BFDI-073

Introduction to
Indira Gandhi National Open University
School of Vocational Education and Training Fashion Industry

Block

1
UNDERSTANDING OF FASHION INDUSTRY
UNIT 1
Understanding and Sourcing of Fabrics 7

UNIT 2
Concepts and Principles of Textile Fibres 25

UNIT 3
Growth of Global Fashion Industry 41

UNIT 4
Growth of Indian Fashion Industry 54
EXPERT COMMITTEE
Prof. Anjali Karolia Dr. Rachna Mohan Ms. Bhawana Khattar
Professor and Director Associate Professor Pearl Academy, Delhi
Institute of Fashion Technology B.N. College Dr. R S P Singh
M.S. University Vadodara University of Delhi, Delhi Associate Professor
Vadodara, Gujrat SOVET, IGNOU
Ms. Seema Mahajan
Ms. Nandita Abraham Dean-Academic Governance Ms Urshla Kant
President Pearl Academy, Delhi Assistant Professor
Pearl Academy, Delhi SOVET, IGNOU
Dr. Indu Gupta
Prof. Banhi Jha Centre Manager Prof. (Dr.) Ashok K. Gaba
NIFT, Delhi J D IFT Director
Hauz Khas, Delhi SOVET, IGNOU
Mr. Vijay Mathur
Ex-Additional Secretary Dr, Veena Gupta
General Formerly Faculty
APEC, New Delhi Lady Irwin College
University of Delhi, Delhi

COURSE PREPARATION TEAM

Course Contributors Content Editor Unit Design and Course
Coordination
Dr. Rachna Mohan Prof. Anjali Karolia
Bhagini Navedita College IFT. M.S. University Prof.(Dr.) Ashok K Gaba,
University of Delhi Vadodara, Gujarat SOVET, IGNOU
(Unit 1 and 2)
Language Editing Programme Coordination
Prof.(Dr.) Ashok K Gaba
SOVET, IGNOU Prof. (Dr.) Parmod Kumar Prof. (Dr.) Ashok K Gaba
(Unit 3 and 4) SOH, IGNOU Programme Coordinator

Proof Reading Dr. R S P Singh

Co-Coordinator
Dr. Divya Ojha
Academic Associate Ms Urshla Kant
Fashion Design Programme Co-Coordinator
SOVET, IGNOU
PRODUCTION TEAM
Mr. Tilak Raj Mr. Yashpal
Asst. Registrar (Publication) Section Officer (Publication)
MPDD, IGNOU, New Delhi MPDD, IGNOU, New Delhi

November, 2020
Indira Gandhi National Open University, 2020
ISBN: 978-93-90496-74-7
All rights reserved. No part of this work may be reproduced in any form, by mimeograph or any other
means, without permission in writing from the Indira Gandhi National Open University.
Further information on the Indira Gandhi National Open University courses may be obtained from
the University's office at Maidan Garhi, New Delhi.
Printed and published on behalf of the Indira Gandhi National Open University, New Delhi by the
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COURSE INTRODUCITON

In the previous Courses, you have been introduced to ‘Fundamentals of Fashion

Design’ and ‘Basics of Pattern Making and Sewing’. One of the most important
aspects of Fashion Design programme is to know about ‘Fashion Industry’. This
is the third course (4 Credits) of your programme comprising three Blocks and
Practical Guideline. To know about fashion designs, it becomes necessary for
understanding of fashion industry and customer tastes. This Course discusses
about understanding of fashion industry, markets, and retailing.

The first Block of this course explains ‘Understanding of Fashion Industry’ in

details. It discusses about sourcing of fabrics, concepts and principles of textiles
fabrics, growth of global and Indian fashion industry. The second Block of this
course titled ‘Fashion Markets’ consists of four units namely market segmentation,
apparel categories, Indian fashion designers and sustainability and ethical issues.
This Block will apprise you about famous fashion designers of India. The last
Block of this course i.e. Block three discuss about the fashion retailing. It consists
of three units. The first unit of this Block will help you in the understanding of
retailing in general. The last two units of this Block explain retail operation and
customer relations. We are sure, you will enjoy while reading this Block and
enhance your understanding of retailing in general and fashion industry in
particular.
LET US BEGIN HERE
The Course on the theme of Fashion Industry is divided into three Blocks. This
is the first of them. It comprises eleven Units in all. A schematic representation
of the design of the Units is given below:

Unit X
Objectives
Introduction
Section 1 (Main Theme)
Sub-Section 1 of Section 1
Sub-Section 2 of Section 1
......................................
...................................... Check Your Progress
......................................
Section 2 (Main Theme)
Sub-Section 1 of Section 2
Sub-Section 2 of Section 2
......................................
...................................... Check Your Progress
......................................
Check Your Progress:
X.n Let Us Sum Up
The Key
The section Objectives in each Unit articulates briefly:
what we have presented in the Unit; and
what we expect from you once you complete working on the Unit.
The Units are divided into sections for easy reading and better comprehension.
Each section is indicated distinctly by BOLD CAPITALS and each sub-section
by relatively smaller but bold typeface. The significant divisions within sub-
sections are in still smaller but bold typeface so as to make it easier for you to
see their place within sub-sections, and the items which need to be highlighted
are numbered [i.e. (i). (ii),etc.]. For purposes of uniformity we have employed
the same scheme of ‘partitioning’ in every Unit throughout the course. Towards
the end of each

Unit, under the heading ‘Let Us Sum Up’, we summaries the whole Unit for
purposes of recapitulation and ready reference.

Besides, self-check exercises under the captions Check Your Progress have
been provided at a few places in each of these Units which invariably end with
model/sample answers to the questions set in these exercises.
What, perhaps, you would like to do is to go through the Units and jot down
important points as you read. This will help you keep track of and assimilate
what you have been reading in a particular Unit and answer the ‘self-check
exercises’. These exercises are not meant to be submitted to us for correction
and evaluation. The exercises are meant to function as study tools to help you
keep on the right track as you read the Units. The points you have jotted down
will help you in answering the questions. If required, you may as well take a
quick look through the relevant pages to locate the answers.

We would like you to work out the answers in the blank space(s) provided in this
booklet. The purpose of giving self-check exercises will be served satisfactorily
if you compare your answers with the model ones given at the end of each Unit,
after having written your answer in the blank space. You may be tempted to
have a furtive glance at the model answer(s), as soon as you come across an
exercise. But we do hope that you will overcome the temptation, and turn to the
model answers (which are not the best answers necessarily) only after you write
yours. Each block or combination of blocks will have at least one assignment
which should be sent to us for evaluation. In all, you may have to work on two/
three assignments for a Course.

The following norms have to be strictly practised while you are working through
the assignments.
The answer should be precise and well-documented.
Before you put down anything in words, assimilate what you have read,
integrate it with what you have gathered from your experience and feed it
into your answer.
Make the best use of the Block and additional reading materials for diligently
working through the assignments.
Write your roll number legibly as indicated in the “Students’ Programme
Guide”
Understanding of Fashion
Industry

6
 Understanding and Sourcing
UNIT 1 UNDERSTANDING AND SOURCING of Fabrics

OF FABRICS

Structure
1.0 Introduction
1.1 Objectives
1.2 Importance of Fabric Sourcing
1.3 Introduction to Fabrics
1.3.1 Fabric
1.3.2 Key Elements of Fabric Specifications
1.3.3 Glossary of Commonly Available Fabrics
1.4 Introduction to Fabric Sourcing
1.4.1 The Role of Fabric Sourcing
1.4.2 Steps and Strategies in Fabric Sourcing
1.5 Let Us Sum Up
1.6 Check Your Progress: The Key

1.0 INTRODUCTION
This is the first of the four units of Block 1 on understanding fashion industry in
Course 3: Introduction to fashion industry. This unit provides an overview of the
fabrics and their role in fashion design along with an understanding of the factors
relevant to their sourcing. This Unit starts with an introduction to the methods
of fabric construction followed by a brief overview of concepts related to
understanding fabrics. It then deals with the steps involved in fabric sourcing in
the context of the important role it plays in the fashion design industry. It also
covers the commonly used fabric specifications that are necessary for
communicating clearly and correctly with the fabric suppliers. Understanding
this unit fully requires knowledge of fibres and yarns that go into the making of
fabrics. Read the Unit on the ‘Concepts and Principles of Textile Fibres’ before
studying this Unit.

1.1 OBJECTIVES
After studying this Unit, you would be able to :
Understand the purpose of fabric sourcing in the fashion design industry.
distinguish various kinds of fabrics based on different yarns structures and
processes of manufacture
list the various steps in the fabric sourcing process
define the commonly used terms in preparing fabric specifications;

1.2 IMPORTANCE OF FABRIC SOURCING

Fabric is an essential raw material for the fashion industry. The textile industry
has been continuously adding to the list of fabric options available to the fashion 7
Understanding of Fashion industry. The fabrics sector has benefited from both significant technology
Industry
developments particularly and the area of man-made fibres and the revival of
consumer interest in traditional fibres and ethnic clothing. Growing focus on
Sustainable and eco friendly process and fabrics has further widened the fabrics
options of the fashion industry. The fashion industry is always in search of the
most appropriate fabrics for the design and construction of new and newer fashion
garments. Historically, new and innovative fabrics have also served as the trigger
for new fashion trends.

Anyone interested in the fashion industry would need an adequate understanding

of the different kinds of fabrics and their properties. Since fabrics have a
significant role to play in design of garments and also in their production and
costing, there is a need to apply this knowledge of fabrics strategically for
achieving commercial success in the fashion design industry. This Unit has a
separate section on fabric sourcing steps and strategies that need to be borne in
mind for making fabric sourcing an integral part of business success. Since
fashion businesses source fabrics not only from textile mills and processors but
also from jobbers and wholesalers, this unit also deals with the factors that
determine from whom to buy. It also explains the common commercial practices
involved in placing orders for fabrics.

1.3 INTRODUCTION TO FABRICS

1.3.1 Fabrics
Fabrics are the building blocks of fashion design. Not every type of fabric is
suitable for every type of dress. Fabrics have evolved over time to meet both the
functional and design requirements of different type of garments. The functional
requirements include factors like suitability to different climatic conditions
seasons or the tensile strength of the fabrics needed to cope with the physical
movements of the body or breathability necessary for maintaining body comfort.

Prior to 20th century, fabrics were made only from natural fibres such as flax,
wool, cotton and silk. However, a variety of man-made fibres were invented and
commercialised starting with the introduction of rayon in 1910. Synthetic based
fabrics brought with them newer properties like increased strength; greater
resilience; wrinkle, shrink, abrasion and perspiration resistance, etc. The fashion
industry was quick to adopt these fabrics.

Methods of Fabric Construction

Fabrics can be constructed either by weaving knitting or bonding/felting. The
construction method used in the making of the fabric determines the properties,
appearance and end use of the fabric.

Weaving
Weaving is the process of creating continuous intersection of two sets of straight
yarns by letting them cross and interlace each other at right angles. The lengthwise
yarns are known as warp yarns and width-wise yarns are known as weft or filling
yarns and the fabric produced is known as woven fabric. Weaving is done on a
loom, a device that holds the warp threads in place while filling threads are
8 woven through them.
Warp and weft threads interlace in different ways to produce different types of Understanding and Sourcing
of Fabrics
weaves. The majority of woven fabrics are created with the help of three different
basic weaves namely plain, twill or satin weave. Woven cloth can be plain in a
single colour or pattern; or can have decorative or artistic designs using multiple
yarns of different colours.

1) Plain Weave: Also called even-weave or tabby weave, this fabric is made
by passing one weft yarn over one warp yarn and then under the next yarn
through the full width of the beam of warp yarns, with each row alternating.
Chiffon, Buckram, Organdy, Crepe, Cambric, Poplin, Flannel, Taffeta, etc.
are some of the fabrics made with plain weave.

2) Twill Weave: In this case, the yarns pass above and below each other along
the length or breadth of the fabric in different patterns that create diagonal
lines across the surface of the fabric. In the warp-faced twill, each warp
yarn is made to jump over the weft one after another creating the effect of
a diagonal line over the surface of the fabric. In the case of weft-faced twill
weave, the weft yarn jumps over a block of warp yarns. Denim, Gabardine,
Jean, Glen Check, Foulard, Whipcord etc. are made using the twill weave
method.

3) Satin Weave: The satin weave is distinguished by its lustrous appearance.

The satin weave is characterised by four or more weft yarns floating over a
warp yarn or vice versa, four warp yarns floating over a single weft yarn.
This explains the even sheen since there is no scattered reflection of light.

The simple plain loom can accommodate 8 to 10 harnesses for basic weaves.
Special looms or special attachments to a simple loom are necessary for creating
fancy weaves.

Dobby weaves: It requires a special loom attachment and produces small,

geometric, textured, frequently repeated woven-in designs, such as seen in
bird’s-eye pique.

Pile weave: Pileweave is one of the fancy weaves and produces fabrics
with raised, dense surfaces. They can be made by weaving extra warp yarns
over wires, producing loops that are cut as the wires are withdrawn; by
adjusting loom tension to produce loops that are frequently left uncut; by
using extra filling yarns to produce floats that are cut after weaving; or by
weaving two cloths face to face, binding them together with an extra set of
warps that form the pile when the fabrics are cut apart. Velvet, plush, terry
cloth, and synthetic furs are examples of pile weaves.

Jacquard weave: It requires a special loom and is characterised by complex

woven-in designs, often with large design repeats or tapestry effects. Fabrics
made by this method include brocade, damask, and brocatelle.

Leno weaves: It also requires a special attachment and creates lightweight,

open a and lace-like appearance. These are made by twisting adjacent warp
yarns around each other, then passing the filling yarn through the twisted
warps. Marquisette, tulle and mosquito netting are produced by this method.
9
Understanding of Fashion Knitting
Industry
Knitting is another important method of making fabrics - by looping a yarn and
make it pass through the loop for creating a continuous chain of loops. The loops
are also called ‘stitches’ and the horizontal chain of loops is also known as a
‘row’ or a ‘course’ while the vertical columns of loops are called ‘wale’. The
fabric is formed by the intermeshing consecutive rows of loops, which are joined
together by pulling the loops of a new row through the loops of the already
existing row. A new loop may be pulled through one or more loops of the last
row.
Knitting is broadly classified into the following two categories:
1) Weft-faced Knitting or simply Weft Knitting
2) Warp-faced Knitting or simply Warp Knitting
Weft Knitting
It is a type of knitting in which yarns run horizontally from side to side across the
width of the fabric. Hand knitting is a weft knitting procedure. All stitches in a
course are formed by one yarn. Weft knits are made as either flat or open width
fabrics (like woven fabrics) on Flat bed knitting machines, or as tubular fabrics
(like seamless vests or socks) on circular knitting machines. Plain Knit, Purl,
Rib are some of the basic types of weft knits.

Warp Knitting
In warp knitting, loops are made vertically along the length of the warp yarn.
Each warp yarn is looped by a separate needle. The loops move in a zigzag way
like a rock climber using the hands one at a time to cling on to the protruding
structures on the right and left. Each warp yarn loop is pulled through the loops
of the adjacent columns on the right and left one at a time. The movement of the
looping yarns to the right and left creates the zigzag pattern of warp yarns. Tricot,
Raschel, Milanese are some of the basic types of warp knitted fabrics.

