ABSTRACT

The handloom sector is one of the largest undefined economic trades in India, after
agriculture. It incorporates an essential part of the rural and semi rural employment.
Handloom weaving constitutes one of the most extensive and dynamic facets of the Indian
cultural heritage. Handloom weaving is chiefly suburbanized and the weavers are mainly
from the vulnerable and weaker sections of the society, who work for their livelihood and
also contribute to the production in the textile sector.
Indian Fashion designers have taken up the job to incorporate Indian Handloom Textiles and
Crafts in their designs as can be seen on the ramp where the collections are showcased. As a
result, there is more awareness about the Handloom textiles in the domestic Market. The
government of India has issued some schemes to promote the Indian Handlooms and crafts
in the international market so as to hike up export rated to promote the industry while
thinking of it as a dying one.
Keywords : Handloom, Fashion Designers, International Market

INTRODUCTION

Handlooms
India has a legacy of handloom weaving that is exclusive and the largest anywhere in the
world. The element of art and craft present in Indian handlooms makes it a potential sector
for the upper segments of the market, both domestic as well as global. As said in a report by
the Ministry of Textiles, the sector is beset with manyfold problems such as obsolete
technologies, unorganised production system, low productivity, inadequate working capital,
conventional product range, weak marketing link, overall stagnation of production and sales
and above all the competition from the mill sector.
The handloom industry falls under the textile industry of India which contributes 2.3% to India’s GDP
and accounts for 13% of industrial production, and 12% of the country’s export earnings. The textiles
and apparel industry in India is the second-largest employer in the country providing employment to
45 million people. It is expected that this number will increase to 55 million by 2020. According to
the statistics provided by Invest India, the domestic textiles and apparel industry stood at $140 bn in
2018 (including handicrafts) of which $100 bn was domestically consumed while the remaining
portion worth $40 bn was exported to the world market. Further, the domestic consumption of $100
bn was divided into apparel at $74 bn, technical textiles at $19 bn and home furnishings at $7 bn.
While exports comprised of textile exports at $20.5 bn apparel exports at $16.1 bn and handlooms
at just $3.8 bn.
Concept of Collaboration
Collaboration is well noticed as a business key word for fashion industry in the 21st century.
Collaboration of businesses appears on various areas from online market to offline market, B2C to
B2B, domestic market to global market. Collaboration in fashion industry started to receive attention
when Adidas, sports merchandising brand, worked together with the world's famous fashion
designer Yoji Yamamoto to produce a casual clothing brand, Y3 in year 2000.

Review of Literature
In order to contextualize this project within the broad sweep of fashion research, it is important to
examine existing literature. There is a evidence that designers can help lead change within the
fashion industry with researchers investigating alternate resources or materials, manufacturing
processes and different models of practice such as collaborative ,holistic or individual co-design
(Hethorn,2015).

So a review of two similar studies has been done.

1)Re-thinking Sustainability through collaborative exchange between emerging Australian designers

and Indian artisans in fashion and textiles.(Julie Lantry ,Master of Design 2015,University of
Technology ,Sydney)

2) Indian Handicrafts & Globalization: In context of export(Gaurav Srivastav ,Research Scholar ,Doon
University & Pankaj Singh Rawat ,Doon University)

-Google Scholar

Rethinking Sustainability through collaborative exchange between emerging

Australian designers and Indian artisans in fashion and textiles.

Summary-The thesis explores how industry connections between emerging Australian designers
and traditional artisans in India can foster new possibilities for ethically sustainable collaborations
between Australia and India .Much of the research emanates from a series of curated tours, where
Sydney-based tertiary students undertaking undergraduate degrees in fashion and textile design
were encouraged to collaborate with individual artisan ,ethical manufacturer ,and environmentally
sustainable producers in Northern India .Simultaneously Indian textile artisans were encouraged to
apply their traditional technical skills to contemporary design ,thus enabling new opportunities for
these processes to enter the global market .This research draws on data collected from students and
industry professionals between July 2012 and September 2013.

