery crafts are phulkari, Chikankari,

kantha, karchobi, kathi, kimkhab, aribharat, appliqué, sujuni, zardozi etc.

APPLIQUÉ

Applique is the art practiced in Orissa and Rajasthan. It is a decorative work in which

one piece of cloth is sewn or fixed onto another, or the activity of decorating a cloth

using glass pieces, metals, wood or metal wires

APPLIQUÉ WORK IN ORISSA

Orissa's appliqué work is one of the most fascinating handicrafts of India. The Pipli

village in Puri district of Orissa is the main center of appliqué work. Rows of shops in

Pipli flaunt appliquéd handbags, bed sheets, wall hangings, purses, cushion covers,

letter cases, pillow covers, canopies and garden umbrellas.

Patronized by kings and nobility of Orissa, appliqué work at one time had reached

the artistic heights of excellence. The kings of Puri engaged craftsmen in the service

of Lord Jagannath and set up village Pipli for them to live in.

Though the art became popular after the construction of the Lord Jagannath temple

in Puri, its origins go far beyond.

In the old days, Pipli craftsmen used to make canopies, banners, umbrellas and

trashas (fans) for festivals held in Puri's famous temple. But as the craft's popularity

spread far and wide through the pilgrims of Puri, the craftsmen started making other

decorative and utility items also.

APPLIQUÉ WORK IN OTHER STATES

The traditional appliqué from Punjab is called phulkari. The meaning of the word

phulkari is flowering as the surface of the cloth begins to resemble flowering petals.

Phulkari is generally made on shawls using the darn stitch to attach pieces of cloth

onto the surface of the shawl. Apart from flowers, stylized figures of animals and

plants are also made. Silk thread is generally used in creating phulkari, though

occasionally cotton thread is also put in use.

In Andhra Pradesh, the blouses and headscarves worn by the Banjara tribal women

are not only embroidered but also decorated with appliqué and mirror work.

http://www.india-crafts.com/state_specials/orissa_handicrafts/index.html

http://www.india-crafts.com/state_specials/punjab_handicrafts/

http://www.india-crafts.com/textile_products/Phulkariwrite-up.html


Rajasthan is also known for its unique appliqué or gota, which is created by sewing

edges of zari ribbon onto fabric, to create elaborate patterns. It is commonly used for

making costumes for women. Khandela in Shekhawati is best known for producing

these items.

Appliqué work these days can be seen on utilitarian items such as bags, lampshades,

tablemats etc. Appliqué embroidery can also be seen on blouses, petticoats, gowns

and other garments.

ARIBHARAT

Aribharat is the highly ornamental form of embroidery, which is produced in the

Kutch region of Gujarat. This craft is named after ari, a hook that is plied from the

top and fed with silk thread from the bottom. The cloth to be embroidered is spread

out and stretched on a frame. Stitches are applied using the hook, to make loops,

which are similar to the chain stitch.

As cobblers (mochi) create this type of embroidery, it is also known as mochibharat.

CHIKANKARI

Chikankari is a fine and intricate shadow-work type of embroidery done by white

yarn on colorless muslins called tanzeb (tan meaning body and zeb meaning

decoration). The word 'Chikankari' according to one school of thought appears to

have had its origin in Persia, being derivative of chakin or chakeen. It may also be a

distorted form of the work chikeen or siquin, a coin valued at Rs. 4 for which the

embroidery was sold. Another explanation ascribes its origin to East Bengal where

the word Chikankari meant 'fine'.

The earliest reference in literature to Chikankari dates back to the 3rd century B.C. In

his records Megasthenes, a Greek traveler, had mentioned the use of flowered

muslins by the Indians.

Folklore attributes the origin of Chikankari to various sources. It is believed by many

craftsmen that a traveler while passing through a village near Lucknow asked for

water from a poor peasant. Pleased with his hospitality, the traveler taught him the

art of Chikankari that would never allow him to go hungry. The craftsmen believe

that the traveller was a prophet. Another story imputes its origin to Queen Noor

Jehan, who inspired by Turkish embroidery, introduced this needlework. The origin

of this craft is also ascribed to the harem's of Avadh's Nawab where a seamstress

from Murshidabad embroidered a cap for the Nawab to please him. Jealous of the

attention she received from the king, other inmates of the harem followed her and

thus the art of Chikankari was evolved.

http://www.india-crafts.com/state_specials/rajasthan_handicrafts/index1.html


CREWELWORK

A garment is liked by the people when it is undergone some elegant craftwork on it.

Embroidery is the finest craft that makes a cloth beautiful and attractive. India has

had a very old tradition of embroidery with varying styles in different nooks of

country. Crewelwork is one of such embroidery styles. It is said to be a thousand

years old technique of beautifying the wear ables.

Crewelwork is mainly a work of wool over the surface of cotton or linen. Craftsmen

need special crewel needles to carry out crewel embroidery. Besides, to create a

textual and colorful effect on the surface of the garment many different kinds of

embroidery stitches are used like couching stitch, split stitch, chain stitch and stem

stitch. An embroidery hoop or frame is required for the ultimate finish of

crewelwork.

Stylized flowers are the main motif used in crewelwork. The entire surface is not

covered and the background is left untouched. Woolen threads are used in

crewelwork. Crewelwork is not as colorful as chain stitch as only three or four colors

are used. Many home furnishing items like curtains, cushions, woolen floorings,

bedspreads and wall hangings look stunning after the crewelwork. Crewelwork is

popular craft form of Kashmir.

KANTHA

Kantha is the local Bengali tradition of embroidery, practiced by Bengali women in

their homes. The ground of the Kantha is made up of old cotton saris and old threads

are used. Small stitches are applied to create a series of dotted lines. On the reverse

of the cloth long, decorative floats are stitched, which are used for filling in motifs

and figures.

The surface is then profusely covered with needlework so that the old sari acquires a

new look as well as a new lease of life.

KARCHOBI

Rajasthan is also known for deft needlework. Karchobi, a form of raised zari metallic

thread embroidery is popular in here. It is created by applying flat stitches on cotton

padding. Karchobi work can be seen on bridal and formal costumes. It is also done

on velvet coverings, curtains, tent hangings and the coverings of animal carts and

temple chariots.

KATHI WORK

The nomadic (Rabari) tribes of Gujarat are known for their Kathi work, a type of

embroidery, which combines chain stitch along with appliqué work embellished with


small mirrors. As Kathi work is done on fabrics that are dyed in bright colours, the

garments and items made out are unique and display the folk flavour of rural

Gujarat. The womenfolk practice this craft.

KIMKHAB

The pattern in kimkhab looks as though embroidered on top of an already rich silk.

The silk fabrics have colored silk or gold threads interwoven to form the most

attractive designs. The gold thread is called kalabattu. It is a specially prepared

thread of silk with a metallic mounting of gilded silver. A thin bar of silver is beaten

and drawn through a succession of holes in an iron plate. Each hole is smaller than

the preceding one. This process is followed until a very fine wire is obtained. This

wire is slightly flattened and twisted spirally around the silk thread.

Kimkhabs were earlier made entirely from fine gold or silver threads. During the

17th, 18th and 19th centuries, some were set with precious stones, and were used in

making canopies and trappings as seen in the late Mughal paintings.

There are various grades for kimkhabs which are determined by the number of

kalabattu threads repeated in a given space. For example ekpara represents ten

kalabattu threads in a running inch. Similarly, there is dopara, tinpara, chaupara and

even chhapra.

PHULKARI

Sitting on the charpoys (beds woven with jute strings) pulled into the protective

shade of a tree, or ensconced against a wall, women in villages and small towns all

over Punjab are often busy creating spectacular flower-embroidery on dupattas,

shawls or other garments. Called phulkari in local parlance, the origin of this

beautiful art can be traced back to the 15th century AD.

The word phulkari literally means flowering. It is a form of craft in which embroidery

is done in a simple and sparse design over shawls and dupattas. In some cases where

the design is worked over very closely, covering the material entirely, it is called bagh

(a garden of flowers). A phulkari is sanctified to be used as the canopy over the holy

book of the Sikhs, the 'Guru Granth Sahib'.

For each different occasion, for each different setting, the versatile fingers and fertile

imagination of the women of Punjab designed an impressive selection of phulkaris.

SHEESHEDAR: MIRROR WORK OF GUJARAT

It has been truly remarked, "For the peasant women of Gujarat, a needle is her pen

with which she gives expression to her creativity and reiterates her relationship with

religion and nature."

http://www.india-crafts.com/state_specials/punjab_handicrafts/


One of the well- known crafts associated with embroidery is Sheeshedar or mirror

work, It is a highly intricate form of sewing mirror discs onto the fabric The art

supposed to have originated in Persia, dates back to the early 13th century. But not

much is known about it. Marco Polo, who came to India in the same century,

commented that the gold and silver embroidery in this region was more skillfully

done than anywhere else in the world.

The art of putting mirrors into the garments is usually combined with other forms of

embroidery. The communities who were already familiar with art of embroidery

incorporated this craft so as to add more effects to their designs.

The finest embroidery was brought to northern Kutch by the Jats of the Banni who

had immigrated from Baluchistan generations ago. Their work still retains the

Baluchi techniques and the same preference for small, intricate patterns, which are

fundamentally geometric in conception. Mirror discs are cut in the shape of petals

and leaves, and blended in designs of shimmering delicacy.

Bhuj, the capital of a small prosperous kingdom in the central provinces of Kutch,

was inhabited by mochis-cobblers or leather workers, by trade. It is not known when

they began practicing silk embroidery, but their work shows a maturity of style and

technique, indicating a well-established craft.

Their designs comprised the traditional floral motifs and were executed in two

alternating patterns on the hem of the ghaghrapat (skirt-cloth). Though the craft

centered primarily around Bhuj, some mochis moved to Kathiawar (Saurashtra), in

the 14th century and were employed by the Kathis, a land owning class.

