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Lee Luna.Pdf (3.311Mb)
RESPONSIBLE SILK – A PLAN OF ACTION FOR EILEEN FISHER A Project Paper Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies in Agriculture and Life Sciences Field of Global Development by Luna H. Lee August 2019 © 2019 Luna H. Lee ABSTRACT For apparel companies, agriculture is connected but often far removed. For EILEEN FISHER, being a socially conscious clothing company does not stop at the finished garment level. The company has been tracing its raw material supply chains for a few years, and is interested in expanding its human rights and environmental sustainability work to include the wellbeing of farmers and the land. In recent years, the company has started engaging suppliers and other external stakeholders at the agricultural level for cotton, wool, and man-made cellulosic. Silk is one of the top five fibers at EILEEN FISHER, representing 8% of its total materials in 2018, but one that is not well studied by the company. Grounded in literature review, this paper examines the different dimensions of the silk agricultural supply chain; the people, the land, and the silkworm. A review of the company’s silk supply chain revealed that 100% of its 2018 silk fiber comes from China, but little is known about its supply chain beyond the yarn spinner level. In collaboration with the company, a survey is conducted with its silk suppliers to trace the origin of silk cocoons within China. Findings indicates that the company’s silk originates from the provinces of Jiangsu and Guangxi. -
Study of Dental Fluorosis in Subjects Related to a Phosphatic Fertilizer
Indian Journal of Traditional Knowledge Vol. 7(1), January 2008, pp. 178-181 Contemporary breakthrough in Ahimsa silk spinning Sanapapamma KJ & Shailaja D Naik* Department of Textiles and Apparel Designing, College of Rural Home Science, UAS, Dharwad 580 005, Karnataka Received 5 July 2006; revised 28 September 2007 Karnataka is the premier mulberry silk producing state in India, contributing nearly 73% of the country’s total production. Around 764 drainages distributed in different parts of Karnataka cater to the seed requirement of the Seri culturist. During drainages operation moths emerges out by piercing the cocoons thus become unreelable. Such cocoons amount to about 240 tons per year, hence proper utilization of these cocoons is of utmost importance for product diversification. The silk spun from pierced cocoon without letting pupae to die considered as Ahimsa silk is widely accepted by Hindus. Ahimsa silk spun on traditional devices viz., Takli, NR Das, Chuodhary Charaka and Medleri Charakas, did not produce regular tpi though the production was less. Hence, there was need to develop appropriate technology to spin quality spun silk. The CSTRI, Bangalore realized the necessity and to develop the improvised “Motorized Spinning cum Twisting Machine’’, a real break through in silk spinning. This machine was perfectly suitable to spin unreelable silk to 30-35s and the production rate ranged to 100-40g/8 hrs, which exhibited greater tenacity with remarkable elongation. Keywords: Ahimsa silk, Silk spinning, Cocoons, Traditional spinning devices IPC Int. Cl.8: D01 Karnataka is the premier mulberry silk producing long spindle having a basal round plate placed slightly state in India. -
Journal 45.Pdf
GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 45 September 11, 2012 / BHADRA 20, SAKA 1933 INDEX S.No. Particulars Page No. 1. Official Notices 4 2. New G.I Application Details 5 3. Public Notice 6 4. GI Applications Bhagalpur Silk Fabrics & Sarees – GI Application No. 180 7 Mangalagiri Sarees and Fabrics– GI Application No. 198 Madurai Malli – GI Application No. 238 Tequila – GI Application No. 243 5. General Information 6. Registration Process OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 45 of the Geographical Indications Journal dated 11th September 2012 / Bhadra 20th, Saka 1933 has been made available to the public from 11th September 2012. NEW G.I APPLICATION DETAILS 371 Shaphee Lanphee 25 Manufactured 372 