Scope-This research offers a sustainable model of collaborative practice for future generations of
emerging designers, which will build a deeper understanding for better ways to source and design .
For artisans, the significance of this thesis could be to build an economically sustainable practice
considering contemporary design .It suggests ways to engage in ethical and sustainable practices
working with Indian artisans. The outcome of this research aims to contribute to a growing field of
ethical practice in fashion and textiles.
Method-Qualitative Method. Data has been collected and analyzed through face-to-face
interviews with selected artisans ,students industry participants and industry professionals .Further
data has been drawn from student journals ,and blogs of forty-two students and twenty-one Indian
artisans and suppliers. Interviews were recorded and transcribed, Analysis was done through self-
observations.

Findings-There is enormous potential for successful collaborative exchange between Australian

emerging designers with Indian artisans for a sustainable future .By sharing skills and knowledge
both artisans and designers can develop new concepts of embroidery ,weaving ,printing ,and dying
to produce contemporary products appropriate for both Indian and Australian market .For artisans
,these collaborations represent an opportunity to gain an understanding of western design
process ,absorb new ideas for contemporary design ,and maintain traditional techniques for fair
recompense .For emerging designers the benefit lie in the opportunity to develop a profitable model
of practice whilst developing unique contemporary handcrafted textiles ,sourcing sustainable raw
materials and building offshore contacts.

Indian Handicrafts & Globalization :In context of export

Summary-Globalization has made the whole world one compartment and makes a single village a
global village .Indian handicraft products have great opportunities both in the domestic and
international markets .Indian Handicrafts which constitutes a significant segments of the
decentralized sector of the economy, its export has reached at a commendable height. Indian folk
art and crafts which are the integral parts of the Indian culture and tradition are in high demand
among the western consumers. A lot of manufacturing units are established in rural and small
towns, which generate employment for millions of artisans. Indian exports are showing a growing
trend. Like every coin has two sides, globalization is not separate from this point it also not only have
positive impact on artisans industry but there are some negative consequences too on which this
chapter is trying to put some light.

Scope-Talking about the scope of further exploration in this area, we can say that as we know that
there are various problems that are being faced by the Craftsman & handicraft industry. Further
descriptive studies can help to design framework which can be beneficial for growth & development
of the industry. True arts and crafts should reflect their culture. Recognizing that the future of Indian
art cannot be found by looking backward, many artists have been leading the way in the search for
new directions. Young Indian artists are learning new techniques and materials and how to adapt to
their rich cultural heritage and changing lives and positive policies and frameworks can motivate
them to be on this path.

Methods-Combination method using both qualitative and quantitative methods.

Findings-The handicraft industry is distinguished in terms of infrastructure, policy scenario,

government support, trade strategy and the way industry is defined. The Indian handicrafts are the
products of tiny and cottage sector, which are largely unorganized and the products are handmade,
while other competing countries have organized and large scale manufacturing oriented industry.
This can have both advantages and disadvantages for India. Advantage are in terms of employment
creation, while disadvantages in terms of low cost production. For Indian Handicraft it can be surely
concluded that handicraft products has a very bright future in global market, but it is also facing
negative consequences of globalization. Today, handicrafts exports are showing positive growth we
should not forget that the challenges artisans are facing. These challenges will slowly take the
industry towards mode from where we have to start again. Although government is taking several
measures to make the thing well, but there is a need to do more & provide the strategic direction
and action plans to evolve systems, so that the Craft persons and their industry can grow & survive
this competitive era of globalization.

Aim and Objective

The Problem statement asks: How Indian Fashion Designers are promoting Indian Handloom
and Handicrafts in the International Market : In context of Collaborations with Foreign
Designers/Influencers and Global Companies.
Briefly said, the garments and styling of these garments are studied separately objectively in
terms of the textiles used in garment construction, its silhouette, motifs, embroidery and
the accessories it is styled with. The parameter of inclusion was that the beforementioned
areas of objective study were in any manner defined ‘Indian’ or of Indian Heritage. Next, the
same sample is studied subjectively as to how the “Indianness” or the orthodox / common
factor in the garment has been contemporarized.
The medium of data collection is online (Instagram).