SOZNI & CHAIN STITCH

Shawls from Kashmir are popular because of the embroidery done on them. The

craftsmen of Kashmir, to beautify shawls use different stitches. Sozni or fine

needlework is generally done on the side of the shawls. The value of the shawl is

determined by the amount and quality of the embroidery. The traditional Kashmiri

dress; Phiran is also endowed with rich embroidery. The finest embroidery from

Kashmir can be found on Pashmina shawls. Sometimes the entire surface of these

shawls is covered with fine embroidery.

Chain stitch is popular in Kashmir and is done using wool, cotton or silk thread. A

hook is used instead of a needle, as it covers more area than a needle. Embroidery is

done on a piece of plain white cloth and small stitches are used to create figures and

motifs in bright colours. The background is also made up of a series of embroidered

coin shaped circles, which add dynamism to the entire structure of the work. Chain

stitch is used to create chain stitch rugs or Gabbas.

http://www.india-crafts.com/leather/leather_crafts/


SUJUNI

Sujuni is the traditional form of embroidery from Bihar. Embroidery is done on a

fabric that is enforced with fine muslin. The base fabric is generally red or white. The

outlines of the main motifs are highlighted with thick chain stitch and the inner

spaces are filled with different coloured threads. Other motifs are filled with red

colour or the colour of the base fabric.

ZARDOZI

From the medieval times the art of Zardozi has flourished, reaching its zenith under

the patronage of Emperor Akbar. This gorgeous embroidery reveals artistic use of

laid stitch with golden thread. It can be seen in wall hangings, chain stitch on saris,

caps and other articles with heavy embroidery. As the embroidery is densely

performed, designs done are extremely intricate.

The gold wire known as zari is the thread used for zardozi embroidery. The making of

zari thread is a very tedious job involving winding, twisting, wire drawing and gold

plating of thread. The embroidery of zari zardozi is performed in a very interesting

manner. Gold wire is carefully revolved around a silver bar tapered at one end. Then

they are heated in furnace till gold and silver alloy is formed. The gilt wire, when

drawn through a series of holes made on steel plates, comes out glittering as gold.

The gold-coated silver wire is then flattened and twisted around silk thread to obtain

zari.

KATHI EMBROIDERY

Kathi embroidery, however, shows an entirely separate style from that of Bhuj. While

the floral patterns remained, the fillings were often in herringbone stitch (being

quicker than the chain stitch). The designs were figures and animal motifs adopted

from kathi art. Dominant motifs of flowers or peacocks were used and the

intervening spaces were filled with leaves and buds. Mirrors were used for

emphasizing the center of flowers, eyes of birds and animals.

OTHER STYLES

The commercial communities, of the southern and western districts of Kathiawar,

known as Mahajans, also produced a unique style of austere geometric embroidery. It

was worked in a monochrome of red or violet, in long darning stitches, which covered

the entire cloth. The sheen of silk was enhanced by mirrors at the intersection of the

motifs and on the main borders. White and cream threads emphasized the velvet-like

surface that created a double-tone effect. Because of the reflection of light by the

mirrors, the effect was enriching.


Bright yellow and orange decoration of the Kanbi community is another well-known

style. The difference lay in the size of mirrors. They used large mirrors, almost one

inch in diameter, framed in metal, for a bold effect.

The work of Ahirs, though not so popular, is finer and more elaborate. The motifs are

edged with running stitch-tanka in white thread. This not only highlights the motif,

but also gives it a sense of movement. The flowers surrounded in a circular fashion,

by mirrors, are reminiscent of many styles in Kutch.

Incredibly miniscule mirror embroidery was done on heavily encrusted yoke with

white thread, mingled with red, orange, blue and green, by the Garari Jat

community.

The Tharparkar district was renowned for its bold style. The entire pattern was

worked in open chain stitch and richly encrusted with discs of mirror glass, on coarse

cotton. It was also worked on printed and tie-dye cloth, forming patterned field.

Mirror work, however, was not just confined to Gujarat but also seeped into the

neighboring state of Rajasthan. In Rajasthan, the Harijans, originally weavers, use a

combination of cross stitch, satin stitch and buttonhole stitch, along with mirrors.

The cut and placing of embroidery and mirrors in a kanjri (a backless upper

garment), significantly identifies the wearer as married, betrothed or widowed. It is

not only popular in the local market, but also forms a bulk of the export to European

countries.

An interesting school of belief maintains that earlier mica was used instead of

mirrors. Later ornamental mirror shapes were cut out of an urn, blown out by a

mouth pipe. With the advent of modern machines, this ancient technique was soon

replaced by the manufacture of mirror sheets, which facilitated the craft to a great

extent. Most of the workers have now resorted to machine embroidery. Though hand

work is still done, it is increasingly difficult to produce commodities at prices

compatible with work done in modern conditions.


INTRODUCTION OF CHIKANKARI

The city of Lucknow has a prominent place in the history of India particularly for its

art, historical monuments and rich cultural heritage. The rulers of Awadh,

particularly the Moguls were very fond of art and cultural activities such as music,

poetry, architecture and handicrafts. Besides being famous for its hot summers and a

glorious past, Lucknow is also known the world over for its many fine Handicrafts.

Some of the most popular names in this list are Chikankari, Hand Block Textile

Printing, Zari Zardozi, Ivory or Bone Carving, Terracotta and many others that are

practiced by various artisans of Lucknow. Chikankari is considered to be the most

popular amongst these and is recognized worldwide.

HISTORY OF CHIKANKARI

Chikankari is a fine and intricate shadow-work type of embroidery done by white

yarn on colorless muslins. The word 'Chikankari' according to one school of thought

appears to have had its origin in Persia, being derivative of chakin or chakeen. It may

also be a distorted form of the work chikeen or siquin, a coin valued at Rs. 4 for

which the embroidery was sold. Another explanation ascribes its origin to East

Bengal where the word Chikankari meant 'fine'.

The Chikankari embroidery in India is

about 400 years old. It is believed that

this is a Persian Craft came to India with

Noorjahan, the queen of Jahangeer the

Mughal Emperor. At that time she and

other 'Begams' (wives) of mogul dynasty

practiced it for themselves and their

husbands.

The earliest reference in literature to

Chikankari dates back to the 3rd century

B.C. In his records Megasthenes, a Greek

traveler, had mentioned the use of

flowered muslins by the Indians.

ORIGIN OF CHIKANKARI

Folklore attributes the origin of

Chikankari to various sources. It is

believed by many craftsmen that a

traveler while passing through a village


near Lucknow asked for water from a poor peasant. Pleased with his hospitality, the

traveler taught him the art of Chikankari that would never allow him to go hungry.

The craftsmen believe that the traveller was a prophet. Another story imputes its

origin to Queen Noor Jehan, who inspired by Turkish embroidery, introduced this

needlework. The origin of this craft is also ascribed to the harem's of Avadh's Nawab

where a seamstress from Murshidabad embroidered a cap for the Nawab to please

him. Jealous of the attention she received from the king, other inmates of the harem

followed her and thus the art of Chikankari was evolved.

Chikankari flourished under the patronage of the rulers of Awadh. Later when the

capital of Awadh shifted to Lucknow from Faizabad, in the year 1722, the knowledge

of the craft came to Lucknow. It is informed that here the Mughals found the Hand

Block Printing skills that made it easier for them to practice this embroidery, as

earlier the tracing of design was very difficult. This availability of easy process of

drawing of base design encouraged them to teach this fine embroidery-work to their

Kaniz (servants), who in turn taught it to their other family members and gradually

this embroidery become a part time earning source of many women of rural areas.

TRADITION OF CHIKANKARI

The craft of Chikankari is quite distinctive and forms an integral part of life in

Lucknow. The fine needlework adorned the garments made from gossamer silk

fabrics and muslin for the ruling elite. The love and hard work of the artisans created

delicate designs on fabrics that was reminiscent of sheer grace. They captured the

beauty of intricate patterns of marble 'jaali' and inlay work of the Mogul period

monuments and developed this indigenous form of artistic embroidery called

Chikankari.

The tradition of Chikankari has come down from families who served the ruling elite.

The craftsmen with love and devotion worked on topi-palla or angarkha, for their

masters, creating designs that were unmatched in beauty. With the decline in

patronage, economic compulsions forced the men to look out for more lucrative

employment and the craft passed on to the womenfolk of the community, as a source

of subsidiary earning for the family. Gradually, it became the main source of earning

for the family.

In the beginning, the Mughals and Persians who settled in Awadh practiced &

patronized the craft but later on its touch and style were continued in Dhaka and

Bengal, mainly Calcutta where Navab Wazid Ali Shah of Lucknow remain in captivity

of British Rulers. Bengali work was mainly for the European market but no trace of it

remains today, either in Calcutta or in Dhaka.


In Lucknow, embroiderers used to work under the patronage of the local courts.

When these declined in the mid nineteenth century Chikankari-work changed from

professional activity of men to a cottage industry for women. Today, it is mainly in

the hands of rural Muslim women and is still a significant Industry in Lucknow.


STITCHES OF CHIKANKARI

Chikankari embroiders claim a repertoire of about thirty-two stitches, to which they

give delightfully fanciful names: Double-Star Earring, Peacock Feather‟s Eye. Some

of the names in their local language are; Sidhual, Makra, Mandarzi, Bulbulchashm,

Tajmahal, Phooljali, Phanda, Dhoom, Gol murri, Janjeera, Keel, Kangan, Bakhia,

Dhania Patti, lambi Murri, Kapkapi, Karan Phool, Bijli, Ghaspatti, Rozan, Meharki,

Kaj, Chameli, Chane ki Patti, Balda, Jora, Pachni, Tapchim Kauri, Hathkati & Daraj

of various types. Closer analysis reveals that many of these are different

combinations of the same few basic stitches.