Wangkhei Phee 25 Manufactured 373 Moirang Pheejin 25 Manufactured 374 Naga Tree Tomato 31 Agricultural 375 Arunachal Orange 31 Agricultural 376 Sikkim Large Cardamom 30 Agricultural 377 Mizo Chilli 30 Agricultural 378 Jhabua Kadaknath Black Chicken Meat 29 Manufactured 379 Devgad Alphonso Mango 31 Agricultural 380 RajKot Patola 24 Handicraft 381 Kangra Paintings 16 Handicraft 382 Joynagarer Moa 30 Food Stuff 383 Kullu Shawl (Logo) 24 Textile 23, 24, 384 Muga Silk of Assam (Logo) 25, 27 & Handicraft 31 385 Nagpur Orange 31 Agricultural PUBLIC NOTICE No.GIR/CG/JNL/2010 Dated 26th February, 2010 WHEREAS Rule 38(2) of Geographical Indications of Goods (Registration and Protection) Rules, 2002 provides as follows: “The Registrar may after notification in the Journal put the published Geographical Indications Journal on the internet, website or any other electronic media.” Now therefore, with effect from 1st April, 2010, The Geographical Indications Journal will be Published and hosted in the IPO official website www.ipindia.nic.in free of charge. -
Haute Designers, Master Weavers
TREND WATCH LFW Summer Resort ‘16 HAUTE DESIGNERS, MASTER WEAVERS Lakme Fashion Week has set a benchmark for Indian designers. MEHER CASTELINO reports on the highlights. ASIF SHAIKH GAURANG MAKU INDIGENE BANERJEE PAROMITA FIBRE2FASHION he fabulous Walking Hand in Hand – The Craft + Design + TSociety show was one of the highlights of the first day at Lakmé Fashion Week Summer/Resort 2016. The innovative presentation featured India’s five top designers who teamed up with the best craftspersons and expert weavers. They displayed creations that combined designer and craft skills. Day Two was devoted to Sustainable and Indian Textiles. Designers presented interesting collections, showcasing textiles and crafts and also upcycling and recycling fabrics. The message was clear: fashion can be sustainable. Chikankari came Giving kinkhab The glory of the alive on the ramp under his amazing touches, leheriya was brought the creative guidance Rajesh Pratap Singh centre stage by of Aneeth Arora. worked with master Anupama Bose’s skills Master craftsman weaver Haseem and Islammuddin Jakir Hussain Mondol Muhammad for a Neelgar’s expertise. worked his magic on striking collection of The gorgeous leheriya the pretty summer formal westernwear. designs in rainbow dresses, cool blouses, Using rich, golden hues were turned into layered minis, softly brocade with floral stunning ensembles. embroidered long- weaves, Singh A ravishing red kaftan, sleeved covers, presented culottes with a feminine green/ delicately embellished cropped tops, bias cut blue gown, an electric midis, skirts and gowns jackets, dhoti pants, anarkali, a variety of in shades of white and capris, coat dresses, sarees in leheriya and pale blue/grey. -
EXPRESSION of INTEREST for TESTING of SAMPLES.Pdf
EXPRESSION OF INTEREST FOR TESTING OF SAMPLES UNDER INDIA HANDLOOM BRAND Government of India Ministry of Textiles Office of the Development Commissioner for Handlooms Udyog Bhawan, New Delhi-110 011 Tel : 91-11-2306-3684/2945 Fax: 91-11-2306-2429 1. Introduction 1.1 India Handloom Brand (IHB) has been launched by the Govt. of India to endorse the quality of the handloom products in terms of raw material, processing, embellishments, weaving, design and other parameters besides social and environmental compliances. The IHB is given only to high quality defect free product to cater to the needs of those customers who are looking for niche handmade products. 1.2 The list of products eligible for registration under the IHB is enclosed at Annexure – 1(A). However, as per recommendation of IHB Review Committee, new items can be included/ existing specifications can be changed/ new specifications may be added in the list from time to time. 1.3 For registration under IHB, the applicant has to submit on-line application in the website www.indiahandloombrand.gov.in. The applicant has to then submit the printout of the online application form and the sample of the product of atleast 0.25 mt. length in full width to the concerned Weavers’ Service Centre (WSC). The applicant also has to submit registration fee of Rs. 500 plus service taxes in the form of Demand Draft or through on-line payment. The WSCs will then send the sample to the testing laboratory for testing. 1.4 The sample received by the laboratory has to be tested as per standard testing procedure and testing result has to be submitted before Evaluation Committee in the Evaluation committee meeting which is generally held in Textiles Committee, Mumbai. -