Felting and Non-woven Fabrics

Historically, fabrics were first made directly from fibres matted together and this
process began before spinning and weaving started. Felting is the process of
making fabric by entangling wool fibres with the help of heat, pressure, moisture
or needling. In non-woven fabrics, other fibres are bonded together by an
Mechanical or chemical methods such as adhesive binder, heat fusing or needle
punching etc. All these non-woven fabrics have special uses such as interlinings
and stiffeners for garments, disposable diapers or nappies, tea bags, bandages,
hats, filters and carpets.

Lace
Laces are made with a needle to form loops that are finished with a fine stitch.
The techniques of lace making involve looping, knotting, braiding, twisting or
stitching the threads into decorative open work patterns.

Net
Net is an open-mesh fabric that is held together by knots or by fusing the
thermoplastic yarns in places where they cross each other. There are several
10
types of meshes such as square, hexagonal, and octagonal. They mesh sizes of Understanding and Sourcing
of Fabrics
net fabrics range from coarse and open to fine and shear. Netting may be made of
any kind of fibre and may be given a soft or stiff sizing.

Braiding
Braiding is a simple form of narrow fabric construction. This began as a handicraft
for the construction of decorative fabrics. A braid is made like a rope by
interweaving three or more strands, strips, or lengths, in a diagonally criss-crossing
and overlapping pattern.

Check Your Progress 1

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) State whether the following statements are true or false
i) Interlacing of warp and filling threads is called weaving. (T/F).
ii) The simplest weave is a twill weave. (T/F).
iii) Non-woven fabrics are made by Knitting. (T/F).
iv) Satin weave is a fancy weave. (T/F).
v) Net is an open-mesh construction. (T/F).
2) Differentiate between Felt and Non-woven.
3) Give examples of fabrics made by:
i) Pile Weave
ii) Jacquard weave
iii) Leno weave
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1.3.2 Key Elements of Fabric Specifications

Grain

The direction of the alignment of yarns which runs parallel to the selvedge in a
fabric is called grain. Fabrics cut at different angles across the grain will behave
differently. The lengthwise grain of the fabric, runs in the direction of the warp
yarns. The crosswise grain runs in the direction of the weft yarns. Any angle not
in line with the lengthwise or crosswise grains is referred to as bias. The true
bias of a fabric is the forty-five-degree angle between the lengthwise and crosswise
grains. Fabric Grain affects the way fabric will hang and drape.
11
Understanding of Fashion
Industry

Lengthwise grain: Since the warp yarns are fully stretched while weaving,
the fabric does not stretch much along the lengthwise grain. Garments are
usually cut with the lengthwise grain oriented vertically, perpendicular to
the hem, so that they hold their shape and resist bagging and stretching.

Crosswise grain: The cross-grain is generally placed horizontally around

the body, because of its capacity to stretch, which allows the fabric to ease
as the yarns flex with the body’s movement. It is not usually placed vertically
in a garment because of the possibility of the garment drooping as the yarns
relax.

Bias The fabric has the maximum stretch along the true bias and drapes
well along the body contours. Designers often use this characteristic of the
bias cut to create dramatic clinging effects in their garments. Patterns are
specifically designed with the grain in mind so that the body can take
advantage of the amount of stretch or lack of it in the fabric. The stretch
and distortion of the bias make it necessary garment pieces cut on the bias
to be handled with care during garment construction.

Fabric Hand
The “hand” of a fabric refers to how the fabric “feels” against your skin. The
hand or feel factor determines the softness, crispness, dryness, silkiness, etc. of
the fabric. It also plays a role in the perception of the texture, drapability, stretch,
wrinkle resistance, etc. of the fabric.

Hand of the fabric also doubles as the “drape” of the fabric. A soft hand is a soft
drape and is fluid, like a piece of silk or a fine worsted woollen that would be a
comfortable cloth to wear. A hard hand is rough to touch and typically less
comfortable to wear.

Fabric Width
Most fabrics come in standard widths and the most common widths for fabric
bolts include 36, 38, 42, 44/45, 48, 54, 58, 59, 60, 72 and 108 inches, with 45, 54
12
and 60 inches being the most common. The width is often listed on a label at the Understanding and Sourcing
of Fabrics
end of a flat fabric bolt. The amount of fabric needed for a garment depends on
the width of the fabric. In general, the wider the fabric is, the lesser of it would
be needed. However, ideal width is dependent upon end uses and some of the
popular widths include the following:
Inter facings 24" to 45"
Linings 36" to 60"
Most clothing related fabrics come in 36" to 60"
Upholstery and drapery fabrics 54" to 60"
Muslin 36" to 108
Fabric Weight
Fabric weight is the outcome of how a fabric is woven, its finish and sometimes
the fibre type. Fabric weight is measured in terms of how many Grams, in weight,
a Square Meter of fabric is (GSM). The higher the GSM, the denser the fabric
will be. These fabrics generally fall into these categories:
Lightweight fabrics (30-150 GSM): chiffon, linen, organza, cheesecloth,
lace, voile, mesh. Lightweight fabrics are suitable for underwear and summer
items such as dresses and shirts.
Medium weight fabrics (150-350 GSM): Sateen, oxford, velvet, taffeta, etc.
Heavy weight fabrics (350+ GSM): Upholstery fabric, canvas, brocade,
poplin, denim.
Fabric Blends
Different fibres are blended together for a variety of reasons such as cost,
durability, availability, and how readily the fabric accepts dye. There are various
ways of combining different fibres. The most basic method is to mix fibres before
the yarn is spun. Yarns can also be composed of plies of different fibres. Another
variation is to spin the yarn with a core of one fibre and an outer wrapping of
another. The fibres can also be combined at the weaving stage by using yarns
made of different fibres in the warp and the weft. Combinations of these methods
can also be used to create blended fabrics. Terecot, Terewool, Cotswool are few
examples of blended fabrics.
Fabric Coloring
The process of dyeing a fabric as a whole is known as piece dyeing. Resist
dyeing is a method in which portions of the fabric are blocked out with a dye-
resisting agent or process before it is dyed. Batik method uses melted wax. Tie
dyeing relies on constraining the fabrics with strings. Shibori is a Japanese
techniques in which folds, pleats, tied string, and/or stitches are used to compress
the fabric. Ikat is a complex technique in which the warp yarns of a fabric are
painted and/or resist dyed before the weft yarns are woven in.
Printing, which includes the techniques of block printing, roller printing, and
screen printing (also known as silk-screening) is another popular method. Simple
to complex designs can be printed onto the surface of the fabric, using any number
of different colours. Fabrics can also be hand-painted, again with any number of
colours. 13
Understanding of Fashion Finishes and Decorations
Industry
Most fabrics are given different types of finishing treatments during their
manufacture to create special effects or to impart specific properties. Sometimes
sizing is added to aid in some part of the production of the fabric, but more often
it is added to alter the appearance and texture of the fabric, in an attempt to make
the fabric more marketable or appealing to the consumer.

Some fabrics have physical processes performed on them to affect their

appearance or texture. Beetling is a process in which the fabric is hammered to
create a lustrous finish. Calenderingis a process in which fabric is passed through
heated rollers under high pressure for giving it a smooth or glossy finish. Brushing
the surface of a fabric makes the fibre ends to pull lose from the fabric and create
a fuzzy surface. Brushing is used for creating flannels from woven fabrics and
fleece from knitted fabrics. Heat or chemicals can also be applied to alter the
surface texture or appearance of fabric. Designs can be embossed on the surface
of fabrics like velvets or satins. Caustic chemicals can be also applied in patterns
to the surface of the fabric. These can cause the fabric to shrink unevenly,
producing puckered fabrics such as plissé. Alternately, chemicals can be used to
selectively remove, or burn out, certain areas of the fabric. Devoré velvet is an
example of a fabric created in this manner.

A variety of decorations can be also created the surface of the fabric. Embroidery
can add a variety of designs, and may incorporate yarns of varying texture,
thickness, or colour. It can also be combined with cut-work, producing fabrics
like eyelet lace. Beads or sequins can be sewn to the surface of the fabric. Flock
(loose fibers) can also be glued to the fabric. Tufting is a process in which
lengths of yarn are punched through the surface of the fabric, creating a pile.

Check Your Progress 2

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
4) State whether the following statements are true or false
vi) Bias has the minimum stretch. (T/F).
vii) Calendaring gives smooth finish to the fabric. (T/F).
viii) Terewool is a blend of polyester and wool. (T/F).
ix) Voile is a heavy weight fabric. (T/F).
x) Batik is a resist dyeing technique. (T/F).
5) List the different fabric grains.
6) Define GSM.
7) Give one example of fabrics with a soft and hard hand.
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14
1.3.3 Glossary of Commonly Available Fabrics Understanding and Sourcing
of Fabrics
Batiste - A lightweight, plain weave fabric, semi sheer and usually made of
cotton or cotton blends.
Brocade - A heavy jacquard type fabric with an all over raised pattern or
floral design.
Buckram - A plain weave fabric, usually made from cotton or linen, that is
stiffened with starch during the manufacturing process. Buckram is typically
used in bookbinding and millenary.
Burlap - A loosely constructed, heavy weight, plain weave fabric. It has a
rough hand.
Calico - A lightly woven cotton type fabric with an all over print, usually a
small floral pattern on a contrasting background color.
Cambric - A lightweight plain weave cotton or linen cloth, slightly heavier
than muslin, that is closely woven and calendered to give a slight sheen on
one side. The material was originally a linen fabric woven in Cambrai in
northern France.
Canvas - A strong, durable, closely woven cotton fabric.
Casement - A light weight textile made in a combination of fibers usually
dyed in light neutral colours.
Cashmere - A natural fibre obtained from the soft fleecy undergrowth of
the Kashmir goat. A luxury fibre with a very soft hand.
Cheesecloth - A lightweight, sheer, plain-woven fabric with a very soft
texture. It may be natural coloured, bleached, or dyed.
Chiffon - Lightweight, extremely sheer and airy fabric, containing highly
twisted fibres.
Corduroy - A cloth made with cut pile ribs (or wales) running the length or
width of the fabric. The ribs are produced by wefts yarns that are carried
over the fabric face and then cut.
Crepe - Used to describe all kinds of fabrics; wool, cotton, silk, rayon,
synthetics and blends that have a crinkle, crimped or grained surface.
Damask - A heavy reversible fabric typically made from cotton, silk, linen,
wool or synthetic yarns using satin weave, typically used for draperies and
home decor.
Denim - A twill weave cotton fabric made with different colored yarns in
the warp and the weft. Due to the twill construction, one color predominates
on the fabric surface.
Double Cloth - A fabric construction, in which two fabrics are woven on
the loom at the same time, one on top of the other. In the weaving process,
the two layers of woven fabric are held together using binder threads. The
woven patterns in each layer of fabric can be similar or completely different.
Drill - Strong, medium to heavyweight, warp faced, twill weave fabric.
Dupioni Silk - A crisp fabric with irregular slubs. 15
Understanding of Fashion Flannel - Usually a 100% cotton fabric that has been brushed on one or
Industry
both sides for softness.
Gabardine - A worsted twill weave that is wrinkle resistant.
Gauze - A sheer, open weave fabric usually cotton or silk.
Georgette - A drapery woven fabric created from highly twisted yarns
creating a pebbly texture.
Jersey Fabric - Usually thinner or lighter weight than interlock knit with
less stretch.
Lawn - A light, fine cloth made using carded or combed linen or cotton
yarns. The fabric has a crease-resistant, crisp finish.
Madras cotton- A lightweight plain weave cotton fabric with a striped,
plaid, or checked pattern. A true madras will bleed when washed. This type
of fabric is usually imported from India.
Merino - A type of wool that originates from pure bred Merino sheep. The
best Merino wool comes from Italy.
Mesh - A type of fabric characterized by its net like open appearance and
the spaces between the yarns. Mesh is available in a variety of constructions
including woven fabrics, knits, laces, or crocheted fabrics.
Mohair - Hair fibres from the Angora goat.
Muslin - An inexpensive, medium weight, plain weave, low count (less
than 160 threads per square inch) cotton sheeting fabric. In it’s unfinished
form, it is commonly used in fashion design to make trial garments for
preliminary fit.
Organdy - A stiffened, sheer, lightweight plain weave fabric, usually cotton
or polyester.
Organza - A crisp, sheer, lightweight plain weave fabric, with a medium to
high yarn count, made of silk, rayon, nylon, or polyester.
Oxford - A fine, soft, lightweight woven cotton or blended with
manufactured fibers in a 2 x 1 basket weave variation of the plain weave
construction.
Plisse - A lightweight, plain weave, fabric, made from cotton, rayon, or
acetate, and characterized by a puckered striped effect, usually in the warp
direction. The crinkled effect is created through the application of a caustic
soda solution, which shrinks the fabric in the areas of the fabric where it is
applied. Plisse is similar in appearance to seersucker.
Plush - A compactly woven fabric with warp pile higher than that of velvet.
Made of cotton, wool, silk, or man-made fibre, often woven as double face
fabric and then sheared apart. Higher pile gives bristly texture. Usually
piece dyed but may be printed.
Poplin - A fabric made using a rib variation of the plain weave. The
construction is characterized by having a slight ridge effect in one direction,
usually the filling.
16
 Seersucker - A fabric with a woven pucker, this fabric is traditionally cotton, Understanding and Sourcing
of Fabrics
but can be polyester.
Sheer - Any very light weight fabric (e.g. chiffon, georgette, voile, sheer
crepe). Usually has an open weave.
Taffeta - With a crisp hand, taffeta is typically used for formal wear like
gowns and fuller skirts.
Tapestry - A heavy, often hand woven, ribbed fabric, featuring an elaborate
design depicting a historical or current pictorial display. The weft-faced
fabric design is made by using coloured filling yarns, only in areas where
needed, that are worked back and forth over spun warp yarns, which are
visible on the back.
Tarpaulin - A waterproofed canvas sometimes made of nylon or other
manmade fiber.
Terry Cloth - Unclipped, looped pile, 100% cotton terry cloth is highly
absorbent.
Tweed - A medium to heavy weight, fluffy, woolen, twill weave fabric
containing coloured slubbed yarns.
Velour - Usually with a knitted back, velour resembles velvet, but has some
stretch.
Velvet - With a longer pile, velvet is the most luxurious fabric. Stretch velvet
has some Lycra, it can be machine washed and will not create a shine in the
seat or elbows.
Velveteen - A cotton or cotton blend fabric with a short, dense pile. It lacks
the sheen and drape of velvet.
Voile - A crisp, lightweight, plain weave cotton like fabric, similar in
appearance to Organdy and organza.