Stitches employed in Chikankari are unique and can be divided into three categories:

Flat stitches, which are delicate and subtle and lie close to the surface of the fabric

giving it a distinctive textural appearance; Embossed stitches which are highlighted

from the fabric surface lending it a characteristic grainy texture and Jali work which

is the most striking feature of Chikankari embroidery and which creates a delicate

net effect. The fabric is broken into holes by 'teasing' the warp and weft yarns and

holding them in position by small stitches.

Chikan embroiders claim a repertoire of about forty stitches, to which they give

delightfully fanciful names : double-star earring, peocock feather's eye . Closer

analysis reveals that many of these are different combinations of the same few basic

stitches.

BASIC STITCHES

The Basic Stitches are 6 in number & all except one are common to other forms of

embroidery. They are tepchi, bakhia, shadow, hool, zanzeera, rahet, banarsi which

has no European equivalent.

TEPCHI : Running Stitch. Outlines are worked with it.

BUKHIA : Herringbone stitch done on wrong side, giving a shadow effect.

PECHANI : Its a variation of running stitch.

KHATAO : Flat style of chikankari. Very minute applique .

MURRI : Knotted style of chikankari. It is a rice shaped stitch produced by satin

stitch.

PHANDA : Resembles millet and gives a raised effect . It is a French knot.

JALI WORK : Gives an effect of open mesh or net like appearance . Produced by

pushing hard the warp and weft threads that are held by button hole stitch.


DHOOM : Its a flat style of chikankari.Very similar to Sidhi Bhakia except that it is

much closer packed and there is more criss-crossing of individual threads.

Some other stitches are Ghasphool, Katbalda, Channa ki Patti, Kangan, Bijli, Gitti,

Janjira, Kamdani, Back stitch etc.

Derivatives :

These are 5 in number four based on tepchi & one on rahet. They are known as tepchi

pechni, pashni, cutting or cutwork, balda & dohra bakhia.

Murri Work

A major feature of chikan is the use of a specific formation of stitchery which in itself

creates a small embossed leaf or petal. There are 7 such stitches known as phunda,

mundi murri, Nukili murri ,mur mora, kauri, boot patti,chikan ki ghans.

Pulled work (Jali)

The pulled work stitches of chikan are all worked from the back of the fabric with a

fine string thread able to withstand tension . This is usually drawn from the selvedge

of the fabric.

Applique (Khatao)

A rare & very difficult technique of chikan is the applique work known as khatao.

Two pieces of line cotton are superimposed & the edges of the minute design are held

by tiny hem stitches . The top layer is then cut away , leaving the pattern in double

fabric . This is used as the sole technique in some work or when combined with

stitchery for seams


PROCESS OF CHIKANKARI

The Chikankari industry has five main processes namely cutting, stitching, printing,

embroidery, washing, and finishing. Cutting is carried out in

the lots of 20-50 garments. The layouts are done to minimize

wastage of materials. Stitching, often done by the same person,

may be 'civil', done exclusively for higher priced export orders

or 'commercial', which is done for cheaper goods. Printing is

carried out by the use of wooden blocks dipped in dyes like

neel and safeda. After this, the fabric is embroidered by

women. The last process, which is washing and finishing, takes

about 10-12 days. This includes bleaching, acid treatment, stiffening, and ironing.

The most common motif used is that of a creeper. Individual floral motifs may

embellish the entire garment or just one corner. Among the floral motifs

embroidered, the jasmine, rose, flowering stems, lotus and the paisley motif are the

most popular.

In recent years, the beautiful and wide variety of stitches and designs that were on

the decline, have been revived. Concerted efforts by government and various private

organizations have paid off and today the art of Chikankari is flourishing, enriching

both the domestic and export market.

CHIKANKARI is an art, which results in the transformation of the plainest cotton

and organdie into flowing yards of magic. The word “Chikan” steps from a Persian

word derived from Chic, which referred to the 'jali' work done on marble or wood. It

is also famous as “shadow work” or “white embroidery work”, traditionally practiced

in the city of Lucknow and its environs.

Traditional Chikankari was embroidered on Muslin with a white thread. Gradually

the work was started being done on other fabrics like Organdie, Malmal, Tanzeeb,

Cotton and Silk. Presently all types of fabrics, namely Voil, Chiffon, Lenin, Rubia,

Khadi, Handloom cloth, Terry Cotton, Polyester, Georgette, Terry voil etc are used in

Chikankari Embroidery. The pattern is Block Printed on de-starched fabric using

temporary (not fast) dyes. Chikankari is something like unity in diversity i.e. it

includes some simple and complex stitches giving it an effect which is simple, gentle

and delicate. These days Chikankari work is done on variety of items such as Saris,

Suits, Kurtas, Home Furnishing items etc.


PROCESS FLOW CHART

FOR STITCH ITEMS FOR UNSTITCH ITEMS

CLOTH CLOTH

CUTTING CUTTING

STITCHING

PRINTING PRINTING

EMBROIDERY EMBROIDERY

JALI WORK JALI WORK

FINAL STITCHING PICO

WASHING WASHING

PRESSING PRESSING

FINISHING FINISHING

FINAL PRODUCT FOR SALE FINAL PRODUCT FOR SALE


CRAFT MAP OF INDIA


MAP OF UTTAR PRADESH


MAP OF LUCKNOW DISTRICT


ABOUT LUCKNOW DISTRICT

EVOLUTION OF NAME

Avadh is claimed to be among the most ancient of Hindu states. According to popular

legend, Ramchandra of Ayodhya, the hero of the Ramayana, gifted the territory of

Lucknow to his devoted brother Lakshman after he had conquered Sri Lanka and

completed his term of exile in the jungle. Therefore, people say that the original

name of Lucknow was Lakshmanpur, popularly known as Lakhanpur or

Lachmanpur.

GEOGRAPHY

Lucknow, the capital of Uttar Pradesh is situated 123 Mts. above sea level. It is

situated on 26.30 & 27.10 North latitude and 80.30 & 81.13 East longitude. Lucknow

covers an area of 2528 sq. km. It is surrounded on the eastern side by District

Barabanki, on the western side by district Unnao, on the southern side by Raebareli

and on the northern side by Sitapur and Hardoi districts. Sai river flows from the

south of the city and in the east enters district Raebareli. Lucknow is accessible from

every part of India through Air, Rail and Road. It is directly connected with New

Delhi, Patna, Calcutta, Mumbai, Varanasi and other major cities by Amausi airport.

Similarly city is linked to north, east, south and west through rail and road links.

Infect rail link joins Lucknow to Pakistan via Amritsar in the west and to Bangladesh

railways in the east. The population of district Lucknow as per census 1991 is

27,62,801 lacs.

CLIMATE, FLORA FAUNA

District Lucknow has almost uniformed tropical climate. The temperature varies

from 45 celcius maximum in summer to 5 celcius minimum in winter season.

Rainfall is 100 cm. per annum. The forest area is negligible in the district. Shisham,

Dhak, Mahua, Babul, Neem, Peepal, Ashok, Khajur, Mango and Gular trees are

grown here. In fact different varieties of mangoes specially Dashari are grown in

Malihabad block of the district and exported to other countries too. The main crops

are wheat, paddy, sugarcane, mustard, potatos and vegetables such as cauliflower,

cabbage, tomato, brinjals are grown here. Similarly sunflowers, roses, and marigold

are cultivated on quite a large area of the land. Apart from this many medicinal and

herbal plants are also grown here.

CRAFTS CULTURE & CUISINE OF LUCKNOW

Lucknow, the golden city of the east' retains an old world charm that fascinates one

and all. Regarded as one of the finest cities of India, Lucknow emanates a culture


that combines emotional warmth, a high degree of sophistication, courtesy and a love

for gracious living. This sublime cultural richness famous as 'Lucknowi Tehzeeb'

blends the cultures of two communities living side by side for centuries, sharing

similar interests, speaking a common language -Urdu. Many of the cultural traits and

customs peculiar to Lucknow have become living legends today. The credit for this

goes to the Nawabs of Awadh, who took keen interest in every walk of life and

encouraged them to attain a rare degree of perfection

CRAFTS OF LUCKNOW

For centuries Lucknow has been famous for its various handicraft works. The

Nawabs of Awadh were great patrons of fine arts of which the most well known is the

exquisite Chikankari work. In Lucknow the main concentration of Chikankari work is

to be found in the chowk locality and Daliganj. Besides Chikankari work the Zardozi

and Kamdani works of Lucknow are also appreciated far and wide.

These hand embroidery works with gold and silver thread are done on sarees,

dupattas, lehengas, cholis, caps, shoes etc. From time immemorial Lucknow is

known for its jewellery and enamelling work.

Exquisite silverwares like bowls, tea-sets, salt cellars with patterns of hunting scenes,

snakes and roses are very popular. The Bidri and Zarbuland silver works of Lucknow

find expression on excellent pieces of huqqa farshi, jewel boxes, trays, bowls, cuff-

Iinks, cigarette holders, etc. Life-like ivory and bone carvings from Lucknow with

motifs of flowers, leaves, creepers, trees, birds and animals are widely appreciated.

The master craftsmen create intricate items like knives, lamp shades, shirt pins and

small toys. In fact the ivory works from this city continue to find a place at museums

and private collections of connoisseurs Fine pottery from Lucknow is yet another

work of art that has captured the imagination of the consumers. The long necked

water pitchers and huqqa farshi are very popular. 'Attar' (Itr) or perfumes which

were introduced in India by the Muslims, reached a new height in Lucknow. From

the 19th century the Lucknow perfumers experimented and succeeded in making

attar with delicate and lasting fragrances Created from various aromatic herbs,

spices, sandal oil, musk essence of flowers, and leaves the famous Lucknowi

fragrances are khus, keora, chameli, zafran and agar. Apart from perfumes, Lucknowi

Paan, Zarda and Khamira produced by the local tobacconists are hot favorites among

consumers. Another craft that has reached a high level of artistry in Lucknow is Kite

making. Although Kite making is popular throughout India, this activity has attained

perfection only in Lucknow. Under Nawabi patronage this form of art flourished in

Lucknow and different types of Kites and flying strings were developed. Besides these

well known craft works, mention must be made to some other flourishing crafts like


gota weaving, dyeing and calico printing, silver varq making, woodworks and tazia

making. Beautiful tazias of zari, gold and silver paper are made by master craftsmen

to mark the solemn occasion of Moharrum. All in all, with these multifarious craft

specialties Lucknow promises to be a shoppers' delight that's hard to resist. In their

own distinctive wav these crafts have provided employment to thousands, delighted

many more and continues to keep alive the invaluable traditions of a magnificent

city.