Methodology
Type
The research methodology is a combination of qualitative and quantitative approaches.
Method
Quantitative Study:
Content Analysis – The sample is analysed on five parameters (textiles, silhouette, motifs,
embroidery and accessories). The presence or absence of any Indian Handloom or craft
determines the nature of data that is churned out. The quantitative part of the study
determines how much / many (in numbers) “Indianness” or Indian elements are present in
the garments made by the designers through their international collaborations.
Qualitative Study:
Content Analysis –While inspecting the sample for the presence of the abovementioned
parameters in the quantitative part of the study, every garment of every collection is
analysed on how they have been contemporarized in their nature which makes the garment
different from the orthodox approach in which the Handloom and Craft products are seen in
the market i.e. analysis is done on how garments of such collaborations are
contemporarising the handloom and craft products – what new experiments and
interventions are done.
Tool
Observation – The primary tool of the study is observation. The absence and presence of
any of the factors in the quantitative study is confirmed by observing the photograph of the
garment on Instagram. Similarly, the qualitative study goes hand in hand. Secondarily, to
confirm the findings, the first hand information provided by the designer is referred to.
*Contemporarising means promoting the inherent strength of Indian Handlooms with new
designs, colour combinations and defect free weaving for meeting the need of the market.

Scope
I. PURPOSE
The purpose of this study is to find out whether or not Indian Fashion Designers are
working towards the promotion of Indian Handlooms and Crafts in the international
market through their collaborative works with Foreign Designers / Influencers or
Global Companies so that it can further be used to find out different methods to
promote these crafts in the International market apart from Government Schemes.

II. Sampling
The sampling is done as follows
(i) Firstly, the Fashion Designers who work with Indian Handlooms and Crafts were
listed out. The list was filtered on the basis of whether or not they have been
working with foreign designers / Influencers or global companies.
(ii) The list was further filtered on the basis of the designers having an Instagram
account on which they kept regular feed of their work.
(iii) After the above filtrations, one Fashion Designer’s work was chosen as the
sample on the basis of two factors
a. The number of Collaborations
b. The Instagram account feed.
(iv) Sabyasachi Mukherjee’s official Instagram account was chosen as the source of
data collection as it met all the above criterion.
III. Timeline
The timeline that the research has taken place in is from 25 th February 2017 (first
post of Sabyasachi Mukherjee’s Official Instagram Account) to 23rd March 2020 (Last
Day of data Collection).
IV. Uses of the study
This research can be used to/as
V. have an insight on how established designers are (or are not) working towards the
promotion of Indian Handlooms (in context of international collaborations).
VI. a foundation to conducting further research on how and how much these works
influence the promotion and sales of Indian Handlooms and crafts in the
International Market.

VII. Constraints
 Time – The time period in which the study was to be concluded was only
feasible to study the work of one fashion designer.
 Resources – Due to the outbreak of COVID-19, the collection of data was only
limited to online resources (Instagram).

Data Collection
To investigate what areas of enterprises Sabyasachi Mukherjee collaborate, and what types
of collaboration are accomplished, collected the cases of fashion collaboration announced
officially known cases of fashion collaboration in the foreign market were surveyed.Eighteen
cases of fashion collaboration were selected from officially announced reports around the
world.

Collaboration Textiles Silhouette Motifs Embroidery Accessories

Katy Perry α α α
Christy α α α α
Turlington
Burn
Nigella α α α α α
Lawson
Melita α
Tuscan du
Plantier
Oprah α α α
Winfrey (1)
Oprah α α α α
Winfrey(2)
Sophie α α α α α
Turner
Priyanka α
Chopra
(Instyle, USA)
Debi Mazar α α α α α
Valerie Tsui α α α α
Christian α α
 Louboutin (1)
Christian
Louboutin (2)
Christian α α
Louboutin (3)
Christian α
Louboutin (4)
Christian α α α
Louboutin (5)
Christian α α
Louboutin (6)
Christian α α
Louboutin (7)
Christian α α
Louboutin (8)

The above table represents the presence of the five parameters (textiles, silhouette, motifs,
embroidery, accessories) in the ‘Indian’ form in the sample of the research.
The table shows if different parameters in a garment and its styling are present or absent in
the collaborative works of Sabyasachi Mukherjee as seen from his Official Instagram
Account. The symbol ‘α’ denotes that the said trait is present in the said garment.
As can be inferred from the above table, it can be seen that there is at least one trait out of
the five mentioned beforehand that is ‘Indian’ in nature except for one collaboration.