Check Your Progress 3

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
8) State whether the following statements are true or false
i) Brocade has Jacquard weave. (T/F).
ii) Seersucker fabric has a puckered finish. (T/F).
iii) Crepe fabric has low twisted yarns. (T/F).
iv) Mohair wool comes from Rabbit. (T/F).
v) Gauze is an open weave fabric. (T/F).
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Understanding of Fashion
Industry 1.4 INTRODUCTION TO FABRIC SOURCING
1.4.1 The Role of Fabric Sourcing
Fabric is the most important raw material for the fashion design industry with
the exception of the creative talents of the designers and the sources of their
inspiration. Fabric serves as the medium through which fashion designers express
their creativity. The non-availability appropriate fabrics might become a limiting
factor on their creative designs. Fabric sourcing needs to take into account all
the different roles that fabric plays in the fashion design industry. The following
are some of the significant roles that fabrics play in the success of fashion
businesses:

1) Role in Designing: As the primary medium of creative expression, fabrics

continue to be one of the important sources of design inspiration. Structural
designs require fabrics with high degree of dimensional stability. Aesthetic
designs also require fabrics that express not only the colours and hues
correctly but also provide the necessary lustre and shine. A fabric swatch
library can also be source of inspiration for innovative designs.

2) Role in Trend Setting: In the history of fashion, there have been long term
trends that had their origin in new fibres, new fabrics and finishes. The Art
Deco movement of the 1920, which gets revived, in some form or other,
even now was rooted in the richness of the colours and fabrics of that
period. In the recent period, Spandex and Lycra fabrics had also set in motion
fashion trends of their own. Currently, the sustainability focus in fashion is
also creating new trends based on new types of natural fibres.

3) Role in Sample Making: Sourcing multiple fabrics with similar properties

and testing their suitability at the time of sample making helps in
implementing the designs in the best possible manner. Sample making is
also an important step in fabric selection.

4) Role in Quality: While design and styling enhance the visual appeal of the
dress, the fabrics will always be the basis on which the customers would
evaluate the dress through their touch and feel experience. Although cut
and stitch are very important aspects of fashion garments, any fabric defect
would catch the eye of the customer first and divert their attention away.
The fabric quality would also play an important role in determining the
comfort the customer experiences while trying out.

5) Role in Customer Targeting: Availability of suitable fabrics is an important

factor in developing garments aimed at specific target groups of customers.
The fabric choices also vary among income groups and age groups. It would
be, therefore, necessary to find the fabrics that meet the preferences of the
targetted customer groups.

6) Role in Pricing: Price points are equally important for meeting the price
expectations of the targetted customer groups. Even in the case of fashion
garments aimed at rich customers buying fabrics at the best possible prices
would help increase the profit margins.
18
7) Role in Variety: Fabric options play a critical role in determining the scope Understanding and Sourcing
of Fabrics
for variety under any specific garment design particularly in the case of
mass fashion or pret-a-porter garments. Customer who like a particular
design or cut and style may want it in their preferred colour or texture.

8) Role in Wash and Care: The ease of wash and care is another important
requirement for mass fashion and pret-a-porter garments. It would become,
therefore, necessary to choose fabrics that suit the design but also possess
the appropriate wash and care attributes.

9) Role in Branding: Branding is a high priority requirement of fashion

businesses. The quality of fabric used would always be a key factor in
determining the brand image. Brand image would also get a boost, if any
fashion business is able to procure good quality fabrics but is also able to
use additional processes that makes the fabrics stand out and speak up for
the brand.

10) Role in Sustainability: The sustainability theme is increasingly popular in

the fashion industry. By increasing the sustainability quotient of the fabrics
used, it would be possible to demonstrate the commitment towards
sustainability and build good will for the brand.

11) Role in Retail Marketing: Fashion garments are being sold increasingly
by both mall-based and online multi-brand retailers. Reorders from these
stores are determined by their merchandisers. Fabric sourcing would be a
key requirement for readily responding to such reorders and fulfilling the
specifications of such orders.

12) Role in Export Orders: Exports would be governed by garment and fabric
specifications based on international standards and other mutually agreed
terms and conditions along with follow-up inspections and tests. Sourcing
the correct quality of fabrics would be a prerequisite for complying with
quality requirements of export contracts.

Check Your Progress 4

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
8) State whether the following statements are true or false
i) Brocade has Jacquard weave. (T/F).
ii) Seersucker fabric has a puckered finish. (T/F).
iii) Crepe fabric has low twisted yarns. (T/F).
iv) Mohair wool comes from Rabbit. (T/F).
v) Gauze is an open weave fabric. (T/F).
................................................................................................................
................................................................................................................
................................................................................................................
19
Understanding of Fashion
Industry
1.4.2 Steps and Strategies of Fabric Sourcing
Step 1: Work with the designer from the very start.
Step 2: Make full use of the sample development opportunity
Step 3: Decide on the Technical & Commercial Specifications
Delivery Date
Quantity
Places of Origin & Destination
Price
End Use
Sample Yardage
Reorder Requirements
The following are some of the technical specifications that are relevant to fabric
sourcing:
Fibre type
Colour and Design
Width
Weight
Launderability and Compatibility
Step 4: Select the appropriate category of vendor
Mill or Manufacturer:
Mill or Manufacturer Representatives (Rep):
Convertors:
Primary Fabric Suppliers/Jobbers:
Secondary Fabric Suppliers/Wholesaler:
Step 5: Prepare binding order documents
Placing a production or purchase order is a legally binding contract and will be
governed by the Indian Contract Act. The order must, therefore, include clearly
identifiable and definable items and unambiguous terms and conditions.

A Purchase Order is placed for fabrics that the supplier has offered to sell and it
would contain the following minimum information along with all other relevant
details:
Fabric quality name and style number
Fibre content type
Fabric width
Fabric weight
Colours or design colourways
Price per meter or yard as applicable
20
 Quantity being ordered Understanding and Sourcing
of Fabrics
Shipping destination
Delivery date and location details
Step 6: Receive the fabric and carry out the quality tests

Step 7: Prepare for reorders as necessary

There is no way to predict with certainty how a garment would fare in the market.
However, the process for reorders must be started immediately after receiving
the fabrics so as to minimise lead time required for producing additional quantities
of any garment.

Check Your Progress 4

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
9) What role does fabric sourcing plays in the quality of garments?
................................................................................................................
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................................................................................................................
10) What is the significance of fabric sourcing in the pricing of garments?
................................................................................................................
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11) What is the role of fabric sourcing in retail marketing?
................................................................................................................
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................................................................................................................
................................................................................................................
................................................................................................................
12) What are the commercial factors that are important in the fabric sourcing
process.
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21
Understanding of Fashion ................................................................................................................
Industry
................................................................................................................
................................................................................................................
13) What are the main categories of fabric sources?
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
14) What are minimum information requirements of Purchase Orders?
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1.5 LET US SUM UP

This unit attempted to give you give you a brief overview of the very vast subject
of fabrics from the point of view of fabric sourcing. The first part aimed at
introducing the various ways in which fabrics are made - such as weaving, knitting
and felting. Some of the basic processes of weaving such as plain, twill and satin
weaves as well as weft and warp faced knitting processes were briefly explained.
Alongside, there was also references to the to the advanced methods of fabric
construction. The next part focused on the basic elements of fabric specifications
such as fibre content, fabric width, fabric weight, fabric grain, fabric hand, etc.
In order to familiarise you with the most common terminologies relevant to fabric
sourcing, a short glossary of terminologies was provided. The overall objective
up to this point was to give you basic understanding of how fabrics are made and
what are the key concepts that we must know for the purpose of sourcing fabrics
successfully.

The second part started with an explanation of the importance of fabric sourcing
for businesses in areas such as designing, creating trends, sample making, quality,
pricing, product variety, branding, retailing, exports, etc. The last part dealt with
the seven specific steps involved in fabric sourcing and also indicated the strategies
required to achieve success in each of the subjects.

Fabric sourcing is indeed a very dynamic subject and one of the main requirements
of the fabric sourcing personnel is to remain fully updated on all the latest
developments in the area of fabric making and embellishing technologies as
well as sources of fabric supply and the relevant commercial practices and
22
technical documentation. This chapter provides the foundation on which you Understanding and Sourcing
of Fabrics
will keep on adding latest knowledge for becoming a successful fabric sourcing
personnel.

1.6 CHECK YOUR PROGRESS: THE KEY

1) State whether the following statements are true or false
i. True
ii. False. It is Plain weave
iii. False. Non-woven fabrics are made directly from fibres.
iv. False. It is a basic weave.
v. True
2) Felt fabrics are made from wool fibre through heat, pressure and moisture.
Non-woven fabrics can be made from other fibres using mechanical and
chemical methods such as adhesive, heat bonding, needle punching etc.
3) Give examples of fabrics made by:
i) Pile Weave - Velvet, terry cloth
ii) Jacquard weave - brocade, damask,
iii) Leno weave – Tulle, mosquito netting
4) State whether the following statements are true or false
i) False. Bias has the maximum stretch.
ii) True
iii) True
iv) False. Voile is a light weight fabric.
v) True
5) Lengthwise grain, Width-wise grain, Bias
6) GSM is weight in Grams of a Square Meter of fabric. The higher the GSM,
the denser the fabric will be.
7) Silk has a soft hand, wool has a hard hand.
8) State whether the following statements are true or false
i) True
ii) True
iii) False. Crepe fabric has yarns with a very high twist.
iv) False. Mohair wool comes from Angora Goat.
v) True
9) The fabric plays a very important role in the touch and feel based quality
perceptions of customers. The touch and feel experience would also
influence customer’ s perceptions about the comfort factor of the garment.
Fabric defects would catch the attention of the buyers and divert the attention
away from the other valuable aspects of the garments.
23
Understanding of Fashion 10) Fabrics account for a large part of the production cost of garments. Sourcing
Industry
of fabrics at the right price is necessary to meet the price point expectations
of customers. Sourcing fabrics at economical prices would also increase
the profit margin.

11) Retail stores buy garments on the basis of trends in sales. Reorders from
these stores are determined by their merchandisers. Fabric sourcing would
be a key requirement for readily responding to such reorders and fulfilling
the specifications of such orders.
12) 1) Delivery time
2) Order quantity
3) Places of origin and destination
4) Price
5) End-use
6) Sample yardage
7) Reordering possibility
13) 1) Mills/Manufacturers
2) Representatives of Mills/Manufacturers
3) Convertors/Processors
4) Jobbers/primary fabric suppliers
5) Secondary Fabric Suppliers/wholesalers
14) Fabric quality name and style number
Fibre content type
Fabric width
Fabric weight
Colours or design colour ways
Price per meter or yard as applicable
Quantity being ordered
Shipping destination
Delivery date and location details

24
 Understanding and Sourcing
UNIT 2 CONCEPTS AND PRINCIPLES OF of Fabrics

TEXTILE FIBRES

Structure
2.0 Introduction
2.1 Objectives
2.2 Concepts and Principles of Fibres
2.2.1 Textile Fibre
2.3 Classification of Textile Fibres
2.3.1 Natural Fibres
2.3.2 Man Made Fibres
2.4 Classification of Textile Fibres Based on the Length
2.5 Properties of Fibres
2.5.1 Primary Properties
2.5.2 Secondary Properties
2.6 Identification of Textile Fibres
2.7 Technical Test
2.8 Fibre Blending
2.9 Miscellaneous Fibres
2.10 Let Us Sum Up
2.11 Check Your Progress – The Key

2.0 INTRODUCTION
This unit is part of the second block of Course III on Introduction to Fashion
Industry. The first block aims at creating an understanding of the fashion industry.
As a first step in this direction, this Unit focuses on creating a broad understanding
of textile fibres without which there cannot be any fashion industry. Although,
until the dawn of the 20th century garments were made only with the help of
natural fibres, a large variety of natural and man-made fibres have been added
since then. The last section deals with the properties of specific types of fibres.

2.1 OBJECTIVES
After studying this Unit, you would be able to:
define a textile fibre
classify textile fibres according to their length and origin
state the essential characteristics of all textile fibres
list the methods used for identifying different types of textile fibres
differentiate between different textile fibres based on their properties

2.2 CONCEPTS AND PRINCIPLES OF FIBRES

Fibres are the starting point for garments. Although the textile industry uses
several methods and processes to improve or modify the fibres, their basic 25
Understanding of Fashion properties go a long way in determining how the fabric and garment makers can
Industry
make use of these. Just as we cannot cook food without having a good idea of
the properties of the ingredients, we cannot make a quality garment without
understanding how different fibres behave during their conversion into fabrics
and garments. Since the fashion industry invariably procures fabrics from the
mills, processors or traders, it becomes necessary also to know their classification
based on fibre content for communicating with them clearly and correctly.

2.2.1 Textile Fibre

Fibre is what the fabrics are made of and textile fibres are distinguished by their
suitability for conversion into fabrics. Textile fibres are microscopic hair like
substances with comparatively high ratio of length to width that helps in spinning
them into yarns or bonding them together for creating fabrics directly. In spinning,
fibres are twisted together lengthwise for producing a continuous strand called
yarn. Apart from having several hundred times of length in relation to its length,
the textile fibres need also to be strong enough to withstand the mechanical
actions of spinning, weaving, knitting, etc. Other properties like elasticity,
fineness, uniformity, durability, lustre, and crimp are also necessary for improving
the quality of yarns, fabrics and garments.

2.3 CLASSIFICATION OF TEXTILE FIBRES

Textiles can be classified based on its origin, length and also by its thermoplastic
properties. Based on their sources, textile fibres are broadly classified into natural
and man-made or manufactured fibres. There are also several sub categories
under each as explained below:

2.3.1 Natural Fibres

Natural fibres are classified, according to their origin, into the following three
groups:

Vegetable fibres: These fibres are derived from plant or vegetable sources such
as stalk, stem, leaf, or seed pods, and include cotton, linen, jute, flax, ramie, coir,
sisal and hemp.

Animal fibres: Fibres sourced from animals are also known as protein-based
fibres. They are harvested from animals or removed from cocoons or webs and
include silk, hair, fur, wool, feathers, etc.

Mineral fibres: These fibres are mined from the earth. The asbestos fibre for
example, found its use in textile because of its acid, fire and rust resistance.
However. It is being phased out because of its suspected carcinogenic effect.

2.3.2 Man Made Fibres

Man Made Fibres are artificial fibres manufactured using chemical or
metallurgical technologies and fall into the following categories:

Regenerated Fibres: These fibres are produced using a natural source as a base
and using a chemical process for generating the filament. Examples include
26
viscose rayon, cuprammonium rayon, acetate rayon, rubber fibres, etc. Some of Concepts and Principles of
Textile Firbers
the recent additions to this include Lyocell and Tencel.

Synthetic Fibres: These are manufactured using only chemical processes and
use petroleum, natural gas and coal as the raw materials. These raw materials are
converted into substances capable of forming fibres. The petrochemical industry
is the main source of fibres in this category with coal and natural gas also
contributing a bit. Nylons, polyesters, acrylics and polypropylene are examples
of synthetic fibres. Elastomeric fibre such as Spandex and Lycra are recent
additions to this list.