CULTURAL RICHNESS OF LUCKNOW

'Lucknow', this name is synonymous with architectural beauties of 'Lakhauri' bricks,

the fragrance of 'itra', musical notes, the sound of dancers' trinklets, the sweetness

of 'dussheri' mangoes, 'malai' and 'gulab revadis', and of course its 'Mehman Nawazi'.

Known for its refinement in speech, entertainment, dresses and manners, Lucknow

is also called the 'City of Adab'. Infact, it is here that one can experience hospitality in

the true sense of the term. Various cultural ingredients have contributed to the

richness of this unique city. Mention must be made of the Urdu language. Gazals,

Shairi, expressive dance forms, colourful festivals, buzzing chowks and various

exciting games like Patangbazi, Baterbazi & Kabutarbazi

Lucknow became the focal point of a cultural renaissance with the shifting of capital

from Faizabad to Lucknow in 1776. Under royal patronage Kathak, Thumri, Khayal,

Dadra, Gazals, Qawalies and Sher-o-Shairi reached their zenith point. As a centre of

Islamic learning Lucknow witnessed the formation of Lucknow school of poetry

under renowned poets like Anes, Dabeer, Imam-Buksh 'Nasika', Mirza Mohd. Raza

Khan Burq, Atish, Mirza Shauq Asar, Josh and others. Apart from Gazals, another

form of long narrative poem for which Lucknow is famous is Masnavi. Elegy writing

in Urdu also reached a new height through the three forms-'marsiyas'*. 'salams'* and

'nauhas'*. Urdu as a language attained a rare degree of perfection in Lucknow and

slowly Lucknow emerged as a cradle of unforgettable gazals, masnavi, elegy, hazal*

and dramas.

Nawab Wajid Ali Shah, himself composed a number of songs and dramas under the

pen name of, 'Akhtari Pia'. Of the famous Indian dance styles kathak is closely

associated with Lucknow.

This devotional dance stvle of pre-Mughal days was transformed into a highly

eclectic dance form under the patronage of the Nawabs of Awadh. Pandit Iswari

Prasad Mishra of Handia is said to be the founder of the Lucknow gharana of Kathak.

The Kathak school founded by him was perfected by his sons Thakur Prasad, Durga

Parsad. Bindadin. Kalka Prasad and the three sons of Kalka -Achchhan Maharaj,


Lachchu Maharaj and Shambhu Maharaj. Today Pandit Birju Maharaj is the living

doyen of this glorious house of Lucknow

Turning to the festivals that make, Lucknow one-of-a-kind, mention must be made to

the Moharrum festival. Commemorating the death of Imam Hussain, Moharrum

witnesses emotional processions of tazias (models of Imam Hussain's mausoleum at

Karbala, Iraq) & Alam's.

Not only festivals, the people of this beautiful city 'indulge in various exciting

contests that have come down from the time of the Nawabs. Kite flying is one such

sport. Kites of different shapes, sizes, colours take to the skies leading to all round

excitement and enjoyment. The art of training pigeons which was perfected by the

nobility of yesteryears is prevalent even today. The pigeon flying event is yet another

exciting game that is eagerly awaited. No account of Lucknowi culture is complete

without a mention of the famous 'Chowk' of Lucknow.

The term 'Chowk' has become synonymous with Lucknow. 'Chowk' has played a vital

role in the development of the Lucknowi culture. It is the pivotal point around which

the traders, engravers, painters. artisans, weavers, singers and nautch girls

flourished and grew. This main bazar of yester years has not changed much. but

transformation is there. Its humming and lively characteristics represent Lucknowi

culture in its modern day context.


DETAILS OF LUCKNOW DISTRICT

PARAMETERS PERIOD DESCRIPTION

Geographical Area 1990-2000 2528 Sq. Km.

Population 1991 2762801 Lakhs

Literacy Rate 1991 57.5 %

Sex Ratio (No. per 1000 Male) 1991 827

Population Density 1991 331 Per Sq. Km.

Tehsils 1991 4

Community Blocks 8

Township 10

Ward 1999 110

Villages 823

Gram Sabha 658

Nyay Panchayats 97

Electrified Villages & Hutments 1408

Educational Institutions

Junior Basic School 1999 1520

Senior Basic School 1999 375

Higher Secondary School 1999 121

Degree Colleges 1999 20

Govt. Degree Colleges 1999 2

Universities 1999 2

Polytechnic 5

Industrial Training Institute 2

DIET Sanik Vidyapith 1999 2

Literacy Rate

Male 66.5

Female 46.9

Rural

Male 48.6

Female 19.05

Urban

Male 76.8

Female 62.4

School Complexes 991

Non formal Education Centres 600


IMPORTANT FEATURES OF THE CLUSTER

BIGGEST ARTISAN BASED CLUSTER

Chikankari embroidery in Lucknow is the biggest artisan cluster of India. There are

about 2.5 lacs artisans of hand embroidery associated with this cluster. These

artisans reside in District Lucknow and adjoining 7 districts.

Apart from this, the artisans from other fields such as Cutting, Stitching, Hand Block

Textile Printing, Jali work and Washer men are also a part of this cluster. The total

number of artisans associated with Chikankari Embroidery Cluster, other than

Chikankari artisans, is about 5000.

GEOGRAPHICAL COVERAGE

The artisans of Chikankari Embroidery are scattered in the villages of Lucknow and

other near by districts in a radius of about 125 K.M. The districts covered are Unnao,

Barabanki, Lakhimpur, and Hardoi etc. Some other villages where one can find few

artisans of Chikankari are RaiLucknow, Sultanpur and Faizabad.

RURAL WOMEN BASED ARTISAN CLUSTER

The embroidery artisans of this cluster are mainly from rural areas. They are mostly

housewives doing this work as their part time job. In most cases it is also their only

source of their personal income.

PROVIDING EMPLOYMENT TO MANY NON ARTISANS

This Chikankari Embroidery is not only providing employment to about 2.5 lacs

artisans of different crafts but people from non-craft base are also earning their

livelihood by associating

themselves with this craft.

Expected number of non-artisan

persons getting their bread and

butter from this craft is about

10000. They may be contractors,

manufacturers, retailers, raw

material providers or employee

with manufacturers.

A lady doing Chikankari


KEY MILESTONES & PERFORMANCE OF THE

LUCKNOWI CHIKANKARI EMBROIDERY CLUSTER

TILL 1860

Till 1860 this artistic embroidery was the craftsmanship of the ladies of royal mogul

families. The products were in use by royal family members only.

FROM 1860 TO 1947 (Till the time of India-Pakistan partition)

After 1860 till 1947, the only commercial product was TOPI PALLA. The main buyers

were of Muslim Community and main markets were Dhaka (now in Bangladesh) and

some areas that are now in Pakistan, Hyderabad and Lucknow. In this decade the

business was in good condition. Few manufacturers were catering to the entire

market.

After 1947 till 1970

After partition the main markets of Topi Palla of Chikankari Embroidery were not

easily accessible because they became foreign markets for Indians. It forced the

manufacturers to develop new products and they started producing Gents Kurta and

after that Saris.

From 1970 to 1990

Some manufacturers started manufacturing Ladies Suits (with or without dupattas)

and even Luncheon sets. But this period is also seen as the worst period of

Chikankari embroidery. Because of producing only lower value products, consumers

started using the products as night wear.

1990 to 1999

This period can be referred to as the Golden Period of this cluster. New products,

such as Suit lengths were developed and manufacturers started producing high value

products. In this era new entrepreneurs with high ambitions entered the field and

started manufacturing good quality products. Some reputed fashion designers also

included Chikankari Embroidery in their samples and catalogues which highlighted

the Chikankari at national and international levels.

1999 to Till Date

Introduction of work on Georgette has kept the manufacturers in business. An

overall general business slump in the economy has been affecting this cluster also

and a decline in turnover has been observed. Sudden changes in fashion also

adversely affect the performance of this industry, as the manufacturers are not able


to cope with the changes. But nevertheless this era gave Chikankari products a good

advertisement through media especially T.V serials and films.

07-12-2007

Lucknow Chikan Craft get the protection under Geographical Indication of Goods

(Registration and Protection) Act 1999 and Registration under Geographical

Indication has been awarded for Lucknow Chikan Craft (GI No. 119) by the Registrar,

Geographical Indication Registry, Chennai. With due course of time this protection

will help the artisans & manufacturers of the cluster to present their products as a

brand in the domestic and foreign market. Also it will restrict the persons to imitate

the art or sell any other products with the name of Lucknow Chikan.

There are four registered proprietors of this patent registration


SUPPORT ENVIRONMENT

SUPPORT INSTITUTIONS

NON GOVERNMENT ORGANISATIONS

There are many NGOs working for welfare of artisans in the cluster. They are

implementing various schemes of Central or State Government Departments. These

NGOs have established Craft Development Centers in the area, which directly helps

the artisans. One very prominent NGO who has done significant work in field of

Chikankari Embroidery in the nineties decade was SEWA (Self Employed Women's

Association). Other NGOs are also working in the cluster with help of O/o the

Development Commissioner (Handicrafts).