Sales

Textiles Silhouette Motifs Embroidery Accessories

This chart shows the presence of each trait in every garment combined so as to make out
which traits are majorly present in the collaborations as Indian.
As seen in the chart, it chart becomes clearer that Embroidery, Motifs and Accessories (in
descending order of appearance) in styling are the traits that are majorly Indian in the
collaborative works of Sabyasachi Mukherjee.

Data Analysis
The range of this study is limited the types of collaboration as equal terms for strategic
necessity between two partners, not as vertical relationship. This study was concerned with
the content of collaboration agreement between partners and limited to the way the
designs were contemporized in order to meet the global standards. In depth analysis of each
collaboration was done to obtain the result.
1) Sabyasachi Mukherjee*Katy Perry-The singer was spotted in a densely embroidered
patchwork coat. What stood out was that the ensemble has been made from recycled fabric
and it has been bound together by mirror work. The Sabyasachi outfit was a burst of colours
accessorised with one of the designer’s signature statement neckpieces.
2) Sabyasachi Mukherjee*Christy Turlington Burn-She wears a Sabyasachi coat and choker
necklace with Calvin Klein jeans. The most attractive part about the garment was up-cycled
vintage embroidered fabric coat.

3) Sabyasachi Mukherjee*Nigella Lawson-Sombre hues, heavy layering, intricate detailing

made the garment go extremely beautiful. She wore a jacket with heavy embroidery and
jewellery but kept the makeup subtle and nude to highlight the garment as much as
possible.
4) Sabyasachi Mukherjee*Oprah Winfrey-Black and silver embroidered silk sari which was
paired with a matching stole and accessorised with the designer’s signature 29.5 carat
Zambian emerald and diamond earrings.
5) Sabyasachi Mukherjee*Melita Toscan du Plantier-She wore the dress to Cannes Film
Festival. Floral gown in sync with country side of France accessorized by the designer’s
signature style black panther belt.
6) Sabyasachi Mukherjee*Sophia Turner-The star of Game of thrones wore a beige pink
lehenga with emerald green choker and maang-tika to Priyanka Chopra & Nick Jonas’s
reception.
7) Sabyasachi Mukherjee*Priyanka Chopra-Shoot for Instyle Magazine cover page Priyanka
wore a trendy summer print sari with a bracelet and a signature belt.
8) Sabyasachi Mukherjee*Valetria Tsui-Inspired by Mary Poppins , Edwardian fashion hand
quilted silk godet skirt and jacket rightfully layered with a hand embroidered cropped singlet
and tulle veil.
9) Sabyasachi Mukherjee*Oprah Winfrey-She wore a velvet kaftan with diamond earrings.
10) Sabyasachi Mukherjee*Debi Mazar-
11) Sabyasachi Mukherjee*Christian Louboutin- Parisian accessories designer Christian
Louboutin and Indian designer Sabyasachi Mukherjee collaborated again for the fourth time,
combining their creative synergy to produce a beautiful amalgamation of Indian and Parisian
style craftsmanship.
Reinterpreting gypsies, global nomads and performing artists, the collection is whimsical
and perfectly paired with a striking array of shoes and bags, created in collaboration with
Mr. Louboutin. Presented in a variety of materials embellished with hand-sewn embroidery
and sequins, the result is vibrant and elaborate.
For this collaboration Christian Louboutin applied intricate and bold prints on the Espadrille
and the Jessica knee-high boots. The Loubiqueen, a slim platform and lofty stiletto, appear
in dusty rose, deep brown and an olive green in nappa leather, while the satin version is
presented in alluring jewel tones to match the shades of the collection. The Gena round-toe
pump, playfully embroidered in floral prints of multicolour and sequins, is perfect for
dancing the night away.
Carefully constructed to match the artisanal vegetable dyed prints, brocades and casement,
the women’s and men’s shoes are created with soft nappa leather, while the rich embroidered
prints make them beautifully apt for Indian weddings. 
The women’s bag collection sees the Marie Jane bucket in exclusive styles for India. The
embroidered bucket bag, available in eight colours takes a cultural spin on gypsy fashion
accompanied with the Indian-style tassel called latkan. Regal velvet versions of the bag with
Louboutin’s signature logo are embroidered by Sabyasachi. The nappa leather Marie Jane is
mounted with Louboutin statement diamond spikes and the fringe models comes in hues of
red-brown to harmonize with the traditional Indian bridal colours.
Observations-When one thinks Sabyasachi, one thinks saree, and that is how closely the
two are connected and have been for several years in Indian fashion. What has reshaped
and revamped traditional Indian outfits has been Sabyasachi’s creative vision which has
soared to great heights while staying rooted to all the inherent glamor and tradition that
India has to offer in the realm of fashion. Sabyasachi’s designs are the designs of the past,
present, and the future, and that’s what makes him one of the leading contemporary Indian
designers.
In one of his interview’s Sabyasachi described his style as ‘personalized imperfection of the
human hand’. He has drawn most of his ideas from his surroundings and his childhood.
Kolkata’s scenic backdrops and imprints that have left a never changing impact on his mind
is what comes through beautifully in all his creations. Traditional and very ‘Indian’ is his style
and he makes the most of it.  Gypsies, deserts, antique use of fabrics, textiles, and
embroideries get beautifully woven into each sari, lehenga or salwar kameez, which are his
areas of expertise.
What gives his designs a twist is his unique blend of colours and fabrics. One may never
think of putting 4 different shades in four different sections of a sari with different designs,
but when Sabyasachi comes out with the final product, one gets compelled to believe that it
is possible and achievable. Fusion of different patchwork designs on vibrant colours is his
trademark.
Vintage and old world Indian charm is extremely apparent through all the motifs and
techniques used. He describes it as “International styling with an Indian soul. While the
whole fashion industry has taken a plunge in modern day designs and techniques,
Sabyasachi’s designs stay completely rooted in what India really is.