2.4 CLASSIFICATION OF TEXTILE FIBRES

BASED ON THE LENGTH
Based on their length, fibres are classified into Staple Fibres and Filaments.
Staple Fibres: Any fibre with a limited or finite length is called “Staple Fibre”
and include fibres like cotton, wool, jute etc. These natural fibres may be a short
staple fibre having a maximum length of 60 mm or a long staple fibre having
lengths between 60 to 150 mm. Staple fibres are measured in inches or centimetres.
Staple fibres must be spun or twisted together to make a long continuous strand
of yarn. They may also be used in their staple form to produce non-woven or
felted fabrics. Staple fibres are usually natural fibres, although synthetic fibres
can be cut into short lengths for the purpose of blending with natural staple
fibres or used on their own to produce yarns with a natural feel.

Filaments: All fibres having unlimited or infinite lengths are called filaments.
Filaments are measured in yards or meters. Silk is a natural filament, which is
reeled from cocoons. Man-made fibres nylon, polyester etc. are also filaments
by forcing liquid raw materials through spinnerets and then hardened to produce
continuous filament strands of a determined length. Regular filament yarns are
smooth and silk-like as they come out of the spinneret. Their lustre, however,
depends on the amount of de-lustering agent used in the spinning solution and
the amount of twist in the yarn. Filament yarns have no protruding ends and
therefore, do not shed lint or pill. The compactness can be a disadvantage where
bulk and absorbency are necessary for comfort. Filament fibre is usually stronger
than staple.

We can also classified third category by thermoplasticity. You can discuss this
category during counselling sessions with the counsellor.

Check Your Progress 1

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) State whether the following statements are true or false
1) Linen is an animal fibre (True/False)
2) Examples of natural fibres are polyester and nylon (True/False)
3) Cotton is a cellulosic fibre (True/False)
27
Understanding of Fashion
Industry 4) Nylon is a filament (True / False)
5) Spandex is a protein fibre (True / False)
6) All man-made fibres are short length fibres. (True / False)
7) Fibres of long length produce smoother fabric. (True / False)
2) What are the examples of vegetable fibres ?
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3) What are man-made fibres ?
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4) Give examples of staple fibres
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2.5 PROPERTIES OF FIBRES

A fibre must possess some essential characteristics for use in textiles. High length
to width ratio, strength, flexibility or pliability, cohesiveness or spinnability and
uniformity are some of the essential primary properties of textile fibres.

Secondary properties of textile fibres are desirable but not essential and they
include physical shape, lustre, density or specific gravity, absorbency, electrical
conductivity, elasticity, elastic recovery, pilling, hand, thermal behaviour, the
resistance to biological organisms, chemicals and other environmental conditions.
These properties may advantageous or disadvantageous in specific conditions

2.5.1 Primary Properties

High length to width Ratio: A textile fibre must possess greater length of at
least 100 times its width. The cross-sectional area of the fibre must be smaller
28 than the length of the fibre. Majority of the natural fibres used in the textile
industry have greater length than the diameter. Length to Width Ratio of Some Concepts and Principles of
Textile Firbers
common fibres is as follows:

Fibre Length to width ratio

Cotton 1400

Wool 8000

Linen 170

Silk 330000

Strength:The strength of the textile fibres must be adequate for spinning these
into a yarn as well as making and processing fabrics. The strength of a fibre may
not be uniform throughout. It depends upon the molecular structure of fibres.
The strength of a fibre is defined as the ability to resist stress. Fibre tenacity may
also vary from 1 gm/denier in acetate to 8 gm/denier in glass. A strong fibre is
durable, has a better tear strength and resists sagging and pilling. Glass ranks
first in tenacity. Nylon and Polyester come next. Some of the fibres such as
rayon also lose strength when wet.

Flexibility or pliability: It is also one of the primary requirements of textile

fibres. A textile fibre needs to be bendable. This property is essential to create
yarns and fabrics that can be creased; to increase the drapability of fabrics.
Flexibility and pliability are also important to allow the body to move comfortably.

Cohesiveness or spinnability: Cohesiveness is the quality of the fibres to adhere

together during spinning. It may result from the longitudinal contour, cross
sectional shape or the structure of the surface/skin of individual fibres. For
example, wool possesses scales on the outer skin of the fibre which help in
interlocking fibres while spinning. If the surface or shape of a fibre does not
contribute to cohesiveness, filament yarns may be added for introducing
cohesiveness. Since filaments run along the full length of the yarns, there is little
necessity of individual fibre’s ability to stick to each other. Polyester has the
lowest cohesiveness but it can be made into staple yarns by adding a small
percentage of cotton and later burning it through carbonising process.

Uniformity:Uniformity in the length, width, cohesiveness and flexibility of fibres

is required for producing fine yarns. All man-made and synthetic fibres are uniform
since they are made through artificially controlled processing. Natural fibres,
except silk, however, are not uniform. It is not possible to produce very fine
yarns from natural fibres without doing additional processing.

2.5.1 Secondary Properties

Physical Shape: The physical shape of the fibre accounts for many of its
properties such as the surface contour (smooth, rough, serrated), the shape of the
cross section and the width and length of the fibre. The shape of the cross section
influences certain factors such as lustre, body and hand. The surface contour
influences cohesiveness, resiliency, loft and thickness. It determines the level of
resistance to abrasion, pilling, absorbency and warmth. The cross sectional shape
29
Understanding of Fashion can be changed for all artificial fibres, unlike natural fibres, by controlling how
Industry
these are moulded though spinnerets.

Lustre: Lustre is more subdued than shine since lustre is generated by breaking
up the light rays into many short rays while the shine results from the reflection
of the light without breaking it. The smoothness, length, and shape of the fibres
determine the natural brightness or dullness of the fibres. Among the natural
fibres, silk has high lustre while cotton is the dullest. All man-made fibres are
produced with lustre control processes as it is not always desirable to produce
bright fabrics. The lustre of man-made fibre is controlled by the addition of
pigments such as titanium dioxide in spinning solution. The lustre of natural and
man-made fibres can also be improved by various finishing techniques. For
example, the lustre in cotton is improved by mercerization.

Absorbency: Absorbency in the ability of fibres to take in or regain moisture

and is measured as a percentage of the weight of the bone-dry fibre under the
standard conditions of temperature and moisture. Fibres that absorb water easily
are known as hydrophilic (water loving). For example, natural protein and
vegetable fibres as well as rayon and acetate fibres are hydrophilic. Fibres that
have difficulty in absorbing water are known as hydrophobic fibres. Most of the
synthetic fibres are hydrophobic in nature. The absorbency factor of glass fibre
is ‘0’. Absorbency is an important factor for garments as it influences many
other properties such as comfort, warmth, water repellency, static build up,
dyeability, shrinkage, wrinkle resistance etc. It is easy to wash a hydrophobic
fabric as it does not absorb stains and it dries quickly.

Elasticity: Elasticity is the ability of fibres to return back to original shape after
being stretched and is expressed in percentage. If a fibre returns to its original
length after being stretched, it is said to have 100% elastic recovery. Elasticity is
required to cope with the stress that fabrics experience because of the body
movements of the wearer. This property depends on the side chains and cross
linkages among the molecules of the fibre. If strong bonds are present among
molecular chains, the fibre tends to return to its original length. If the bonds are
not strong enough to recover, wrinkles and creases are formed. Some fibres show
immediate elastic recovery and some others may have delayed elastic recovery.
For example, wool, silk, viscose and nylon have good elasticity. Cotton and
acetates have poor elastic recovery. Polyester has moderate elongation but has
good elastic recovery.

Electrical Conductivity: It is the ability of a fibre to transfer or carry electrical

charges. Poor or low conductivity results in building up of static charges. This
leads to the clinging of clothing and in extreme cases can produce electrical
shocks. Water is an excellent conductor of electricity and fibres with high moisture
regains will never face the problem static build-up. Synthetics are poor conductors
of water and therefore, face the problem of static charge build-up. Antistatic
finishes are given to fabrics in order to inhibit the piling up of static electricity
on fabrics.

Abrasion Resistance: It is the ability of fibres to withstand the rubbing or

abrasion. This is an important property, as it influences the durability of the
fabrics. If fabrics do not tolerate rubbing, they would get damaged easily and
30
become unsightly. Abrasion resistance may be due to the tough outer layer or the Concepts and Principles of
Textile Firbers
flexible molecular chains of the fibre. The size of the yarn also influences the
abrasion resistance. Thick yarns resist abrasion more than thin yarns. Yarn
uniformity is also important as irregular yarns are abraded more easily than
uniform yarns. Nylon has excellent resistance while acetate and glass have very
poor abrasion resistance as compared to silk, wool and cotton.

Resiliency: Resiliency is the ability of a fibre to bounce back to shape following

compression, bending or similar deformation. Wool and silk fabrics are more
resilient. They can be deformed, crushed or wrinkled during wear but they come
to shape upon hanging.

Thermal Properties: The thermal behaviour of fibres is also an important factor

for determining their performance and care. Among the textile fibres which are
in use, some are heat sensitive and some are not. Heat sensitivity is the ability to
soften, melt or shrink when subjected to heat. All synthetic and acetate are heat
sensitive thermoplastic fibres. Fibres that are not heat sensitive are known as
non-thermoplastic fibres. The heat sensitivity of a fibre may be due to the vibration
of molecules in the fibre upon heating. Fabrics made from heat sensitive fibres
need to be finished after washing, at safe, lower and recommended temperatures.
Heat conductivity is the ability of fibres to conduct away heat from the body.
This is also an important factor since it makes different fabrics suitable for different
seasons.

Chemical Properties: Chemical reactivity is the effect of acids, alkalies,

oxidizing agents and solvents on fibres. Acid or alkali is harmful for cellulose
and protein fibres. Therefore, the effect of acid and alkali must be known during
bleaching, dyeing and finishing. Different fibres react differently with acid and
alkali. For example, cotton and linen get damaged when they are subjected to
hydrochloric, sulphuric and nitric acids. On the other hand, alkaline solution is
not harmful to cotton and linen. Acids or alkalies must be chosen properly for
use in different types of processing.

Biological and Other Properties: Biological and other properties such as ageing
resistance, sunlight resistance, resistance to moths, mildew and microorganisms
play an important role in determining the performance of fabrics in use and care.

Sensitivity to Environmental Conditions: Behaviour of a fibre on exposure to

sunlight and air pollution are also important in their use and care. Protein fibres
have low resistance to sunlight. Glass, acrylic and polyester fibres can withstand
sunlight. Acetate fibres get discoloured by air pollution.

Check Your Progress 2

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
5) List the various primary properties of textile fibres.
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Understanding of Fashion
Industry 6) Differentiate between primary and secondary properties of textile fibres.
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7) Why is strength considered a primary property of textile fibres?
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8) Define cohesiveness.
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9) Give example of hydrophobic and hydrophilic fibres.
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10) Why is elasticity important in a textile fibre?
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11) What is heat conductivity in a textile fibre?
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32
 Concepts and Principles of
2.6 IDENTIFICATION OF TEXTILE FIBRES Textile Firbers

Both non-technical and technical tests are available for the identification of fibres.
Non-technical Tests: Non-technical testing does not require any special
equipment and are simple to perform and include the following:

Feeling Test: Skilled perception of feeling the fabrics by touching them is acquired
only after handling many different fabrics over a period of time. The feeling
effect is created by the heat conducting property of the fibres and fabrics. For
example, wool fabrics will feel warm when touched because the heat generated
by wool, which is a non-conductor of heat, will remain in the touched area itself.
The following list provides fibre specific information about the experience of
feeling by touching:
Cotton: – Cool to touch, feel soft and inelastic.
Linen: – Cool to touch, feels smooth and lathery.
Jute: – Cool to touch, feels smooth and leathery.
Silk: – Warm to touch, feels elastic and smooth.
Wool: – Warm to touch, feels elastic and springy.
Rayon: – Cool to touch, feels smooth, inelastic and lustrous.
Acetate Rayon: – Warm to touch, feels smoother more elastic and resilient
then rayon.
Nylon: – Feels very smooth, light weight elastic and lustrous.
Polyester:-Feels very smooth and stiffer.
Acrylic: – Feels of wool, but light weight and slippery feeling.
Burning Test: The fibres are chemically different and therefore show different
burning characteristics which can be used to identify them. The burning test is a
relatively simple test but it requires a keen observation of what happens at different
stages such as: (a) when approaching the flame, (b) propagation of flame (d) the
smell emitted, (e) colour of the smoke and (f) the residue after the burning. The
burning test is more efficient than the feeling test but it also has its limitations.
For example, fabrics made of bi-constituent fibres, that are combination of two
different textile polymers, cannot be identified with this test.

Cellulosic Fibres (Cotton/Linen/Hemp/Rayon/Bamboo): Ignites and burns

quickly, may flare, leaves a glowing ember after flame is extinguished. Smoke is
white or light coloured and smells like burnt paper or leaves. Ash is light grey or
white and very soft.

Protein Fibres (Silk/Wool, Cashmere, Alpaca, etc.): Burns slowly and shrinks
or curls away from the flame. Will not stay lit after flame is removed. Very little
smoke is produced but it smells like burnt hair (wool) or feathers (silk). Ash is a
gritty powder or a dark brittle, easily crushable bead.

Synthetic Fibres (Acetate Rayon /Polyester/Acrylic): Ignites and burns quickly

and can continue to burn after a flame is removed. Fibre may shrink from the
33
Understanding of Fashion flame, melt, and can drip leaving a hard plastic-like bead. Burning these fabrics
Industry
will produce black smoke and hazardous fumes. Nylon smells like plastic when
burnt but can also can produce a celery-like smell; Acrylics burn with a strong,
acrid, chemical smell. Polyester smells slightly sweet, also with a chemical odour.

2.7 TECHNICAL TESTS

Technical tests require laboratory equipment and are reliable than the non-
technical tests. These require skilled personnel to handle the equipment and
chemicals as well for recording the results accurately. Technical tests include the
following:

Microscopic test: In Microscopic tests, the fibre is cut in the perpendicular

direction and a thin cross-section and examined under the microscope up to a
minimum of 100 magnifying power and observing the longitudinal and cross
section of the fibre. The shape of the cross-section and the macroscopic features
help in identifying some fibres, particularly natural fibres.
Fibre Longitudinal View Cross Section
Cotton Mature cotton looks like a flat, twisted, Mature cotton has bean or kidney
ribbon or a collapsed twisted tube. A large shaped cross section, and a small
number of convolutions are usually found. lumen. Mercerised cotton looks
Mercerised mature cotton is almost almost round to oval, a small
cylindrical in shapes and has very few point at or near the centre
convolutions. representing the lumen.
Linen Smooth and Bamboo like with cross The cell wall appears thick and
marking nodes, no lengthwise striations, polygonal in shape.
narrow lumen
Jute Cylindrical with uneven in diameter, a Rounded polygonal with a
lumen is broad and varies greatly central lumen
Wool Cylindrical, irregular, rough surface, Nearly round or circular,
scale-like structure. medulla may appear
Silk Smooth surface, Structureless, triangular Triangular shape with rounded
shaped transparent rod corners.
Viscose Normal type fairly dense longitudinal Irregular with a serrated
Rayon striations or fine lines. Special type-may outline, Oval or round
be smooth and Structure less
Cellulose Uniform in width with a few Irregular with a serrated outline
Acetate distinct longitudinal striations
Acrylic Smooth surface, uniform diameter, rod- Rounded or Dumbbell shaped
like appearance, some types with
irregularly spaced striations
Nylon Structureless, uniform diameter, rod-like Circular, trilobal
appearance
Polyester Structureless, uniform diameter, Circular
rod-like appearance

34
8) Chemical Tests: Different types of chemical tests help establish the identity Concepts and Principles of
Textile Firbers
of the fibres used. These tests give accurate and precise analysis and include
the following:

1) Stain Test: Also known as the Double Barrel Fibre Identification (DBFI),
the test is based on the theory that each fibre has its own distinct two-
colour reaction when treated with stain. A fibre will turn into a particular
colour in the presence of diluted acetic acid and to some other specific
colour when stained in the presence of a mild alkali.