TRANSPORTERS AND CARGO SERVICE PROVIDERS

There are many transporters and Cargo Management Service providers. Usually

manufacturers of the cluster prefer to send their parcels (Domestic) by Gati or SEF

Express cargo management services. International Airport at Lucknow has cargo

dispatch facility, which can be very useful for exports. Container depot for exporting

goods is also there in Kanpur just 80 KM from Lucknow. For sending samples and

materials to abroad International Courier Services such as DHL is also available in

Lucknow.

CENTRAL GOVERNMENT INSTITUTIONS

HANDICRAFTS MARKETING AND SERVICE EXTENSION CENTER,

BARABANKI, O/o the Development Commissioner (Handicrafts)

This is the grass root office of the Development Commissioner (Handicrafts) under

Ministry of Textiles, Government of India. The main aim of the Office of

Development Commissioner (Handicrafts) is to uplift the economic & social

conditions of the handicraft artisans. It provides assistance directly to artisans for

conducting training and also provides direct marketing outlets through various Craft

Bazaars, National Craft Fairs and other small exhibitions. They also run many

schemes through various NGOs.

In the Chikankari Embroidery Cluster, there are three Craft Development Centers

that are established by NGOs under sponsorship of the DC (Handicrafts). For

publicity of Chikankari Embroidery, this office has also sponsored two-three

catalogues.

Despite the scope of direct marketing of products through this office, very few

artisans of Chikankari Embroidery have got themselves registered as artisans with


this office. Only 8000 artisans of different places are registered with this office out of

which only 6000 have received Identity Cards.

SMALL INDUSTRIES DEVELOPMENT BANK OF INDIA (SIDBI)

SIDBI has its head office at Lucknow and provides credit under Micro Finance Credit

Scheme to NGOs who then sublet it to artisans for working capital. They also have

some other schemes for artisans and manufacturers.

NATIONAL COOPERATIVE DEVELOPMENT CORPORATION, LUCKNOW

NCDC has the main agenda of providing support to cooperatives in India.

EXPORT PROMOTION COUNCIL FOR HANDICRAFTS (EPCH), New Delhi

The Ministry of Textiles, Government of India, sponsors the EPCH council. Their

main aim is to promote export of handicrafts from India. They undertake many

activities for export promotion of handicrafts like participation in national and

international fairs, organising buyer sellers meet, trade delegations, seminars &

workshops and publications etc.

APPAREL EXPORT PROMOTION COUNCIL (AEPC)

The prime objective of the Council is to promote and regulate the growth of export of

readymade garments from India and to project India‟s image as a reliable supplier of

high quality readymade garments and services.

HANDLOOM & HANDICRAFT EXPORT PROMOTION CORPORATION, New

Delhi

A Central Government body that works for promotion of Handicrafts & Handlooms

through promoting participation of artisans and manufacturers in national and

international trade fairs.

INDIAN TRADE PROMOTION ORGANISATION (ITPO), New Delhi

This is the nodal agency under the central Government that works to develop and

promote Indian exports in general. They also assist in upgradation of technology

through participation in fairs held in India and abroad. They undertake publicity of

Indian products through print & electronic media. ITPO is also running a Trade

Information Center, which is engaged in procuring, processing and disseminating

trade related information on all aspects of international trade for all commodities.


STATE GOVERNMENT INSTITUTIONS

DISTRICT INDUSTRIES CENTER (DIC), LUCKNOW

This centre functions under the Director & Commissioner Industries, Government of

Uttar Pradesh, Kanpur. It is the main coordinator between other Government offices

and artisans. It recommends names of enterprises for various exhibitions, bank-

financing, State /National Awards for master craftsmen. It also implements the

Prime Minister Rozgar Yojana for benefit of unemployed persons. The centre also

provides Small Scale Handicraft Industry registration to Manufacturers of the area.

Besides, a Central Design Center (CDC) & Craft Museum was also setup under the

DIC of Lucknow. CDC is closed and in Craft Museum articles are getting dust because

of no proper attention taken by state govt.

EXPORT PROMOTION BUREAU, U. P., LUCKNOW

In 1999 the Export Promotion Bureau was formed under the Ministry of Small Scale

Industries in U.P. The main functions of the bureau are monitoring and

policymaking of export. It also provides Marketing Development Assistance to small

exporters in form of grants under different schemes. There are very few

manufacturers/ Traders of Chikankari Embroidery products in the total list of

members of Export Promotion Bureau. Out of these only four are actual exporters.

Others are not even having any proper manufacturing or trading units.

U. P. TRADE PROMOTION AUTHORITIES, KANPUR

The basic aim of this office of the Government of Uttar Pradesh is to promote

tourism of state but it also gives an exposure to the craft and culture of state through

organising festivals, publicity catalogues and website.

U P TRADE PROMOTION AUTHORITIES, KANPUR

Established under Commissioner Director of Industries, Government of Uttar

Pradesh (UP), the organisation is making efforts for promotion of trade from UP. It

organises fairs and exhibitions of different product groups. It is also responsible for

setting up the U.P. Pavilion of Pragati Maidan, New Delhi for advertisement and

marketing of products manufactured in the state. It also participates in international

fairs.

FINANCIAL INSTITUTIONS

There are many banks in the area but very negligible amount has been given as

finance to the manufacturers of Chikankari Embroidery goods. A total Rs.5 Crores

has been financed till now to about 300 manufacturers and that too mainly as a

working capital loan.


PRODUCTS OF THE CLUSTER

The entrepreneurs of the Cluster produce various items to fulfill the need of the

market

SAREE DRESS MATERIAL

LADIES SUIT LADIES TOP


GENTS KURTA GENTS SHORT TOP

KIDA WEAR GENTS SHIRT


FURNISHINGS


VALUE CHAIN ANALYSIS

As we can see in the production process chart, chikankari embroidery has many steps

of production. Every step is performed by separate artisans who have expertise in

that art. Here we will first elaborate the value chain of some chikankari products in

accordance with the steps of production then we will analyse the value chain.

Ladies Suit Length Length 7.50 Mt. Terry Rubbia

Raw Material

Terry Rubbia Shirting 7.50 mt. @ Rs. 38.00 per mt.

Printing Cost

22.00 per pcs.

Cost of Thread 5 Lachchi @ Rs. 45 per Lachchi

Job Work Charges for Embroidery

Rs. 650.00 per pcs.

Jali Making Charges

Approx Rs. 1.00 per Jali

Average 18-20 Jali on 1 Pcs.

Cost of finishing

Including Ironing

Over Head Expenses Rs. 25.00

Total Cost Rs. 1262.00

Sale Price Rs. 1525.00

Manufacturer‟s margin Rs. 263.00

Raw Material

Rs. 285.00

Printing

Rs. 22.00

Cost of Thread

Rs. 225.00

Embroidery Charges

Rs. 650.00

Jali Making Charges

Rs. 20.00

Finishing Cost

Rs. 35.00

Sale Price

Rs. 1125.00


Ladies Suit Length Length 7.50 Mt. Terry Rubbia

Item Qty. Rate

(in Rs.)

Amount

(in Rs.)

Percentage

Raw Material, Terry Rubbia Shirting

7.50 mt. 38.00 per mt. 285.00 22.58%

Printing Cost 22.00 per pcs. 22.00 1.74%

Cost of Thread 5 Lachchi 45 per Lachchi 225.00 17.83%

Job Work Charges for Embroidery

650.00 per pcs. 650.00 51.51%

Jali Making Charges Average 18-20 Jali

on 1 Pc.

1.00 per Jali 20.00 1.58%

Cost of finishing 35.00 per pcs. 35.00 2.77%

Over Head Exp. 25.00 1.98%

Cost of product 1262.00

Manufacturers Sale Price 1525.00 20.84%

Retailers Sale Price 2050.00 34.43%


ANALYSIS OF BUSINESS OPERATIONS IN THE CLUSTER

AVAILABILITY OF RAW MATERIAL

The basic raw material for manufacturing of Chikankari Embroidery products is

cloth, which is easily available in India. Terry Rubia, Cotton, Georgette, Silk, Jute

Cotton, Cot-silk are various varieties of cloth which are used in chikan garments.

Availability of various varieties of clothes in the market provides manufacturers

opportunities to produce many varieties of products.

SUBCONTRACTING OF PRODUCTION PROCESS

In manufacturing of Chikankari Embroidery goods, the usual procedure followed is

of subcontracting the work of different process.

Contractors are hired on per piece basis to complete the different process who

usually distributes the items to artisans. Embroidery artisans usually work from their

own place and for other process of production such as cutting, stitching, printing

these contractors, who are master of these works hire some other people to get the

work complete at their place.

Some manufacturers, especially who are involve in direct or indirect exports, have

also started in-house process of manufacturing to ensure the quality control.

NO DESIGNER INPUT

Initially Chikankari garments were not having any place in fashion industry but as

the time changed Chikankari Embroidery dresses are now treated as fashion

garments. But still manufacturers do not prefer to take services of designers for

product designing or for development of new products.

All the designing work is carried out by the manufacturer himself, either by copying

designs from fashion catalogues or by ideas imparted by buyers.

LENGTHY PRODUCTION TIME

As Chikan Embroidery itself is a art which need skill and devotion of time, normally

about 3-5 months time is required for production of Chikankari Embroidery

products.

Sometimes for products having heavy intricate embroidery designs the production

time extends up to 7-8 months.


NO REGULAR WORK TO ARTISANS

The Embroidery artisans are not directly related to the Manufacturers for work. One

contractor of the area procures the work from the manufacturers and distributes it to

the artisans. Artisans are totally dependent on the contractor who usually exploits

them. Artisans do not get regular work and payment from the contractor as well as a

good share of the jobwork charges are being kept by these contractors as their profits.