Fashion Silk
F ASHION Deeya Nayar-Nambiar MOTHERS cherish their SILK has its roots in the Kanjeevaram saris that have been a part of bridal trousseaus, their culture and tradition of daughters love silk embroidered India and has evolved with footwear, fathers pick up the silk kurtas for a wedding, and sons time to be used for designer save their silk ties for an evening clothes and even T-shirts party. Indeed, silk is the queen of textiles spelling luxury, class and comfort. Shirts, skirts, shawls, upholstery, ties, and footwear - if it is made of silk, it must be good. The touch of soft, smooth silk reflects elegance, winning hearts around the world. “India is the biggest consumer (approx 27,000 metric tonnes per annum) of silk in the world,” says Alok Kumar, assistant director of Central Silk Board and executive of Silk Mark in Mumbai, “though we’re only second to China as pro- ducers of silk.” It is interesting to note that India imports silk from China too as domestic demand outstrips supply. Moving from traditional saris to embroidered and painted designer wear, most silk manufac- turers in India are registered with Silk Mark, a quality assurance label that is an initiative of the Central Silk Board to help the consumers identify genuine, natural silk prod- ucts. The multi-coloured outfits in hand painted, block printed are further enhanced with zari work or sequins and embellishments. The embroidery work in some Queen Of Fabrics 36 | btw | 11 February 2008 silk saris have wonderful traditional with Kusuma. motifs in shades of blue, green, black and Mulberry silk reeled from domesticat- red. -
Ancient Indian Texts of Knowledge and Wisdom
Newsletter Archives www.dollsofindia.com The Saree - The Very Essence of Indian Womanhood Copyright © 2013, DollsofIndia A saree or sari is a long strip of unstitched cloth, which is draped by Indian women – it practically typifies Indian women and showcases the vast diversity of Indian culture as a whole. The word "Sari" is derived from the Sanskrit and the Prakrit (pre-Sanskrit language) root, "Sati", which means, "strip of fabric". Interestingly, the Buddhist Jain works, the Jatakas, describe women’s apparel, called the "Sattika", which could well have been similar to the present-day saree. Another fact is that the end of the saree that hangs downward from the shoulder is called the Pallav. Experts believe that the name came to be during the reign of the Pallavas, the ruling dynasty of ancient Tamilnadu. A saree typically ranges from six to nine yards in length and can be worn in several ways, depending upon the native of the wearer and her outlook on current fashion. Usually, a saree is tucked in at the waist and is then wrapped around the body with pleats in the center, the other end draped loosely over the left shoulder, showing the midriff. This apparel is also popular in Pakistan, Bangladesh, Nepal, Bhutan, Myanmar, Sri Lanka, Singapore and Malaysia. This very feminine garment is worn over a petticoat, also referred to as a lehenga in the North, a paavaadai in the South, a parkar or ghaghra in the West and a shaya in the East. It is worn along with a bodice or blouse, called the choli (in North India) or ravikkai (in South India). -
Handloom in Odisha: an Overview