2) Solvent Test: It involves treating the fibres in certain solvents for identifying
them. The fibre is placed in a chemical, at a particular temperature and the
solubility will confirm the type of fibre.
1) Wool and Silk :- sodium hypo-chlorite ( 5% chlorine, 250c)
2) Silk :- cold 70% sulphuric acid
3) Cellulosic Fibre :- 75% sulphuric acid at 250c
4) Viscose Fibre :- sodium zincates
5) Acetate, Triacetate Rayon: – acetic acid/250c or cold acetone.
6) Nylon 6 and nylon 66:- HCl at 250c or formic acid at 250 c.
7) Acrylic: – DMF at cold/ ammonium thiocyante (70% at boil).
8) Only Nylon6 :- DMF at boil
9) Polyester: – METACRESOL AT 950C / chloro-phenol at boil.

Check Your Progress 3

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
12) List the stages of observations in Burning test.
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13) List the limitations of burning test.
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35
Understanding of Fashion
Industry 14) Describe the burning behaviour of protein fibres..
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15) Describe the microscopic structure of wool and Cotton.
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16) List the various chemical tests.
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2.8 FIBRE BLENDING

Blending is the combining of different fibres together intimately to achieve a
desired set of product characteristics. Blending can influence colouring, strength,
softness, absorbency, ease of washing, resistance to wrinkling, ease of spinning,
cost, etc. The basic objective of blending is to give the end-product certain
characteristics which are unobtainable from a single fibre component, such as
strength, crease resistance, aesthetic effects, price, etc.

Reasons of Blending
1) To improve performance: One of the main objectives of blending is to
produce fibres that perform better. Blending helps in compensating the
weakness of one fibre with the strength of others. for blending fibres is to
produce better performance. For example polyester when blended with
cotton acquires moderate absorbancy which is almost amost absent in pure
polyester fibres and fabrics..
To improve the texture: Hand or feel and appearance of fabrics is
important for the wearers of garments. For example, blending of wool
fibres with polyester produce suiting materials with a better appearance
and feel. Viscose, when blended with cotton, improves it’s lustre and
36 softness and thereby enhancing the appearance of the blended fabric.
 To reduce the cost: The cost of a very expensive fabrics can often be Concepts and Principles of
Textile Firbers
reduced by blending the costly fibres with another cheap fibre. For
example, expensive wool is blended with cheaper polyester to reduce
the cost.
To produce cross-dyed effects: Fibres with unlike dye affinity are
combined and dyed together so that it produces interesting cross dye
effects as one fibre takes up the colour while the other retains its original
colour.
To improve the spinning, weaving and finishing efficiency: For
example, the spinning efficiency of polyester is improved by blending
it with cotton to produce spun yarns.
Examples of Blended Fabrics
1) Terry Cotton: Fabrics of various blend ratios are available in the market
today. A blend of 65% polyester and 35% cotton is common. A blend of 65/
35 polyester and cotton produces a fabric for daily wear. 50/50 blend
produces softer and more absorbent fabric. Polyester, when blended with
cotton, contributes more strength wrinkle resistance and shape retention.
Cotton produces comfort as it provides absorbency and heat conduction.

2) Terry-wool Suiting Fabrics: The excellent shape retention of polyester is

the foremost contribution to worsted fabrics which show poor shape
retention. Polyester provides excellent wrinkle resistance and crease
retention that contributes to shaping retention whether wet or dry. Depending
on the blend ratio, polyester increases the strength of wool fabrics. Wool
provides warmth resiliency, drapability, and absorbency depending on the
blend ratio. Blends of polyester and wool are available in ranges from 65%
polyester and 35%, which will be suitable to produce a light weight, all
season suiting. For medium worsteds 60/40 blend is suitable. When more
warmth is required 50/50 blends should be opted.

3) Polyester Viscose Rayon: The blend of polyester with viscose contributes

durability, resiliency and shape retention. The wet strength of the resultant
fabric is also improved, viscose provides absorbency, soft texture, and variety
of colour. A blend of polyester and viscose generally ranges from 65% of
polyester and 35% viscose to 55/45, 45/55, 48/52 respectively. Among these
blend levels, 48/52 and 65/35 are commonly used for school uniforms and
suiting materials.

4) Cotton Silk Blend: By blending cotton and silk together, the resultant fabric
is one with a soft, delicate lustre but one that is more durable than silk
alone. This blend is created as the two fibres are spun together to make a
combined yarn, so the cotton may have the silk twisted on to it.

Check Your Progress 4

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) State whether the statements are true or false
37
Understanding of Fashion
Industry 1) Cotton has good absorbency. (T/F)
2) Linen is a good conductor of heat. (T/F)
3) Bleaching agents have no effect on wool. (T/F)
4) Rayon is the first man-made fibres made from cellulose. (T/F)
5) Polyester has good resistance for degradation by sunlight. (T/F)
6) Cotton cannot be blended with manmade fibres (T/ F)
18) Fill in the Blanks:
1) Lycra is a synthetic fibre known for its exceptional ______________
(Elasticity/ Absorbancy)
2) Nylon fabrics have _____________ resistance to sun light (High/
Low)
3) Lustre of Manmade fibres can be modified by adding
______________ (Delusterant/Oxygen)
4) Acrylic is a substitute for ___________ (Polyester/ wool)
5) Tensile strength of _____________ is less when wet. (Cotton/
Rayon)
6) _____________is the weakest of all natural fibres (Jute/ wool)
7) The silk fibre consists of 80% of _______________, a natural
protein. (Fibroin/ sericin)
8) Linen is made of cellulose fibres inside of the ___________of the
flax plant. (Stalk/ Pod)
9) Cotton disintegrates while in contact with ______________ (Acid/
Alkali)

2.9 MISCELLANEOUS FIBRES

These are inorganic fibres made from substances such as metal or glass. Gold
and silver threads have been used in textile fabrics and garments for long but
their usage is shrinking because of high costs. Glass fibres are obtained from
silica. However, these are used more in furnishings and industrial applications
than in apparel making

2.10 LET US SUM UP

This unit attempted to give you summary view of the vast world of fibres. What
we learnt first was that fibre is the starting point of textiles. We also learnt that
not all types of fibres were useful for the textile industry. We, therefore, looked
at the specific factors that made fibres suitable for fabric making. We followed it
up by classifying fibres based on their sources and fibre lengths. We then studied
all the generic properties of fibres, which the textile industry made use of for
creating yarns and fabrics with distinctly different properties. We looked at both
the primary and secondary properties of textile fibres.

38
The focus of the unit the shifted to the challenge of identifying the fibres based Concepts and Principles of
Textile Firbers
on tests. We first learned about the simple and technical tests such as touch and
feel as well as the burning tests, which can help us to identify different kinds of
textile fibres. We also learned that the touch and feel test required experience
and the burning tests needed meticulous observations.

In the last part we delved deep into the details of the distinct characteristics of
both natural and man-made fibres. We identified a large variety of properties
such as strength, fineness, durability, elasticity, resilience and absorbency as well
as effects light, chemicals, microorganisms on different fibres. Towards the end
we were introduced to the concept of blending which aimed at creating better
performing yarns and fabrics by combining the advantageous properties of one
or more fibres.

The study of fibres is indeed a vast subject and this Unit provided an introduction
that should help you to learn more on the subject and keep yourself regularly
updated about the latest developments in this field.

2.11 CHECK YOUR PROGRESS: THE KEY

1) State whether the following statements are true or false
1) False. Linen is a vegetable fibre
2) False. Polyester and Nylon are synthetic fibres.
3) True
4) True
5) False. Spandex is a synthetic fibre
6) False. All man-made fibres are Filaments.
7) True
2) Cotton, Linen, Jute
3) Man Made Fibres are artificial fibres manufactured using chemical or
metallurgical technologies
4) Cotton, Linen, Wool
5) High length to width ratio, strength, flexibility or pliability, cohesiveness
or spinnability and uniformity.
6) Primary properties are the essential properties that a fibre must possess in
order to be used as a textile fibre. They include strength, cohesiveness etc.
Secondary properties are desirable properties but are not essential. They
include lustre, absorbency etc.
7) The strength of the textile fibres must be adequate for spinning these into a
yarn as well as making and processing fabrics.
8) Cohesiveness is the quality of the fibres to adhere together during yarn
making process.
9) Hydrophobic fibres – Nylon, Polyester. Hydrophilic fibres – Cotton, rayon
10) If a fibre returns to its original length after being stretched, it is said to have
39
Understanding of Fashion 100% elastic recovery. Elasticity is required to cope with the stress that
Industry
fabrics experience because of the body movements of the wearer.
11) Heat conductivity is the ability of fibres to conduct away heat from the
body. This is also an important factor since it makes different fabrics suitable
for different seasons.
12) The burning test requires a keen observation of how a textile fibre reacts
when (a) approaching the flame, (b) the burning behaviour inside the flame,
(c) during removal from the flame, (d) the smell emitted, (e) colour of the
smoke and (f) the residue after the burning.
13) Burning test is a non-technical test. Therefore, the results may not be
confirmatory. Moreover, fabrics made of bi-constituent fibres, that are
combination of two different textile polymers, cannot be identified with
this test.
14) Protein Fibres (Silk/Wool, Cashmere, Alpaca, etc.) burn slowly and shrinks
or curls away from the flame. Will not stay lit after flame is removed. Very
little smoke is produced but it smells like burnt hair (wool) or feathers
(silk). Ash is a gritty powder or a dark brittle, easily crushable bead.
15) Under the microscope, Cotton fibre looks like a flat, twisted, ribbon or a
collapsed twisted tube with a bean or kidney shaped cross section, and a
small lumen. Wool fibre has a cylindrical, irregular, rough surface, scale-
like longitudinal structure and a circular cross section.
16) Stain test, Solubility test.
17) State whether the statements are true or false
1) True
2) True
3) False. Strong bleaching agents like hypochlorite have effect on wool.
4) True
5) True
6) False. Cotton/ polyester blend is an example of a very common blend.
18) Fill in the Blanks:
1) Elasticity
2) Low
3) Delusterant
4) Wool
5) Rayon
6) Wool
7) Fibroin
8) Stalk
9) Acid

40
 Concepts and Principles of
UNIT 3 GROWTH OF GLOBAL FASHION Textile Firbers

INDUSTRY

Structure
3.0 Introduction
3.1 Learning Outcome
3.2 Global Fashion Industry before 20th century
3.3 Global Fashion Industry after 20th century
3.4 Growth of Global Fashion Industry
3.4.1 Global Apparel Market size
3.4.2 Global Textile and Apparel Importers
3.4.3 Per-capita Expenditure on Apparel Worldwide
3.4.4 Raw Material Scenario
3.5 Global Fashion Industry and Retail Sector
3.5.1 Retail Trends
3.5.2 Competition
3.5.3 Consumer’s Knowledge
3.5.4 Market Expansion
3.5.5 Branded Market
3.6 Skill Gaps in Global Fashion Industry
3.6.1 Employability in Global Fashion Industry
3.7 Issues and Challenges
3.7.1 Exploitation of Labor Force
3.7.2 Sustainability
3.7.3 Cost
3.7.4 Social Media and Cultures
3.8 Let Us Sum Up
3.9 Check Your Progress: The Key
3.10 References & Suggested Readings

3.0 INTRODUCTION
In this unit, we will apprise you about the growth of global fashion industry. The
unit also explains about the genesis of global fashion industry and its retail market.
The trends of fashion industry across the globe and its effect on employability
aspect are explained in this unit. The unit further described about the major skill
gaps in fashion industry.
As fashion has reached to every global modern consumer, marketers have realized
immense potential to yield business in this booming segment (Pani and Sharma,
2012) the textile and fashion industry has witnessed changes in the last few
decades. Over the years, a major part of the industry has moved away from
developed countries like US, Italy, UK the EU and Japan to China, India and
South –East Asia. Two of the most vital variables which brought on this move
were the availability of low-cost manpower and abundance of raw material in
Asian countries (Gail, 2017 and https://textilelearner.blogspot.com/2019/08/
contemporary-issues-in-textile-and.html). 41
Understanding of Fashion
Industry 3.1 LEARNING OUTCOME
After going through this unit, you should be able to:
enumerate about the Global Fashion Industry;
analyze the trends of Global Fashion Industry;
describe the skill gaps, issue and challenges in fashion industry; and
identify the factors which affects the growth of global fashion industry.

3.2 GLOBAL FASHION INDUSTRY BEFORE 20TH

CENTURY
Prior to the mid-19th century most clothing was custom-made. It was handmade
for individuals, either as home production or on order from dressmakers, seem-
stress and tailors. But by the beginning of the 20th century, with the raise of new
technologies such as the sewing machine, the rise of global capitalism and the
development of the factory system of production, clothing has increasingly come
to be a mass produced in standard size. Retail outlets such as department stores,
boutiques and online shopping destination provide great purchase opportunities
to customers. Although the fashion industry developed first in Europe and
America, today it is an international and highly globalized industry, with
clothing often designed in one country manufactured in Vietnam, finished in
Italy and shipped to a warehouse in the US for distribution to retail outlets
internationally.
The cotton contributed significantly in Britain and USA’s industrialization. ‘T’
shirt was more demanding product by farmer’s and low wage labor in developed
countries (Davidson, 2013). It shows that ready-made garment industry has done
well in developing countries. It helped to rise of the fashion industry across the
globe during 19th century. In fact, the growth of apparel industry helped to rise
the fashion industry. The apparel industry began in Britain during the 17th century.
The producer of ready-made garments was made possible at the time of industrial
revolution. Consumer started buy more ready-made cloths during this period.
The American started export it because, it was easier to manufacture in European
factories and mills due to technological development in this region. The lower
income class people were able to purchase cheaper fabrics due to low price of
cotton. The expansion of garment industry took place rapidly in USA during
post industrialization i.e. at the end of the 20th century. But their domestic
production become too expansive, therefore companies started out-sourcing their
production. Garment industry has become critical sector for economic
development. Shop-keeper were selling second-hand cloths during late 1600 and
1700. They extended their business a modern shop. The garment industry begun
to grow with the invention of sewing machines during mid-18th century. The
innovation in technology reduced the price of raw cotton imported to Britain and
increase the output of finished garments. Global textile production was
modernized and Britain become the top global producer of cotton during this
period (https://docplayer.net/56327510-An-analysis-of-the-fast-fashion-
industry.html.). The forthcoming discussion under section 3.3. in this unit mostly
42 based on the text taken from http://docplayer.net/5632750-An-Analysis of the
fashion industry. You can directly study this report for further reading by click Growth of Global Fashion
Industry
this link. Lindon (2016) reported that cotton textile manufacturing accounted for
22 percent of Britain economy with one six people working in the industry during
the year 1831. Clothing becomes necessary goods during the industrial revolution.
With the emergence of a consumer class and invention of Sewing Machine granted
for a modern garment industry in the British and the world economy. Hence,
cotton textile become a larger factor in Britain’s economy during the
beginning of industrialization. Due to increase in cotton supply and production
in the European market, a demand for cheaper fiber emerged from the lower
class.