VERY LESS WAGES TO ARTISANS

Due to the job distribution by the contractor, the artisans who are the actual masters

of the art do not get their due wages. The normal earning of an artisan is just Rs. 15/-

to 40/- per day. Very few artisans of high skills get Rs. 60/- to Rs. 80/- per day.

BED WORKPLACE CONDITIONS OF ARTISANS

The condition of workplace of the artisans is very bed. Usually they do work at their

home during their regular household work. The Kachaa Mud House give mud stains

to the piece. The unhygienic condition of the workplace adversely affects the health

of the artisan.

ABUNDANCE OF ARTISANS OF ONLY 4-5 STYLES OF STITCHES

Most of the artisans in the cluster are specialized in only 4-5 stitching styles of

Chikankari. It is easy to find products with embroidery forms of Bhakiya, Funda,

Tepchi and Sidouli Zali but very difficult to get the other styles such as Murri, Keel-

kangan, Hathkati.

SPECIALIZATION IN PRODUCT MANUFACTURING

In this cluster usually manufacturer has a specialization in manufacturing one or two

products. Some are only manufacturing Ladies suits while some only produce saris.

Even specialize manufacturing of value wise products is also clearly visible in the

cluster.

Manufacturers of the cluster can also be differentiated as producers of Low range,

Medium range or High range products.

ESTABLISHMENT OF EMBROIDERY CENTERS BY

MANUFACTURERS

Some manufacturers have established their embroidery centers in villages where they

provide work to a group of artisans and make them payment on monthly basis

instead of the regular job work pattern. Here they have a good control on the quality

of embroidery.


UNDERCUTTING PRACTICE AMONG MANUFACTURERS

A majority of manufacturers are involved in producing low priced products, so that

they make quick profits. As a result they compromise on quality of Chikankari work

and indulge in unhealthy practice of undercutting.

NO AWARENESS ABOUT GEOGRAPHICAL INDICATION

REGISTRATION OF LUCKNOW CHIKAN CRAFT

Registration under Geographical Indication has been awarded for Lucknow Chikan

Craft (GI No. 119) by the Registrar, Geographical Indication Registry, Chennai under

Geographical Indication of Goods (Registration and Protection) Act 1999. A logo of

GI of Lucknow Chikan Craft has to be designed and registered which will be used as

trade mark by all the Authorised Users.

For implementation of this Intellectual Property Right Registration there is a vast

need for generating awareness among all other cluster actors and stake holders

regarding this Geographical Indication Registration of Lucknow Chikan Craft and

motivate the manufacturers of Lucknow Chikan Craft to get themselves registered as

Authorised User of GI of Lucknow Chikan Craft.

Manufacturers and artisans of Lucknow Chikan Cluster are not aware about the

Geographical Indication Registration of Lucknow Chikan Craft and advantage of

becoming its Authorised User.


ASSESSMENT OF ORGANISATIONAL LINKAGES IN THE

CLUSTER

NO ASSOCIATION OR FORUM OF SMEs IN THE CLUSTER

Although there are so many manufacturers in the Chowk Area, the main market of

producers of Lucknow, yet they have not formed any association or forum. Years

back some manufacturers had tried to form an association but it was not successful.

Very recently it has been reactive due to the excise problem. At that time two

associations of manufacturers got registered under Societies Registration Act. One is

„Lucknowi Chikankari Handicrafts Manufacturers Association and second is

„Lucknow Chikankari Manufacturers Association‟. But due to some management

issues the first one has not been renewed and not in existence at present.

NO PROPER LINKAGE AMONG MANUFACTURERS

There is no proper coordination or linkage among manufacturers for any process of

business. Because of fear of duplication of product design, they avoid discussing their

ideas with each other. No consortium or network type activity is in practice in the

cluster.

NO DIRECT RELATION BETWEEN ARTISANS AND

MANUFACTURERS

As the artisans of Chikankari Embroidery are mostly residing in rural areas and are

unorganised therefore they are not directly related to the manufacturers. The

contractors of the area come to Lucknow and contact the manufacturer for work.

Afterwards he sublets the work to the rural artisans. Manufacturers feel ease in this

process, as they have to deal only with one person i.e. the contractor and not with a

group of artisans.

MANY NGOs REPRESENTING ARTISANS OF THE CLUSTER

In the cluster there are many NGOs working for welfare of Handicraft Artisans. Some

of them are formed by artisans of Chikan Craft.

WEEK ASSOCIATION BETWEEN REGISTERED PROPRIETORS OF GI

It is almost 3 and half year now but due to very week association between registered

proprietor of GI of Lucknow Chikan Craft, they have not made any joint efforts for

implementation of GI in the cluster.


CLUSTER MAP (Pre Intervention)

MA

NU

FA

CT

UR

ER

AT

LU

CK

NO

W

Printers

Washer man

Jail artisans

Raw Material

Traders

Exhibitions/ Craft Bazaars of O/o the DCH

Retailers in

different cities

Exporters

Banks/SIDBI/

NABARD

Office of the DC (Handicrafts)

Apparel Export

Promotion Council

NGO

EMBROIDERY

ARTISANS

Fashion Designers

Export Promotion

Council for Handicrafts

Marketing Consultants Chartered Accountant

/Tax Consultant

Thread

Suppliers

DIC DRDA

Note : Lines Between Boxes represents the linkage between the cluster actors & stockholders,

the dotted lines tells that the linkage is very week. The boxes in dotted lines represents that

the stockholders has no involvement in the cluster.


CLUSTER MAP (Post Intervention)

MA

NU

FA

CT

UR

ER

AT

LU

CK

NO

W

Printers

Washer man

Jail artisans

Raw Material

Traders

Exhibitions/ Craft Bazaars of O/o the DCH

Retailers in

different cities

Exporters

Banks/SIDBI/

NABARD

Office of the DC (Handicrafts)

Apparel Export

Promotion Council

NGO

EMBROIDERY

ARTISANS

Fashion Designers

Export Promotion

Council for Handicrafts

Marketing Consultants Chartered Accountant

/Tax Consultant

Thread

Suppliers

DIC DRDA

Note : Lines Between Boxes represents the linkage between the cluster actors & stockholders,

the dotted lines tells that the linkage is very week. The boxes in dotted lines represents that

the stockholders has no involvement in the cluster.


INTER-FIRM MATRIX (Pre – Intervention)

Note: L - Low, M - Medium, H – High

Art

isa

ns

KV

IC

DIC

Off

ice

of

the

DC

(H)

DR

DA

Ba

nk

s /

Fin

an

cia

l In

stit

uti

on

s

NA

BA

RD

Tec

hn

ica

l In

stit

uti

on

s

Des

ign

ers

Ma

chin

ery

su

pp

lier

s

Ra

w m

ate

ria

l S

up

pli

ers

Artisans - L L L L L L L L L L

KVIC L - L L L L L L L L L

DIC L L - L L L L L L L L

Office of the DC(H) L L L - L L L L L L L

DRDA L L L L - L L L L L L

Banks / Financial Institutions L L L L L - L L L L L

NABARD L L L L L L - L L L L

Technical Institutions L L L L L L L - L L L

Designers L L L L L L L L - L L

Machinery suppliers L L L L L L L L L - L

Raw material Suppliers L L L L L L L L L L -


INTER FIRM MATRIX (Post – Intervention)

Art

isa

ns

KV

IC

DIC

Off

ice

of

the

DC

(H)

DR

DA

Ba

nk

s /

Fin

an

cia

l In

stit

uti

on

s

NA

BA

RD

Tec

hn

ica

l In

stit

uti

on

s

Des

ign

ers

Ma

chin

ery

su

pp

lier

s

Ra

w m

ate

ria

l S

up

pli

ers

Artisans - H H H M M M H H L M

KVIC H - M M M M M M M M M

DIC H M - M M M M M M M M

Office of the DC(H) H M M - M M M L M M M

DRDA M M M M - M M M M L M

Banks / Financial Institutions M M M M M - M M M L L

NABARD M M M M M M - M L L L

Technical Institutions H M M M M M M - H M L

Designers H M M M M M M M - M L

Machinery suppliers M M M M M M L M L - L

Raw material Suppliers M M M M L L L L L L -

Note: L - Low, M - Medium, H - High


SURVEY ANALYSIS

We did a brief survey of the artisans and manufacturers of the cluster for

implementation of Small Industries Cluster Development Programme (SICDP) of the

office of the Development Commissioner MSME, Ministry of MSME, New Delhi in

Lucknow District for development of Chikankari Cluster.

SURVEY ANALYSIS OF ARTISANS

Gender

All the respondents are female. As briefed earlier also that Chikankari is a women based

craft and embroidery work is done by women. In District Lucknow also, only women are

engaged in Chikankari embroidery work.

Cast

Most of the respondents, 325 out of 500 (65.00%) are from minority community. 89

respondents (17.80%) are from Schedule Caste and 81 respondents (16.20%) belongs to

Backward Class. Only 5 respondents (1.00%) belongs to General Caste.

CASTE NO. OF RESPONDENTS PERCENTAGE

Minority 325 65.00%

Schedule Caste 89 17.80%

Backward Class 81 16.20%

General 5 1.00%

Total 500 100.00%

Age Group of artisans

AGE GROUP NO. OF RESPONDENTS PERCENTAGE

Up to 20 144 28.80%

21-30 137 27.40%

31-40 127 25.40%

41-50 44 8.80%

Above 5O 48 14.4o%

Total 500 100.00

Mostly respondents are between age group of 18 to 40 years (total 408 respondents

belongs to this age group). 144 (28.80%) respondents are between age group of 18 to 20

years, 137 respondents (27.40%) are between 21 to 30 years of age and 127 respondents


(25.40%) are between age group of 31 to 40 years. 44 respondents (14.40%) are between

41 to 50 years of age and 48 respondents are above 50 years of age.

Literacy Rate

Literacy rate of the respondents is very low. Out of 500 respondents only 119 (22.6%)

have some level of education. 381 respondents (87.4%) have never gone to school. Here

community problem also seen in presence to effect the literacy level.