AEGAEUM JOURNAL ISSN NO: 0776-3808 HANDLOOM IN ODISHA: AN OVERVIEW Shruti Sudha Mishra* ICSSR Doctrol Fellow, Dept. of Business Administration, Sambalpur University, Odisha, India. [email protected] Dr. A. K. Das Mohapatra** Professor Dept. of Business Administration, Sambalpur University, Odisha, India. [email protected] Volume 8, Issue 8, 2020 http://aegaeum.com/ Page No: 134 AEGAEUM JOURNAL ISSN NO: 0776-3808 HANDLOOM IN ODISHA: AN OVERVIEW Abstract Handloom is an ancient cottage industry. In Odisha hand-woven fabrics have existed since beyond the reach of memory. This sector involves large number of artisans from rural and semi-urban areas, most of which are women and people from economically disadvantaged groups. Some of the strengths of this industry are availability of cheap and abundant labour, use of local resources, low capital investment, unique craftsmanship in manufacturing of the products and increasing appreciation by international consumers. It is important to note that despite such unique characteristics, the industry comprises a meager proportion of Indian exports in global market, thus calling for efforts to promote and channelize the offerings of the industry to tap its hidden potential. Therefore the present study has been undertaken with an aim to discuss the history of handloom in context to Odisha, its cultural importance, and contribution of handloom to the economic development of the weaving community of Odisha. Keywords: Odisha, handloom, weavers, economic development ***** 1: Introduction The glory and cultural vastness of Indian handloom industry has always been a topic of great discussion. Among all the beautiful handlooms having their regional importance, Odisha handloom is the one chosen for the present study. -
GI Journal No. 51 1 September 30, 2013
GI Journal No. 51 1 September 30, 2013 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 51 SEPTEMBER 30, 2013 / ASVINA 08, SAKA 1935 GI Journal No. 51 2 September 30, 2013 INDEX S.No. Particulars Page No. 1. Official Notices 4 2. New G.I Application Details 5 3. Public Notice 7 4. GI Applications Orissa Pattachitra (Logo) – GI Application No. 386 8 Bastar Dhokra (Logo) – GI Application No. 387 16 Bell Metal ware of Datia and Tikamgargh (Logo) – GI Application No. 388 25 5. General Information 32 6. Registration Process 34 GI Journal No. 51 3 September 30, 2013 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 51 of the Geographical Indications Journal dated 30th September 2013 / Asvina 08th, Saka 1935 has been made available to the public from 30th September 2013. GI Journal No. 51 4 September 30, 2013 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 405 Makrana Marble 19 Natural Goods 406 Salem Mango 31 Horticulture 407 Hosur Rose 31 Agricultural 408 Payyanur Pavithra Mothiram 14 Handicraft 409 Kodali Karuppur Saree 24 & 25 Textile 410 Thammampatti Wood Carvings 20 Handicraft 411 Rajapalayam Lock 6 Manufactured 412 Chamba Painting 16 Handicraft 413 Kangra Paintings 16 Handicraft 414 Punjabi Jutti 25 Handicraft 415 Aipan 16 Handicraft 416 Lahaul & Spiti Wool Weaving 23 Handicraft 417 Lacquer Ware Furniture 20 Handicraft 418 Jhajjar Pottery 21 Handicraft 419 Tamta Copperware Craft 6 Handicraft 420 Rewari Jutti 25 Handicraft 421 Hoshiarpur Wood Inlay 20 Handicraft 422 Kandangi Sarees 24 Textile 423 Thanjavur Pith Works 20 Handicraft 424 Karupur Kalamkari Paintings 24 Handicraft 425 Thanjavur Cut Glass Work 20 Handicraft 426 Mahabalipuram Stone Sculpture 19 Handicraft 427 Nagercoil Temple Car 20 Handicraft 428 Kannyakumari Stone Carving 19 Handicraft 429 Arumbavur Wood Carving 20 Handicraft GI Journal No. -
Glory of Indian Traditional Silk Sarees
International Journal of Textile and Fashion Technology (IJTFT) ISSN 2250-2378 Vol. 3, Issue 2, Jun 2013, 61-68 © TJPRC Pvt. Ltd. GLORY OF INDIAN TRADITIONAL SILK SAREES G. SAVITHRI1, P. SUJATHAMMA2 & CH. RAMANAMMA3 1,2Department of Sericulture, S. P. Mahila Visvavidyalayam, Women’s University, Tirupati, Andhra Pradesh, India 3Principal, Government Degree College for Women, Mancherial, Adilabad, Andhra Pradesh, India ABSTRACT Textile industry is a very important component of India’s economy, and silk forms a small, yet important part of it because it is a high value fibre. The size of the silk industry in India presently, is about US $ 2.75 billion. Sericulture is spread all over India, while it has a long standing tradition in states such as Karnataka, Andhra Pradesh, Tamil Nadu, West Bengal