3.3 GLOBAL FASHION INDUSTRY AFTER 20TH

CENTURY
Fashion industry, is a billion-dollar global industry which is dedicated to the
business of making and selling clothes. There are different opinions on distinguish
between the fashion industry-which makes ‘high fashion’ and the apparel industry-
which makes ordinary clothes or ‘mass fashion’. The fashion industry
encompasses the design, manufacturing, distribution, marketing, retailing,
advertising and promotion of all types of apparel (men’s, women’s and children’s).
Sometimes the broader term “fashion Industries” is used to refer to myriad
industries and services that modern age. Its growth has been expanded horizontally
and vertically globally. It plays a pivotal role in developing a country’s economy
in terms of revenue generation and creation of employment. The industry is
undergoing some changes due to global sourcing and high level of price
competition. As we discussed in the previous units that various factors like
substantial shift towards branded apparel market affected the global fashion
industry. It will be supposed to be the retail sale of apparel around the world. Its’
business is much broader and includes not only clothing, footwear and accessories,
but also the natural textiles and hand- made fabrics. Earlier, clothing was used to
shield the human body from environmental conditions. Later on, as the wheels
of time started spinning, new trends emerged and manufacturing of fashionable
garments came into existence (https://careertrend.com/definition-of-the-globe).
The fashion industry has been one of the largest employers in the US and it
remains so in the 21st century (https://www.britannica.com/art/fashion-industry).
The United States’ industrialization was run by basic manufacturing from spinning
to weaving and then printing. The source of cotton supply was plantation to
European and United States during this period. During the civil war, cotton exports
declined resulting in many European manufacturer closed mills because the price
of cotton had increased. In due course of time, Brazil, Egypt, and China were
able to supply raw cotton (Beckert, 2014). The situation was not much change in
the America until 1920, when Taxes become the country’s largest cotton producer
(Rivoli, 2005). American apparel supply chains were begun after the end of
garment store, which was replaced by form of mass retailers (Doeringer and
Cream, 2005). By the mid- 1970 large retailers had established their own house
brands and product design to complete against manufacturers. Large number of
retailers are now dependent on a supply chain model. The change in consumer’s
preferences was same to the demand for ready-made products in Britain during
similar period. The garment industry has played an important role for developing
counties to bring industrialization in their respective countries. 43
Understanding of Fashion
Industry Check Your Progress 1
Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
i) Which industry became critical sector for economic development?
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ii) What became the necessary goods during the industrial revolution?
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3.4 GROWTH OF GLOBAL FASHION INDUSTRY

Apparel manufacturers now concentrate more on the marketing and branding
their products. There is need for sincere effort to promote a branded product as
the consumer trends now a days is creasing for buying branded items. Some
firms are trying to merge with other firms to stay in the competitive market.
Some other firms, apart from production are functioning like warehousing,
entering the retail market etc. Computer aided design system have also helpful
in circulating new and latest fashion across the globe. These advancements in
technology and flexible strategies of the apparel industries enable them to meet
the growing competition and offer fashionable garments at an acceptable cost.

According to the world trade statistical review 2019 newly released by the WTO
the current dollar value of world textiles (SITC 65) and apparel (SITC 84) exports
increased by 6.4% and 11.1% respectively. This has been the fastest growth of
world textile and apparel trade since 2012. Textile export of China, European
Union (EU 28) and India remained the world’s top three exporters of textiles in
2018. Altogether, these top three accounted for 66.9% of world textile exports in
2018. China and EU (28) also enjoyed a faster than world average export growth
in 2018 up 7.9% and 6.9% respectively. The United States remained the world’s
fourth top textile exporter in 2018. Although the market shares of the top three in
2018 were closer to 37.7% a year earlier (Sheng Lu. 2019). In the meantime,
world merchandise exports also grew by 10% in 2018 to reach $19.67 trillion,
driven by high energy prices. However, the volume of world merchandise trade
was up by just 3.0% slightly above the 2.9% increase the world Gross Domestic
Product (GDP) over the same period.
44
3.4.1 Global Apparel Market Size Growth of Global Fashion
Industry

According to FICCI document, the current global apparel market is about US

1.7 trillion and it constitutes around 2 per cent of the world’s GDP. Table 1 show
that European Union, USA and China are the world’s largest markets with a
combined share of approximately 54 per cent. The top eight apparel consuming
nations from a dominating share of 70 percent of the global apparel market size.
It indicates that the demand for clothing and shoes is on the rise across the world.
The global apparel market size is expected to reach US$ 2.6 trillion in 2025 with
projected growth rate of 4 per cent. The major growth contribution in the global
apparel market will be from developing economies i.e. China and India, both
countries growth rate projected in double digits. China will become the largest
market followed by India by 2025. A large demand with increasing spending of
people in these countries will contribute additional about 500 billion in global
apparel industry by 2025. The combined apparel market size of China and India
will be higher (US $ 795 bn) expected combined market size of EU and USA
(US $ 775 bn) by 2025.

The regional distribution of the demand share of apparel was expected to stay
mostly consistent in that period, although the Asia Pacific region contributed the
highest level of growth i.e four percent. The three world regions with the largest
apparel category with the highest level of global market growth were sportswear
at 6.8%.

3.4.4 Global Textile and Apparel Importers

FICCI (2016) knowledge paper titled ‘Global Shifts in Textile Industry & India’s
position’ reveals that India rank was second as largest exporter of textile products
to the world. But, its share in the global exports was having opposite picture.
The share of the largest exporter of China (40%) was higher in comparison to
India (5%) in the global trade. Table 2 reveals about the top textile and apparel
importers of the world constitute a share of 66 percent of the total trade from
2005 to 2014. USA was the largest importers of the textile and apparel products
in the world with having a 16 percent share to global trade in 2014. Germany
was the second largest importer with a share of 8 percent followed by Japan
(6%). Rest of the countries except Hong Kong had shown positive growth in
their imports during the same period. Netherlands imports was the highest growth
rates (12%) among rest all the top countries.
Table 1: Global Apparel Market Size (US $ Bn.)
S.No. Country 2015 2025 Projected
CAGR (In %)
1. European Union-28 350 390 1
2. USA 315 385 2
3. China 237 616 10
4. Japan 93 105 1
5. India 59 180 12
6. Brazil 56 90 5
45
Understanding of Fashion
Industry 7. Russia 40 55 3
8. Canada 25 30 2
Others 510 750 4
Total 1685 2600 4
Source: Data compiled from http://ficci.in/spdocument/20817/3-FICCI-TAG-2016-
Whitepaper.pdf

S.No. Country 2005 2014 CAGR Share in

(In %) Global Trade
(In %)
1. USA 89 115 3 16
2. Germany 26 53 8 8
3. Japan 20 39 8 6
4. UK 21 36 6 5
5. China 20 36 7 5
6. France 17 31 7 4
7. Italy 16 27 6 4
8. Hong Kong SAR 26 25 -0.4 4
9. Spain 10 21 9 3
10. Netherland 6 16 12 2
Source: As Table 1. Table 2: Top textile and apparel importers (US $ billion)

3.4.3 Per capita Expenditure on Apparel Worldwide

Figure 1 reveals that the per capital expenditure on apparel in worldwide will be
increased in all the regions. It will be higher in USA (US $1116) followed by
Japan (US $ 855) and Canada (US 768). However, the change in percentage
show that will be higher in China (US$ 261) followed by USA (US $ 138) and
Brazil (US $ 134).

120
0

100
0

800

U Japan
S EU- Chin Brazi
28 a Russi
l Indi
a a
2015
202

Fig. 1: Per Capita Expenditure on apparel worldwide in 2015 and 2025 (In US $)
Source: Data compiled from statista.com/statistics/279749
46
 You will study in detail about all four main product categories for the apparel Growth of Global Fashion
Industry
and footwear market: women’s wear, menswear, sportswear and children’s wear
in the next block of this course. Women’s wear was the bestselling apparel category
in the world as of 2017, with sales, of about 643 billion US dollars. The United
States alone generated 121 billion USdollar in women swear sales and about 90
billion dollars in menswear sales. Another important category with a high level
of growth in the sports apparel market, which grew in value from 118 billion
Euros in 2015 to about 154 billion in 2016. There is also a flourishing market for
pre-owned or second-hand clothing through vintage stores, thrift stores or
consignment stores. This apparel resale market value increased from 18 billion
UD dollars to 20 billion dollars between 2016 to 2017. It has been observed
from the above trends analysis that there is high potential of growth in global
fashion industry market in near future. The apparel market today is worth $1.3
trillion in retail sales globally per year. The fashion retail sector alone-just clothes,
not footwear or jewelry is just a bit bigger than or roughly equivalent to the
combined GDP of the world’s 126 poorest countries. (worldbank.org).

3.4.4 Raw Material Scenario

India is the largest producer of cotton’s share (26.5%) of the world cotton
production followed by China (24%). Bangladesh and Vietnam depend on imports
of cotton to meet their demand for textile and apparel sector. On the other hand,
China is the largest producer of manmade fibres in the world followed by India.
It is worth mentioning that India is also the largest producer of jute, second
largest producer of silk and tenth largest producer of wool.

Check Your Progress 2

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) Which country is the larger importer of textile and apparel in the world?
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2) Which country is the largest producer of manmade fibres in the world?
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47
Understanding of Fashion
Industry 3.5 GLOBAL FASHION INDUSTRY AND RETAIL
SECTOR
We generally consider the global fashion industry to be the retail sale of apparel
around the world. However, the industry, as a business, is much broader and
includes not only clothing, footwear and accessories, but also the both type of
textiles natural and synthetic which are produced as well as manufactured for
retailing and branding. (Gail, 2017).

The fashion retailing industry has undergone tremendous changes in the last two
decades and these changes have characterized by various factors. The most
significant and far reaching change had been noticed when it suddenly shorten
quickly. With the new trend of fast fashion, the international retailers have begun
to catch in on the new trends in the market as well as begun change the fashion
trends keeping in line with the new youthful culture. Few changes and evolutions
in the fashion industry have contributed to the emergence of fast fashion.
Technology has played a very important role which is affecting the industry.
Design and sample production to bulk manufacturing has now become a very
fast and efficient process because of the software technology and electronic
communications cutting across time and distance. With the increase the number
of suppliers, new market has made it possible for the retail to procure bulk products
in very short time. Fashion has changed the way that international retail industry
functions, especially in terms of its marketing as well as sourcing strategies are
concerned (managementstudyguide.com/international-fashion- retailing-
trends.htm). There are some factors which affect the growth of global fashion
industry related to sale are:

3.5.1 Retail Trends

The global fashion industry is dependent on ever-changing trends that keep
consumers, driven by the need to wear the latest buying. However, this means
that goods have a short shelf life, requiring manufacturers, designers and retailers
to meet tight production schedules and distribution deadlines. As discussed in
the previous section, the Journey of fashion retailing has gone through a magical
transformation during the past years. In past, people used to go to a trading post
to shop. These posts evolved into general stores where items from food to fabrics
were sold. With no ready-made apparels available, only fabric was sold. It was
tailored into garments with no knowledge of fashion with the span of time.
However, general stores were accompanied by limited line stores which retains
its name as on today.

The fashion retailing is to understand the customer’s preferences, and investing

time, money and effort to make and market the right kind of merchandise
(fibre2fashion.com).

3.5.2 Competition
The fashion industry is highly competitive in global market. In some parts of the
developing world, like Asia- Pacific markets and Africa are dominant in the
manufacturing and export segments of the industry, even if they are being squeezed
48 out by neighboring China, which is claiming a majority stake by offering quality
goods at a cheaper price. Fashion designers have one of the highest profiles in Growth of Global Fashion
Industry
the fashion industry, along with models. However, the industry involves numerous
other roles as well, such as makeup artist, stylist, textile designer, retail
merchandiser, graphic designer, photographer publicist and marketing
professional.

Recently, the fashion industry has attained a fast growth in the world. This industry
is one of the highly competitive industries with large number of brands. The
nature of the fashion industry is that consumer preferences change rapidly. Hence,
the fashion industry needs to focus on innovating and developing new designs
frequently so that its trends can fulfill the needs and new demands of the
consumers.

3.5.3 Consumers’ Knowledge

Consumer are demanding access to the same fashion addresses as they see their
celebrities are wearing by viewing TV, Films and social media. Customer think
that they are increasingly their status by buying latest fashion product. This type
of new demand by customer create additional pressure on the industry. At the
same time, it is also providing new opportunities to industry for growth. There is
a lack of in-depth research regarding sustainable knowledge in the fashion
industry, especially considering its importance in this field (Kong. et.al. 2016).

3.5.4 Market Expansion

The fashion industry expanded through e-commerce/e-marketing, which allows
buyers to shop and purchase online. It is also expanding with the growth of such
media trends as social networking and use of technologies. Retailers are
increasingly taking advantage of social media networks to further promote their
products. Social media has successfully managed to infiltrate the luxury retail
market, which enables retailers to engage more effectively with their customers.
Multiple brands are being promoted and selling products via social platforms
such as face book and we-chat. Dior was leading players to participate in social
selling in order to attract customers in China through social media. Customer
engagement will be enhanced through retailers communicating with customers
in a more personalized way.

3.5.5 Branded Market

Technological transformation creating healthy competition among global branded
fashion market. Different types of new products enter into the market, stay for a
while, and then go obsolete. Frequently changes in the consumer’s choice, increase
in their income, globalization, media exposure and influence of global and
psychological trends enhance the demand of branded products. Product branding
plays important role for market expansion and customer relationship. The brand
name creates goodwill of the company, which has been created over the years
and motivates the consumer to buy branded product as per their choice. There
are about 20 major companies that lead the global fashion industry network.
According to the Mckinsey Global fashion index, these companies account for
97% of global economic profit in the sector.