Family Size

Average family size is 6-7 members. 52 respondents (10.40%) have family size of 0 to 5

members. 409 respondents (81.80%) have 5 t0 10 members in their family while 39

respondents (7.80%) have largest family size more then 10 members in their family.

Family Size No. of respondents

Percentage

0-5 52 10.40%

5-10 409 81.80%

above 10 39 7.80%

Total 500 100.00

Condition of House

Condition of houses of respondents is very bad. 83 respondents (16.60%) out of 500

respondents have Pakka (Brick) house. Mostly, 417 respondents (83.40%) live in

Kachcha (Mud) house.

Source of Earnings/ Occupation

Although mostly respondents are job workers and their main source of earning is

handicrafts work but family of 48 out of 500 respondents (9.60%) have some

agriculture land also. Their family members do agriculture work on these family lands to

earn some more money for their family. Some respondents or their family members has

got labour job in their villages for few days in a year under Rashtriya Grameen Rojgar

Guarantee Yojana.

Yearly income

Very high number of respondents have income between 15001 to 20000. 433

respondents (86.60%) have yearly income in this range. Only 3 respondents (0.60%)

have yearly income above Rs. 20000. 28 respondents (5.60%) have yearly income

between Rs. 5001 to 10000 and 36 respondents (7.20%) have yearly income between Rs.

10001 to 15000.


Yearly income No. of respondents

Percentage

Up to 5000 0 0.00%

5001-10000 28 5.60%

10001-15000 36 7.20%

15001-20000 433 86.60%

above 20000 3 0.60%

Total 500 100.00

Working Days in a year

Mostly respondents have regular work of job work of Chikankari embroidery. 336

respondents (67.20%) have between 151 to 200 working days in a year. Only 18

respondents (3.60%) have working days of less then 100 days in last year. 98

respondents (19.60%) have working days between 101 to 150 days in a year and 48

respondents (9.60%) have more then 200 working days in a year.

Working days in a year

No. of respondents

Percentage

Up to 100 18 3.60%

101-150 98 19.60%

151-200 336 67.20%

Above 200 48 9.60%

Total 500 100.00

Electricity in house

Mostly respondents don‟t have electricity in their houses. 373 respondents (74.60%)

don‟t have electricity in their houses and 127 respondents (25.40%) have electricity in

their houses.

Electricity in house

No. of respondents

Percentage

Have 127 25.40%

Don‟t Have 373 74.60%

Total 500 100.00


Water & Sanitation Facility

Sanitation Facility in

house

No. of respondents

Percentage

Have 74 14.80%

Don‟t Have 426 85.20%

Total 500 100.00

Although all of the respondents have drinking water facility through hand pumps in the

villages, mostly respondents don‟t have sanitation facility in their houses. 426

respondents (85.20%) don‟t have sanitation facility in their houses and very less number

of respondents only 74 respondents (14.80%) has sanitation facility in their houses.


COPY OF SURVEY DOCUMENTS

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SWOT ANALYSIS

STRENGTHS

Traditional Artistic Handicraft

Huge Artisans base (estimated 2.50 Lakhs Artisans)

Large domestic market

Can be done on variety of cloths

Availability of skilled artisans

High competition among manufacturers

Cheapest available garment with embellishment

Available in all price range

Customised Products can be made

Exemption of Excise Duty, Trade Tax

A Brand Name in itself

Easy availability of Raw Material

Availability of Transport Facilities

WEAKNESSES

Highly un-organised Artisans Cluster

No technological upgradation

Lengthy production time

No designer input

Over production of low quality goods

Manufacturers are not having technical qualifications

Very less export (both direct & indirect) in comparison of turnover of the

cluster

No association among manufacturers

No fixed time for return of goods from embroidery

Very less fund flow from financial institutions

Very less advertisement in Foreign markets

Very less use of modern facilities such as Computer, Internet, and Email etc.

Products mainly treated as seasonal summer garments

Undercutting practiced among manufacturers


OPPORTUNITIES

Big scope in domestic market

Big scope in foreign market

Scope for product diversification

Scope for selling low price goods in Latin America (e.g.

Beach wear in Brazil, Chile)

Protection of Intellectual Property Rights of Lucknow Chikan

Craft by Implementation of Geographical Indication

Registration of Lucknow Chikan Craft.

Various Central and State Government Schemes for benefit

of Artisans.

Implementation of different schemes of State & Central

Govt. departments.

THREATS

Competition with Printed & Machine embroidered items

Globalisation might bring Pakistani embroidery or other similar products in

India

Change in Government Policies such as imposition of Excise Duty and Trade

Tax


COMMON PROBLEMS AND NEED OF THE CLUSTER

Based on the detailed survey done of the artisans of the Chikan craft of Lucknow and

detailed study of the cluster common problems identified are as under

1. There is no cooperation between the artisans of the cluster.

2. There is no use of latest technology in production.

3. The production process involves many steps which are to be done one after

another which takes time and manpower.

4. Products of the cluster are traditional and designed by the artisans/

manufacturers themselves. There is no designer input in the cluster.

5. Artisans/ Manufacturers/ Entrepreneurs are not having any technical

qualification related to production of the products.

6. The artisans have learnt the craft by practicing it since childhood from elders of

their family.

7. As the products are made usually on fine clothes it is treated as summer

garments.

8. Export of the products of the cluster is very low.

9. No proper association among manufacturers.

10. Very less fund flow from financial institutions.

11. Very less advertisement in Foreign markets.

12. Very less use of modernised facilities such as Computer, Internet, and Email etc.

13. Inflow of similar products (hand embroided or machine embroided from other

clusters/ countries.


VISION FOR THE CLUSTER

VISION STATEMENT

To increase the turnover of the cluster by 30% within 5 years by

development of high quality fashion products and entering in

export market and enhancement in earnings of artisans by regular

work and wage increase.

The Vision of the Cluster has three major components. First of all it aims at

organizing the artisans and other Stakeholders such as raw material suppliers,

marketing personnel, financial institutions and related other organizations of the

Area. After that they will be trained with better knowledge and Skills, better

technologies on production and marketing etc. Exposure visits to the successful

clusters of the other parts of the country will be helpful in gaining new ideas from

others. New technological intervention and machineries will help in raising the level

of production of the cluster. New marketing techniques will also be adopted to

compete with the market.

STRATEGIC GOALS

To develop High Fashion Garment Products.

To develop a single brand for the cluster

To convert the seasonal summer industry to all weather industry by

development of products for other season.

To enter into new markets within the country.

To increase direct export from the cluster.

To establish a Design Resource Center


STRATEGY FOR INTERVENTION

1. Formation of Artisan guilds and Women SHG units in the villages. These units

will be empowered through awareness generation, training and exposure visits.

The capacity of the networks and institutions will be built through this process.

2. Other NGOs/ Institutions/ Cooperatives etc. working in this Sector within the

cluster will also be involved for networks and capacity building.

3. Result oriented activities like process up-gradation; setting up of CFC,

productivity improvement, training in new product preparations as per the

present trends and joint exposure to markets etc. can be promoted.

4. The networks will be promoted for long run activities such as SHGs and artisans

will be empowered through better technical knowledge, creation of jobs and

additional income through better productivity. The artisans will be empowered

through better access to credit facilities.

5. Simultaneously the research and studies will be conducted for various long run

activities like regular joint marketing, choice of new product range, infrastructure

provision etc. for sustained impact on the cluster with respect to growth and

development.

6. Other interventions such as designing, technical up gradation, market promotion,

cluster information center, buyer sellers meet and the welfare activities including

health and education for artisans will be undertaken.


ACTIVITY CHART FOR DEVELOPMENT OF LUCKNOW CHIKAN CLUSTER

Sl.

No. Activity

Total

No.

SOFT INTERVENTIONS

1 Awareness Camp for building awareness and SHG Formation 5

2 Formation of SHGs 40

3 Meeting of Cluster Actors/ SHG Members/ SPV Members 4

4 Skill Upgradation Training Center 1

5 Design & Product Development workshop 2

6 Seminar on Geographical Indication 1

7 Exposure Visits 2

8 Participation in India International Trade Fair 1

9 Launching of Web Site 1

HARD INTERVENTIONS

1 Design & Product Development Center 1

2 Product Display Centre 1

DSR_Lucknowi Chikankari Shilp Sadhana

71

Proposed Annual Action Plan Soft Interventions

(Amt. in Lacs)

Sl.

No. Activity

TOTAL

No. Amount

1 Meeting of Cluster Actors/ SHG Members/ SPV Members 4 0.50

2 Awareness Camps in association with various other departments

5 0.50

3 Formation of SHGs 40 0.20

4 Skill Upgradation Training Center 1 1.00

5 Design & Product Development workshop 2 3.30

6 Seminar for Geographical Indication 1 0.95

7 Launching of Web Site 1 1.00

8 Participation in India International Trade Fair 1 1.00

9 Exposure Visit 2 1.00

TOTAL 9.45


72

Proposed Budget and Means of Finance for Soft

Interventions

(Intervention proposed will be completed in 18 months)

(Amount in lakhs)

Sr. No.

Description Max Estimated Expenditu

re

Means of Finance

GoI assista

nce

State Govt. &/ or PSU, Instituti

ons

SPV/ Private Partner

s

1. Trust building 0.70 0.63 0.00 0.07

i. Meeting of cluster actors/ SHG members/ SPV Members 4 @ Rs. 0.125 Lakhs per meeting Total Rs. 0.50 Lakhs

ii. Formation of SHGs (total 40 SHGs) Rs. 0.20 Lakhs

2.

Building awareness of various schemes of Ministry of MSME, other Ministries and Departments of State & Central Govt, other developmental agencies, Financial institutions etc

0.50

0.45 0.00 0.05

1 Awareness Workshops 5 @ Rs. 0.10 Lakhs per workshop Total Rs. 0.50 Lakhs

3. Organizing training programmes/ seminars/ workshops/ study tours to other clusters/ demonstration of technology/ equipment, including expert fees, travel, lodging, boarding, etc.