and Jammu & Kashmir. Silk the very name itself evokes delicate feelings. Silk is the most elegant textile in the world with unparalleled grandeur, natural sheen and inherent affinity for dyes, high absorbance, light weight, soft touch and high durability and is known as the queen of textile in the world ever. Silk has a sacred place in the cultural heritage of Indians and intermingled with the life and culture of the Indians; which no other country can share. Silk saree is an important bridal wear while the traditional practice of wearing silk clothing on all auspicious days has been the strength of the Indian silk in the domestic market. No other fabric has fascinated man so continuously over millennia as silk. Till today, no other fabric can match it in luster and elegance Silk has been intermingled with the life and culture of the Indians. -
Get to Know Silk! Silk Is Known As One of the Most Highly Prized and Sought After Fibers for the Last 5,000 Years
Get to Know Silk! Silk is known as one of the most highly prized and sought after fibers for the last 5,000 years. Originally discovered in ancient China, silk was exclusively used for royalty, but desired by all. It wasn't until 300 AD that sericulture, or the production of silk, started spreading to Korea, Japan, and India. From there, the production and desire for silk products and fiber spread like wildfire. We have King James of England to thank for ordering silk to be brought over to the United States in 1603. Everyone was fighting over who produced the best silk until it was quickly learned that cotton and tobacco was a more profitably investment here in the United States. What is silk made from? Well, it is a matter of who makes silk. Silkworms are technically the silk moth in the pupa life cycle, scientifically known as Bombyx Mori. There is a variety of insects that can produce silk or silk like fibers, but have yet to be use for commercial purposes. Silk is one of the strongest fibers available. It is also highly durable, has a naturally reflective sheen, and absorbs dye well. Silk will be stronger the softer it is and does not like being stretched out. Types of Silk! Mulberry Silk - is the most common type of silk that is cultivated for commercial use. These silkworms are bred to produce fine white silk to make the dyeing process easier and more efficient. Tussah or Wild Silk - also known as Peace or Ahimsa Silk. These are cocoons that are found naturally in the wild once the silkworm is done with it. -
Sambhalpuri Weave & Bomkai
SAMBHALPURI WEAVE & BOMKAI WEAVE CONTENTS 1. REGION AND LOCATION 2. INTRODUCTION Craft tradition 3. IKAT 3.1. Three basic forms of ikat 3.2. Ikat in Orissa 4. BOMKAI WEAVE 5. STUDY AREA: WEAVING AT ANGUL 5.1. The Resource Centre 5.2. Type of Looms Present At the Resource Centre 6. RAW MATERIALS 6.1. Cotton 6.2. Silk 7. PROCESSES AT THE RESOURCE CENTRE IN ANGUL 7.1. Degumming Of Silk Yarns 7.2. Dyeing Of the Yarns 7.3. Drying Of Threads 7.4. Gathering of Thread onto a Bobbin 7.5. Rolling Of Thread onto Drums 7.6. Separation of Threads through Reeds 7.7. Checking For Knots 7.8. Rolling Of Thread onto a Thun 8. PREPARATION FOR WEAVING 9. PRICING 10. TRANSPORTATION 11. CHANGES IN THE RECENT YEARS 11.1. Technology 11.2. Design 11.3. Market 12. APPENDIX 1. Region and Location Angul is situated 65km from Bhubaneswar. It is a new district. Two rivers Mahanadi and Bramhani flow through the district making it fertile. 2. Introduction Although Orissa is traditionally not a cotton growing state, it has a substantial and numerically large weaving population that depends on the handloom industry for its livelihood. Weaving is traditionally a caste based occupation. During monarchical rule, the handloom industry and the different weaving sub-castes with their specialties in specific designs and fabrics flourished in different parts of Orissa under the local royal patronage. Since medieval days, the handloom industry has gained the status of the largest craft industry in Orissa. In the post independence era also, its importance in the economic life of Orissa cannot be ignored.