49
Understanding of Fashion
Industry Check Your Progress 3
Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) How retail trends affect global fashion industry?
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2) Write about social media and culture in context to Fashion Industry
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3.6 SKILL GAPS IN GLOBAL FASHION INDUSTRY

Skill gaps are said to exist when employers recognize that their existing workforce
has a lower level of skills than in necessary to meet business objectives (PTC,
2016). Like other industry, fashion industry is also facing a crisis in terms of
skilled professionals. The global brand and vendors are facing problem for hiring
people with the right skills and the training being provided. The survey report of
US-based company Alvanon (https://uk.fashionnetwork.com) reported that most
of the fashion industries that were struggling to fill certain positions due to not
having required skill among candidates. The report further shows that fashion
industry were largely unhappy with the way training was being provided. Hence,
there is a need for well design training system for supply skill trained manpower
to global fashion industry. MOTIF (2018) reported that industry is facing huge
skill gaps among the candidature for the specific job in fashion industry. Recently
the apparel industry begins to recognize and implement digitalization process
for business. it is revealing gaps in the specialized skills set of its workforce as
per its needs. To provide and enhance existing skills it is need for work together
by academics and industry. The US fashion industry has evolved from its roots
in manufacturing to new high value design and other creative jobs. As with many
industries in the manufacturing sectors, the US now concentrates on the high-
value parts of the apparel global supply chain; research and development-design
and marketing. The twin force of technology and globalization has had enormous
ripple effect in the fashion industry, similar to many other industries, and has
created new trends, challenges and opportunities. The impact of social media,
new business models, advanced manufacturing, and changing demographics are
leading to significant changes in all aspects of the fashion industry with the
50 potential to reshape it for years to come.
3.6.1 Employability in Fashion Industry Growth of Global Fashion
Industry

Fashion industries employ workers in professions requiring an increasing range

of highly technical education and skills. For example, computer-aided designs
help designers turn concepts into samples and helps manufacturers move for
prototype to finished product on an accelerated schedule. Employability in these
fields, which typically require more education and training for higher salary.
Fashion designers are among the higher paid workers in the fashion industry still
includes occupations traditionally associated with apparel manufacturing, such
as sewing machine operators, tailors and textile machine operators and pattern
maker. At present, manufacturing jobs assumed higher salaries paid occupations
such as market research analysts and designer. The wholesale apparel
manufacturing sectors employs over thousand individuals. These includes
business operations specialists whose annual earnings may be higher than white
colour job like clerks are earning. The majority of fashion and apparel jobs are in
the retail sector. These jobs, which range from clerks to managers and executives
having higher pay scales than junior staff in this industry.

3.7 ISSUES AND CHALLENGES

As discussed in the previous sections that the fashion industry is doing lot of
hard work to give the world of fashion new looks in garments and accessories.
For this, industry is facing huge challenges. All the stakeholders of the fashion
industry accepted that there is need to take steps to make the industry more
sustainable and also accept the new upcoming fashion labels. Fashion saw
dramatic shifts since 2018 onwards. Major issues which affect the growth of
fashion industry are:

3.7.1 Exploitation of Labor Force

Skill trained and cheap labor remains always an issue of the global industry in
every sector. Other issues like poor working conditions and overworked,
underpaid and underage employees in developing economies also affected the
fashion industry.

3.7.2 Sustainability
As we know that fashion is one of the most polluting industry on earth. It is
using toxic chemicals and sheds chemical like plastic into water systems for
every cleaning. The water and pesticides used in cotton production have been a
cause to drought and have been caused to cancer in developing country like
India. Existing fashion industry are using more sustainable practices in their
respective industry. It leads to create larger amount of waste and pollution.

3.7.3 Cost
The rising cost of raw materials is another challenge which fashion industry is
always facing. It is affecting to use raw materials as per need for making new
fabrics and design. New technology can help to recycle fabrics and garments
more efficiently, but its rising cost is challenging the fashion industry. Every
industry needs to be able to keep their transport system in order from time to
51
Understanding of Fashion time for the delivery of their respective products. The frequent increase in the
Industry
cost of petrol and maintenance cost of vehicles leads to the higher cost for
transportation. It affects the cost to transport the raw material to the factories and
then finished products to consumer.

3.7.4 Social Media and Cultures

The increased growth of social media may have been helping in the growth of
fashion industry, but at the same time it has also proved to be negative impact on
it. The social media campaign information with video and picture very fast across
the globe. It helps to individual to know about the latest trend of fashion. It
affects the fashion industry to keep feelings of everyone in mind across the globe
while working on new fashion design. If industry fails to check on it then it can
be a challenge for them to hold their business across the globe. In the era of
global competition, fashion industry has to face these challenges every day. They
have to work very hard for stay in their business.

3.8 LET US SUM UP

At the beginning of the unit the global fashion industry before 20th century has
been discussed. Making of clothing before 19th century has been highlighted.
The growth of global fashion industry during 21st century has been explained.
Global apparel market size, global textile and apparel exporter and importer, per
capital expenditure on apparel worldwide and raw material scenario have been
discussed. Global fashion industry and retail sector have also been discussed.
Skill gaps in global fashion industry and employability opportunities have been
highlighted. Finally, current issues and challenges in the industry have also been
explained.

3.9 CHECK YOUR PROGRESS: THE KEY

3.1
i) Garment Industry
ii) Clothing
3.2
i) USA
ii) China
3.3
Please read section 3.5. Please read sub-section 3.5.4

3.10 REFERENCES & FURTHER READINGS

https://www.entrepreneur.com/article/333836 https://www.jec.senate.gov/public/
_cache/files/39201d61-aec8-4458-80e8-2fe26ee8a31e/economic-impact-of-the-
fashion-industry.pdf

https://careertrend.com/definition-of-the-global-fashion-industry-13637409.html
https://www.globaltrim.com/fashion-industry-trends-of-2019/
52
Beckert, S. (2014). Empire of Cotton: A Global History. London: Penguin Books Growth of Global Fashion
Industry
(ISBN: 9780141979984).
Davidson, A. (2013). Economic Recovery, Made in Bangladesh? The New York
Times Magazine. Retrieved from https://www.nytimes.com/2013/05/19/
magazine/economic-recovery-made- in-bangladesh.html
Doeringer, P., & Crean, S. (2006). Can fast fashion save the US apparel industry?
Socio Economic Review, 4 (3).
Essays, UK. (2018). Fashion industry overview and competition analysis.
Retrieved from https://www.ukessays.com/essays/marketing/fashion-industry-
overview-and-competition- analysis-marketing-essay.php?vref=1
Gail, F. J. (2017). Definition of the Global Fashion Industry. Retrieved from
https://careertrend.com/definition-of-the-global-fashion-industry-13637409.html
Juneja,P. (2018). Trends in International Fashion Retailing. MSG- Management
Study Guide.
Kong, H.M., Ko, E., Chae, H and Mattila, P. (2016). Understanding fashion
consumers’ attitude and behavioral intention toward sustainable fashion products:
Focus on sustainable knowledge sources and knowledge types. Journal of Global
Fashion Marketing-Bridging Fashion and Marketing, 7 (2). (https://doi.org/
10.1080/20932685.2015.1131435)
Linden, A.R. (2016). An Analysis of the Fast Fashion Industry. Senior Projects
Fall.30. Retrieved from https://digitalcommons.bard.edu/senproj_f2016/30
Pani, A. and Sharma Mahesh (2012). Emerging trends in fashion marketing: A
case study of apparel retailing in India. International Journal of Business and
Management Tomorrow, 2 (10).
PTC (2016). Functional Skills Reforms: Findings from the Employer’s survey,
Harrogate: Pye Tait Consulting (Retrieved from https://www.et-foundation.co.uk/
wp- content/uploads/2016/12/Employer-Consultation-final-report3.pdf
Rivoli, P. (2005). The Travels of a T-shirt in the Global Economy: An Economist
Examines the Markets, Power and Politics of World trade. Hoboken, N.J.: John
Wiley & Sons.
Sheng Lu. (2019). 2019 Fashion Industry Benchmarking Study in collaboration
with United Stated Fashion Industry Association. Department of Fashion and
Apparel Studies, University of Delaware. Retrieved from
https://shenglufashion.com/2019/07/22/2019-u-s-fashion-industry-
benchmarking-study- released/

53
Understanding of Fashion
Industry UNIT 4 GROWTH OF INDIAN FASHION
INDUSTRY

Structure
4.0 Introduction
4.1 Learning Outcome
4.2 Indian Fashion Industry: An Overview
4.3 Growth of Textile and Apparel Sector
4.3.1 Production and Export of Textile and Clothing
4.3.2 Production, Consumption, Export and Import of Cotton
4.3.3 Silk Production and Employability
4.3.4 Wool and Woollen Textiles Industry of India
4.3.5 Lather and Footwear Industry of India
4.4 Capacity Building and Research and Development
4.5 Growth of Fashion Industry: Future Perspectives
4.6 Let Us Sum Up
4.7 Check Your Progress: The Key
4.8 References and Further Readings

4.0 INTRODUCTION
In the previous Unit, we discussed about the Growth of global fashion industry.
We will discuss about overview of Indian fashion industry in this unit. You recall
our discussion about history of Indian fashion in course Block 1 of Course 1,
where we discussed about traditional costumes of India and evolution of Indian
Fashion during 20th and 21st Century. In this particular unit, we will discuss
about an overview of fashion industry in India. The unit further highlights about
the trend of growth of textile and apparel sector including textile and clothing,
cotton, silk, wool and woollen textiles, lather and footwear industry of India.
The unit further discussed about the capacity building and research and
development activities in fashion industry and future of fashion industry in India.

4.1 LEARNING OUTCOME

After going through this unit, you should be able to:
describe the evolution of Indian fashion industry;
explain the growth of textile and apparel industry of India;
describe the production of cotton, silk, woollen and woollen textile, lather
and footwear industry of India;
outline the capacity building and research and development activities in
textile and apparel sector; and
discuss the future prospectus of fashion industry in India

54
 Growth of Indian Fashion
4.2 INDIAN FASHION INDUSTRY: AN OVERVIEW Industry

The fashion industry in India is having thousands of year history. The knowledge
as the fashion garments has been emerged in India since ancient history. As we
discussed in Block 1 of Course 1 that at the time of Indus valley civilization
(3000-1500), fashion was observed by the kind of cloths wore by men and women
during this period. It has been observed from the available sculptures in the
country that men wore loincloths and women were bare to waist. The Vedic
literature states that refined fabricating techniques of apparel were existing during
this period. The good quality of cotton clothes in India has already mentioned by
the Greek historian, Herodotus during 5th century BC. Rig Veda also stated the
dyed and embroidered garments and fabricated technique of apparels during the
Vedic age in the 11th century B.C. During British rule, British industrial cloth in
India was promoted. To reduce the dependency of Indian people on the British
goods, the Khadi, a hand-woven material was promoted (Bhattacharjee, 2104).

The production of Indian fashion industry has gone through many transformations
since independence. It has transformed from wide range of clothing production
i.e. dressing for wedding ceremonies or party wear to casual wear. The Indian
traditional techniques of embroidery have been recognised by global fashion
industry. Its growth depends on production of textile and apparel industry which
includes cotton, jute, silk, wool and man-made fibre. The era of branded products
was emerged in India during 21st century. Branded shirts were more demanded
products in 1950. Since then, more brands entered into Indian fashion industry.
Branded dresses contributed significantly to the growth of Indian fashion industry.
In addition to branded products, globalization process also played a crucial role
in the growth of Indian fashion industry.

The fashion industry in India got importance in 1980, but its growth increased
by the end of 1990s. The participation of Indian women in the Fashion Industry
has been increased since 1980 onwards. This industry helped women
empowerment in the country. The production of western style cloths and fashion
products also got momentum during same year because of more demands of
Indian customer for this type of product due to changing in fashion style. Various
important factors were responsible for the huge growth of Indian fashion industry
like handwoven fabrics and craftsman, western styles of clothing, and availability
of affordable clothing custom made tailors. On the other hand, the fashion
designers were able to get corporate financial support for their fashion outlets.
Private sector played positive role for further boost to the expansion of this
industry in the country.

After settle in the domestic market, the fashion industry started to expand its
business in other part of the world before 2005. Fashions designer started to set
up their enterprises in small towns during this period. Industry earned revenues
of about two billion Indian rupees in same year. Government of India’s policies
was supporting to this industry. It resulted the increase employment and income
opportunities in rural and semi-urban areas. The policy also helped to export of
cotton and apparel. The focus of various Five-Year Plans was also giving priorities
to rural industrialization which help to rise fashion industry in the country (Khaire,
2011). The Government relaxed rule on regulatory controls and Foreign
55
Understanding of Fashion Development of India (FDI) which helped the growth of the fashion retail industry.
Industry
The apparel and textiles industry are India’s largest selling sectors of the retailing
sector (Pani et al, 2012).

At present, Indian fashion industry is largely representing form unorganized sector.

But it can compete with global fashion industry despite of global cultural
differences and consumer’s choice changing frequently. According to Mckinsey
(2019) report, about 45 million people are employed directly and 60 million
indirectly in this industry. About 41 percent of global procurement officers are
expected to increase their sourcing share form India. It is because of India’s
average cost is significantly lower than China. In addition, there is also the
availability of large amount of raw materials like cotton, wool and silk. Let us
study the growth of Textile and Apparel sector in India in the next section.

4.3 GROWTH OF APPAREL AND TEXTILE

SECTOR
The textile and apparel industry of India can be divided into two parts; (i) yarn
and fibre; and (ii)processed fabrics and apparel. Indian apparel has also got
recognition in global fashion market. The Indian textile industry is a largely raw
material base depends mostly on agriculture sector. It is the 2nd largest
manufacturer, producer and exporter in the world. It contributes 7 percent of
industry output in value terms, 2 percent of India’s GDP and 15 per cent of the
country’s export earnings. It is one of the largest sources of employment generation
in the country. It provides employment opportunities to large number of rural
women. The strength of India textile industry depends on its hand-woven sector
as well as in the capital-intensive mill sector (2nd largest in the world). The other
sectors like handloom, small scale power-looms units and handicrafts called as
traditional sectors also contributing in the Indian economy significantly. These
sectors are creating more employment opportunities for rural and semi-urban
area. They also contribute more than 75 percent of total textile production in the
country. The market size, export and cloth production of textile and apparel
industry in India have been presented in Figure 4.1.
160 150
137
140

120

100
65 64
80

60 37 39

40

20
Industry Size (US $ billion) Export (US$ billion) Cloth Production (billion sqm.)

2016' 2017'

Fig. 4.1: Textile and Apprel Industry in India

Source: Data compiled from IBEF (2019). Textile and Apparel. Retrieved from www.ibef.org

56
 Growth of Indian Fashion
Check Your Progress 1 Industry
Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) Discuss the evolution of fashion industry before independence in India.
Answer in about 10 lines.
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Figure:4.2 Production o Yarn, Fabric, Cotton and Blend since 2013-14 onwards
Source: Source: Data compiled from Annual report of various years, Ministry of Textile,
Government of India. Retrieved from http://texmin.nic.in/documents/annual-report Note: p=
provisional 57
Understanding of Fashion The National Textile Corporation (NTC) Ltd is engaged in production of yarn
Industry
and fabric. It has been operated through 23 mills in the country located in the
different parts of the country. It is also having 8.03 lac spindles and 408 looms
producing large amount of yarn and fabric since 2013-14 onwards (Figure 4.2).