Conclusion
The purpose of this study to find out if Indian fashion designers were promoting Indian
Handlooms and Crafts by incorporating them in their collections made exclusively in
collaboration with foreign designers / influencers or global companies.
After the sampling process and taking into the time constraint , the study was done on
Sabyasachi Mukherjee’s collaborative works the information of which was collected strictly
from Instagram (as it is online and can be accessed anywhere) keeping in mind the time
constraint and the constraints brought by the outbreak of COVID-19 Virus.
The data collected quantitatively was studied through column charts and pie charts to see
the presence of different traits in a garment and its styling as Indian Handloom or Craft of
any form. The numbers suggested that most of the garments except one had some or the
other trait of Indian Handloom and / or Craft present in them.
Further, the data analysis was done qualitatively to see how the Indian garments were
contemporized the meet the demand of foreign market as well as promote Indian
Handlooms and Textiles.
To conclude the findings in one sentence, it can be said that Sabyasachi Mukherjee is
incorporating Indian Handlooms and / or crafts in his foreign collaborations and it can be
said that this can be a method to promote the said crafts in the international market.
Bibliography-
Tantia, P. (2018). How Indian Designers are Helping Handloom Weavers. Retrieved 4 April 2020,
from https://www.entrepreneur.com/article/299042
Sharma, R. (2020). Report on Market research for promotion of India Handloom brand. Retrieved 4
April 2020, from https://handlooms.nic.in/writereaddata/2534.pdf
Textile Industry: Indian Textile and Apparel Industry | Invest India. (2020). Retrieved 4 April 2020,
from https://www.investindia.gov.in/sector/textiles-apparel
Indian Fashion Designers shinning on International Fashion Front. (2020). Retrieved 4 April 2020,
from https://www.fibre2fashion.com/industry-article/6876/india-shinning-on-an-international-
fashion-front
Chadha, R. (2020). What it takes for Indian brands to go global. Retrieved 4 April 2020, from
https://www.livemint.com/Leisure/FqbqdDei5oo9B1awg0nQfL/What-it-takes-for-Indian-brands-to-
go-global.html
Srivastav, G., & Rawat, P. (2016). Indian Handicrafts & Globalization: In context of export.
Lantry, J. (2015). Re-thinking Sustainability through collaborative exchange between emerging
Australian designers and Indian artisans in fashion and textiles.