6.00 4.80 0.00 1.20

1 4 months Skill Upgradation Training Program – 1 Nos. @ Rs. 1.00 Lakhs Per Program - Total Rs. 1.00 Lakhs

2 15 days Design & Product Development Workshop – 2 Nos. @ Rs. 1.65 Lakhs per workshop – Total Rs. 3.30 Lakhs

3 1 days Seminar on Geographical Indication of Lucknow Chikan Craft – 1 Nos. @ Rs. 1.65 Lakhs per seminar – Total Rs. 0.70 Lakhs

4 Study Tour – 2 Nos. @ Rs. 0.50 Lakhs – Total Rs. 1.00 Lakhs

4. Capacity building (exposure visits, benchmarking, brochure preparation, web-site launching, initial recruitment cost, etc.)

1.00

0.60 0.00 0.40

Launching of Common Cluster Website – 1 Nos. @ Rs. 1.00 Lakhs – Total Rs. 1.00 Lakhs


73

5. Services of BDS providers,) 0.60 0.54 0.00 0.06

20 person-days @ Rs 2,000/- per day Total Rs. 0.40 Lakhs

boarding/lodging charges as per Group A officer‟s entitlement Rs. 0.20 Lakhs

6. Participation in one foreign fair 1.00 0.50 0.00 0.50

Participation in India International Trade Fair, Pragati Maidan, New Delhi

7. Miscellaneous developmental costs 0.50 0.40 0.00 0.10

8 In-house institutional Staff: 0.00 0.00 0.00 0.00

a. CDA (if required) - 0.00 0.00 0.00 0.00

b. Local Organizer/NDA- 18 month @ Rs. 15,000/- pm

2.70 1.35 0.00 1.35

9 Local travel in the cluster of the in house staff and Telecommunications expenses

0.75 0.75 0.00 0.00

(to be paid on actual)

10 Local purchases (computer, telephone, fax-lump sum, year-wise)

0.75 0.75 0.00 0.00

11 Participation of CDE/ CDA/ cluster official along with entrepreneurs of the cluster.

1.00 1.00 0.00 0.00

TOTAL 15.50 11.77 0.00 3.73


74

ACTIVITY WISE BREAK UP OF THE EXPENDITURE OF THE

ACTIVITIES OF SOFT INTERVENTION

FORMATION OF SHG

Cost of formation of SHG including Forms/ Photocopy,

Honorarium to coordinator, Stationery to SHG etc.

Rs. 500 Per SHG

TOTAL FOR 50 SHG Rs. 0.25 Lakhs

SKILL UPGRADATION TRAINING PROGRAM

Some artisans need further training so that they may be able to produce high quality

product.

a. Training Period- 3 month

b. No. of Trainees- 20 per batch

FINANCIAL IMPLICATION

1. Compensation for raw material 10,000.00

2. Honorarium to Instructor/ expert @ Rs. 5000/- 15,000.00

3. Stipend @ Rs. 1000/- each artisan (1000 x 20 x 3) 60,000.00

g. Contingencies 15,000.00

Total 1,00,000.00

ORGANIZING DESIGN & PRODUCT DEVELOPMENT WORKSHOP

a. No. of workshop : 2

b. Objective of the Design workshop : To produce new designs as

per demand of market

c. Duration of the workshop : 15 days

d. No. of prototype to be developed during the

workshop

: 15 prototype (2 sets)

e. No. of Crafts persons to be benefited : 30 Artisans per workshop


75

FINANCIAL IMPLICATIONS

i Designer's Fee TA/DA etc. : Rs. 50,000.00

ii Cost of Raw Material for development of two sets of

prototypes.

: Rs. 30,000.00

iii Cost of documentation report : Rs. 10,000.00

iv Wages compensation for Trainees @ Rs. 150/- per day for

30 Trainees for 15 days. (150 x 30 x15)

: Rs. 67,500.00

v Misc. Exp. towards Rent of venue, Light, Refreshment/ Tea

etc for the participants of the workshop

: Rs. 7,500.00

Total cost of 1 workshop : Rs. 1.65 Lakhs

SEMINAR ON GEOGRAPHICAL INDICATION

A 1 day seminar will be organized to impart the knowledge of Geographical

Indication, to generate awareness about the benefits of becoming Authorised User

and to train the manufacturers and artisans about the process of filing of application

for Authorised User.


Sr. No.

Particular Amount

(in Rupees)

1 Hire charges of Hall for organizing the Seminar for 1 days 10,000.00

2 TA and DA (for Experts) during journey period 10,000.00

3 Honorarium for experts 5,000.00

4 Cost of Tea (2 Time) & Lunch during workshop for 1 days 30,000.00

5 Reading Material, Stationery, Folders etc. 5,000.00

6 Documentation and Printing of report of the workshop 5,000.00

7 Hire of conveyance for 2 days (Approx) 3,000.00

8 Misc. expenses including postage and preparation of material for discussions, secretarial assistance.

2,000.00

TOTAL 70,000.00

Exposure Visit

Entrepreneurs of the cluster will visit Bangalore, Chennai, New Delhi to explore the

market for knowing the latest market trends, marketing linkages etc.


76


Expected Expenditure on 2 Exposures Visits - Rs. 1.00 Lakhs

LAUNCHING OF WEB SITE

A Web Site will be launched on the Lucknow Chikan Craft


Estimated Cost of launching of web site will be approximately 1.00 lakhs

No. of persons to be trained/ benefited in each program

Sl.

No.

Name of the training program No. of

participants

in each

program

No. of

program

to be

organised

Total no.

of

persons

to be

trained

1 Design & Product Development

Workshop

20 2 40

2 Skill Upgradation Training

Program

20 1 20

3 Seminar on GI 150 1 150

4 Exposure Visit 12 2 24

5 Participation in IITF 6 1 6


77

Details of outcome envisaged in the cluster through Soft Interventions Sl.

No.

Activity Current Status Outcome envisaged

(Qualitative)

Tangible benefits to artisans

Intangible benefits to artisans

1 Awareness Camp for building awareness and SHG Formation

Cluster actors are not aware about the cluster scheme of Ministry of MSME and also no efforts is made ever with collective approach by the cluster actors.

Generation of awareness in the cluster about the MSE-CDP and about the benefits of collective efforts.

Generation of awareness in the cluster actors about the MSE-CDP and about the benefits of collective efforts.

2 Formation of SHGs Artisans of Chikankari are working in pockets but as an individual enterprise. No SHG or any other form of association is in existence in the cluster.

It will bring the artisans together so that the habit of collectiveness develops in them and also bring in the habit of thrift & credit in the artisans.

Through SHG artisans will have some monthly savings.

Artisans will be organised and collective power of artisans will increase.

3 Meeting of Cluster Actors/ SHG Members/ SPV Members

The level of interaction among the cluster actors is very low.

Due to regular meetings artisans and cluster actors will have better interaction and trust building process will start among the cluster actors.

Trust among cluster actors will increase.

4 Skill Upgradation Training Center

Skill of most of the artisans is very low. The products of the cluster have designs in practice since long and artisans do not make efforts to put in their skill to produce new designs.

Skill of artisans will be increased which will yield to increase in the income of the artisans as they will be producing quality products.

Earnings of the artisans will increase

Quality of products from the cluster will increase.

5 Study Tour/ Exposure Visit

The exposure of artisans of the cluster is limited to the area where they are working only. They have never visited any other cluster.

The artisans will be able to learn about the best practices adopted in other clusters.

Experience sharing and learning will motivate artisans to do something new & creative.


78

6 Design & Product Development workshop

The products produced in the cluster have old traditional designs and thus the marketability of the product is very low. Products with new designs are imported in the cluster from other places.

New products of Modern Fashion and designs will be developed which will enhance the scope of marketability of products of the cluster. efforts will be made to provide better value addition in the products of the cluster.

New marketable products will fetch attraction of customers and buyers and thus increase the turnover of the cluster.

Earnings of artisans will also increase.

7 Participation in IITF, Pragati Maidan, New Delhi

Artisans of the cluster sell their products in the city only which force them to sell their products on lower margin due to competition with other artisans producing similar products within the cluster.

The artisans of the cluster will get direct sales avenue and it will increase the profit margin of the artisans.

Exposure to the new market will increase the sales of the cluster.

New marketing linkages will be developed.

8 Seminar on GI Manufacturers & Artisans are not aware about the Geographical Indication Registration of Lucknow Chikan Craft and advantage of becoming its Authorised User

9 Launching of Web Site The cluster has very less advertisement of its products in other parts of the country and in abroad market.

Very few manufacturers of the cluster have launched their websites but it serves to their own specific purpose.

Common Web site of the cluster will popularize the products of the cluster and will increase the market base of the products of the cluster.

Increase popularity will attract buyers.

People around the world will know about the craftsmanship and products of the cluster.


79

DETAILS OF QUANTITIES OUTCOME

Sr.

No.

Particular Before intervention After Intervention

1 Turnover of the cluster Approx 600 Crores Approx 700 Crores

2 Employment Direct

(Artisans)

135000 150000

3 Employment Indirect 10000 12000

4 Export (Direct) 5-8 Crores 15 crores

5 Export (Indirect) 12 Crores 20 Crores

6 No. of Micro Units 1800 2000

7 Authorized User

Registration of Geographical Indication

1 100

8 ISO Certification 5 10

9 Cluster Common Website 0 1

10 Personal Website of

entrepreneurs

12-15 25

diagnostic study report lucknow chikan cluster

Documents

proposed cluster

cluster selection

cluster map post intervention

cluster map pre intervention

process of chikankari

ageless chikankari

introduction of chikankari

stitches of chikankari