4.3.1 Production and Export of Textile and Clothing

The Indian textile and apparel industry are contributing significantly in the Indian
economy. The It is the second largest manufacturer and exporter in the world,
after China. The share of textile and clothing (T&C) in India’s total exports
stands at a significant contribution from 2013-14 to 2018-19. The Readymade
Garment’s share s in total textile exports also contributed significantly. It was
about 40 percent on an average during this period. India is the worlds’ second -
largest exporter of textiles and apparel in the world. India’s share in global trade
of textiles and apparels was about 5 percent in 2017. In 2019, total textile and
clothing exports was US$36.62 billion. Ready-made garments exports were
US$15.27 billion during the same year. During April- September 2019, fibre
export was US 513 million and yarn, fabrics and made-ups experts was about
US7.13 billion. The major export markets for Indian textile and apparel were
USA, European Union, Some parts of Asia, and Middle East. It has been predicted
that India’s apparel exports are expected to increase significantly. Total exports
of textile and apparel will be about US$82 billion in 2021 at the CAGR of 12.06
percent (IBEF, 2019). The Indian fashion apparel industry is contributing
significantly in terms of revenue, trade, investment and creating employment
opportunities (Figure 4.2). Apparel industry has different variety for distribution
through existing retail network. The share of textile and clothing in India’s total
export is presented in the following graph (Figure 4.3).

28

27

26

25

24

23
2011-12 2012-13 2013-14 2014-15 2015-16 2016-17

Fig. 4.3: Trend of Employment in Organised Textiles and Wearing Apparel Sector
(In Lakh)
Source: Data compiled from, Ministry of Textile, Government of India web page http://
texmin.nic.in

Government of India has initiated various schemes for the promotion of textile
and apparel products across the globe. Government of India initiated various
schemes for the promotion of textile and apparel products across the globe. The
Scheme for Integrated Textile Parks initiated during the previous Five-Year Plans.
The objective of the scheme is to provide the textile industry quality infrastructure.
At present, there are also public sector undertaking contributing in the growth
of fashion industry. The Textile Commissioner acts as the principal technical
advisor to the Ministry of Textile, Government of India and its head quarter is
58 located in Mumbai. The main function of this office is to carry out the
technoeconomic surveys and advises the government on the developmental Growth of Indian Fashion
Industry
activities of the textiles and clothing industry. The textile committee was set up
under the Textile Committee Act, 1963 (41 of 1963) and started functioning
from 22nd August, 1964 onwards. The main objective of this committee is to
ensure the quality of textiles and machinery for consumption and export. The
Scheme for Incubation in Apparel Manufacturing was launched on pilot basis in
2014. The major focus of this Scheme is to promote entrepreneurs in apparel
manufacturing. Under this scheme, it has been provided integrated workspace
with ecosystem.

50
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45 37 40 39
40
40

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2013-14 2014-15 2015-16 2016-17 2017-18 2018-19

Textile and Clothing

Th
e li
Readymade
Garments
Figure 4.4: Share of textile and clothing in India’s total exports (In %)
Source: At Graph 4.1.

The Apparel Export Promotion Council (AEPC) is the apex body for this purpose
which is giving assistance to industry for exporting the products. It was established
in India in 1978 to provide assistance to Indian exporters, importer and global
buyer for buying Indian garments. The major focus of the APEC is to promote,
advance, increase, develop export of all types of readymade garments, excluding,
woollen knitwear and garments of lather, jute and hemp; and cooperate with
governments and other organisation in the country for promotion of exports of
ready-made garments. Government of India allowed 100 percent FDI in the Indian
textile sector. It is projected that Indian apparel market will be about US $ 59.3
billion in 2022 compare to the UK (US $ 65 billion) and Germany (US$63.1
billion).

4.3.2 Production, Consumption, Export and Import of Cotton

Cotton is an important raw material for Indian’s textile industry. It is the bread
and butter to millions of Indian farmers who works in this industry. They are
involved right from the beginning to end i.e. the stage of processing to trading
of Indian textile and apparel industry. It is being cultivated in most of the areas
of Punjab, Haryana, Rajasthan, Madhya Pradesh, Gujrat, Maharashtra, Orissa,
Telangana, Andhra Pradesh and Karnataka and Tamil Nadu. However, it has also
being cultivated in small areas of Uttar Pradesh, West Bengal and Tripura.
Production of cotton has improved significantly since last couple of years.
India is the largest producer and 2nd largest exporter of cotton in the World as
well as also the largest consumption of cotton. At present, India exports large
quantity of cotton to Bangladesh, China, Vietnam, Pakistan, Indonesia, Taiwan
59
Understanding of Fashion and Thailand etc. Among all countries, Bangladesh is the largest importer of
Industry
Indian cotton. Cotton contributes about 25 percent of the total global fiber
production. Its consumption in the Indian textile industry is about 59 percent.
India produced larger cotton in the world with production of about 370 lakh
bales in 2017-18 and 2nd largest exporter of cotton.

It has contributed significantly in sustaining the livelihoods of about 6 million

farmers and 40 to 50 million people.

Cotton Corporation of India (CCI), a public sector undertaking body under the
Ministry of Textiles, is the nodal agency of GOI for undertaking Minimum Support
Price (MSP) operations. The details of production (Quantitate of output produced
at a particular time), consumption, export and import of cotton has been presented
in table 4.1. India has largest land area for cotton cultivation with 124.33 lakh
hectares (36%) of the total world land of 341.37 lakh hectares. But its’ productivity
(The ratio of output to input) is poor in comparison to USA and China. The trend
of productivity of cotton in Inia is present in Table 4.2.
Table 4.1: Production, Consumption, Export and Import of Cotton in
India (In Lakh bales of 170kg Each)
Year Production Consumption Export Import
2010-11 339 259.61 76.50 2.38
2011-12 367 375.28 129.57 7.51
2012-13 370 283.16 101.43 14.59
2013-14 398 299.55 116.96 11.51
2014-15 386 309.44 57.72 14.39
2015-16 332 315.28 69.07 22.29
2016-17 345 310.41 58.21 30.94
2017-18 370 314.61 67.83 15.80
2018-19 (p) 261 317.00 65.00 15.00
Source: Source: Data compiled from Annual reports of various years, Ministry of Textile,
Government of India. Retrieved from. Note: p= provisional.
Table 4.2: Trend of Productivity and yield of cotton in India from 2010-11
onwards (In Kg/Hectares).
Year Acreage (Area of Land) Yield (Produce)
2010-11 112.35 513
2011-12 121.78 512
2012-13 119.78 525
2013-14 119.60 566
2014-15 128.46 511
2015-16 122.92 459
2016-17 108.26 542
2017-18 124.29 506
2018-19(p) 122.38 501
Source: As Table 4.1
60
The Cotton Corporation of India (CCI) Growth of Indian Fashion
Industry
The CCI was set up in 1970 by the Government of India as a public sector
organisation for cotton marketing. It has been operating in competition with the
private cotton traders and other buyers. The objectives of the Corporation are (a)
to undertake price support operations; and (b) commercial operation at own risk.
Its market share was fluctuating from 5 percent to 8 percent since its’ inception.
However, its share gone up up to 31 percent in some years. The role and functions
of the Corporation can be reviewed as per need. It has been given task for
undertaking Minimum Support Price (MSP) operations, at the time kapas prices
of seed cotton (kapas) decrease than MSP level for procuring the entire quantity
of kapas offered for sale by the farmers in different markets at MSP rates. Every
year, Government of India fixes the MSP on the basis of groups of cotton i.e.
medium long staple and long staple cotton. The cotton quality can be measured
in terms of grade, staple and micronaire (10). Quality grading depends on color,
trash, content and smoothness of the sample cotton. Staple is the average length
of the individual fibres and micronnaire is a measure of fiber quality and its
maturity (pdfs.semanticscholar.org). Ministry of Agriculture, Government of India
(GOI) had fixed MSPs fair average quality (FAQ) grade at Rs. 5160/- per quintal
for medium staple and Rs. 5450/-per quintal for long cotton. The MSP fixed
from 2012-13 onwards is presented in Table 4.3.

Table 4.3: The MSP fixed by the Ministry of Agriculture, GOI from 2012-
13 onwards (In Rs.)
Year Medium staple (length 24.5mm Long staple (length 29.5 to
to 25.5mm with micronnaire 30.mm with micronnaire
value 4.3 to 5.1) value 3.5 to 4.3)
2012-13 3600 3900
2013-14 3700 4000
2014-15 3750 4050
2015-16 3800 4100
2016-17 3860 4160
2017-18 4020 4320
2018-19 5150 5450
Source: As Table 4.1

4.3.3 Silk Production & Employability

India is the second largest producer of silk (31,906 MTs) and as well as consumer
in the world after China in 2017-18. Silk industry creating livelihood opportunity
for millions of people through creating employment in this industry. Policy makers
recognized this industry for socio-economic development of Indian people. It
has trade history since 15th century onwards. India is having traditional domestic
market of silk garments industry. India is producing five commercial varieties of
silk like Mulberry, Tropical Tasar, Oak Tasar, Muga and Eri. Sericulture industry
of India potential for creating employment in the country. Like cotton, India is
the 2nd largest producer (31,906 MT) of silk in the world after China in 2018-19
61
Understanding of Fashion (Table 4.4). At the same time, India is also consuming the largest quantity of silk
Industry
in the world. It is the only country, which produce different varieties of silk.
These are: Mulberry (69.16%), Tropical Tasar (9.37%), Oak Tasar, Muga (0.60%)
and Eri (20.87%) in 2017-18. Sericulture industry of India has the high
employment opportunities with low capital requirement.

Table 4.4: Trend of silk production (In Meter) and employment (In Lakh)
in India
Year Mulberry Tasar Muga Eri Total Employment
2012-13 18715 1729 119 3116 23679 76.53
2013-14 19476 2619 148 4237 26480 78.5
2014-15 21390 2434 158 4726 28708 80.3
2015-16 20478 3289 166 5060 28993 82.5
2016-17 21273 3268 170 5637 30348 85.1
2017-18 22066 2988 192 6661 31907 86.0
Source: As Table 4.1

The Government of India established statutory body ‘the Central Silk Board
(CSB) under the Ministry of Textiles in 1948. The major responsibility of the
Board is developing silk industry, formulation of policies governing import and
export of silk and research and development activities. The Central Sector Scheme
is an integrated scheme for development of silk industry in India. It has four
components as mentioned below:
1) Research and Development, Training, and IT initiatives
2) Seed Organization
3) Coordination and Market Development
4) Quality Certification Systems, Export, Brand Promotion & Technology
upgradation. The role of the seed production units is to keep of these four
components for seed multiplication network for maintaining the quality.
The state seed production units facilitate to increase in the basic seed
production in State’s units. About eight million people are employed in

170000
180000
158400
160000 142000
146000
140000 120000

120000

100000
28708 28523 30348 31906 35261
80000

60000
2014' 2015' 2016' 2017' 2018'

Indi Chin
a a
Fig. 4.5: Silk production in India and China (In Metric Tonnes)
62 Source: Data compiled from (http://inserco.org/en/statstics)
 India in the silk industry (http.insevice.org). The silk production in India Growth of Indian Fashion
Industry
and China from last five years is presented in the following table
(Figure 4.3.).
The export of silk goods decreased since last three years. The earning from export
of silk goods was decreased from 2495.98 crore in 2015-16 to 1649.48 crore in
2017-18. Most of the silk goods were being exported to Europe and USA. But,
the demand of silk goods started to increase in new market like Thailand,
Nigeraia, UAE etc (http://ministryoftextiles.gov.in/ sites/default/files/note-on-
sericulture-English-Jan2019.pdf). This trend is giving hope for the growth of
silk industry in future.

4.3.4 Wool and Woollen Textiles Industry of India

Woollen textiles and clothing industry of India is smaller industry comparted to
mad made fibre- based textile and clothing industry. But it is contributing to
Indian rural economy significantly. Government of India initiated various schemes
from time to time for the growth of woollen industry in the country. For support
to this industry, Government of India constituted Central Wool Development
Board (CWDB) in 1987 under the control of Ministry of Textile. It is playing a
mediator role among different sectors of the wool industry in India.

India rank 9th position for the production of wool in the world with share of two
percent of the total production of wool. In India, the production of wool is in
states of Punjab, UP, Rajasthan, Maharashtra and Gujarat. About 35 percent of
the total production of wool in India is from Punjab followed by Maharashtra
and Rajasthan (https://www.ibef.org/exports/wool-industry-india.aspx). India is
having about 65 million sheep (3rd largest sheep in number in the world). 85
percent of them is carpet grade wool, 10 percent for rough Kambales etc and 5
percent apparel grade. But it is not adequate because small portion of fibre is
obtained from Pashmina goats and Angora rabbits. The trend of production and
export Indian wool has been presented in Table 4.5. The woollen industry is
divided into organised (kintwers, woven garments, machined made carpets etc.)
and decentralize sector (hosiery and knitting, hand knotted carpets and woollen
handloom sector). It has the potential to create more employment opportunities.
The available data from Ministry of Textile, Government of India reported that
about 12 lakh people are employed in organised wool sector and 20 lakh people
are working in the sheep rearing and farming sector. India also exports of different
woollen products like yarn, fabrics, tops, ready- made garments and carpets.
Table 4.4 show that the total export of woollen items increased from Rs. 6431.09
crore in 2011-12 to 11484 crore.in 2017-18. There are good opportunities for
export growth. Primary sectors which can look forward for export growth are
textiles, woven clothing, knitwear’s and carpets. The growth rate of export of
woollen items was fluctuating from 2011- 12 to 2017-18 (Figure 4.4).

63
Understanding of Fashion Table 4.5: Trend of production and export of wool from 2011-12 onwards
Industry
Year Wool Export
Production Wollen, Ready Carpets Total
(In Million Yarn, Made (Excluding
Kg) Fabrics Garments Silk)
Made Ups Handmade
2011-12 43.00 725.20 1654.69 4051.21 6431.10
2012-13 44.40 659.03 1617.43 5340.77 7617.23
2013-14 46.05 684.70 1888.60 6225.83 8799.13
2014-15 47.90 1234.61 1901.76 8301.56 11437.93
2015-16 48.14 1284.91 1724.86 9241.75 12431.52
2016-17 43.60 1189.24 1443.26 9956.63 12589.13
2017-18 43.50 1197.86 1089.97 9196.99 11484.82
Source: As Table 4.1 and http://ministryoftextiles.gov.in/sites/default/files/Textiles_Sector_
WoolandWoollen_1.pdf

35.0
0 29.99
30.0
0 18.44

25.0 15.52
0
8.69
20.0
0 1.27

15.0
0.00
0 2011-12 2012-13 2013-14 2014-15 2015-16 2016-17 2017-18

Fig. 4.6: Growth rate (%) of Export of Woollen Products from India

4.3.5 Lather and Footwear Industry of India

The Indian Footwear sector is indicating high growth prospects at national and
international market. It is because of low productivity cost, availability of large
quantity of raw material, evolving retail sector, increase individual’s disposable
income etc. In India, unorganised sector is dominating in this industry. However,
rising individual’s income is helping to changing lifestyle of every Indian. India
is also being known for its traditional footwear producer.
Lather is one of the most demanded commodities across the globe. The growth
of this commodity is increasing particularly in fashion industry. It has been
considered very important item in the India’s export earning. Hence, it has very
important place in the Indian economy. The share of Indian leather industry is
about 13 percent of the worlds leather production. It has been transforming form
raw material supplier to value-added product exporter to different countries in
the world. According to Council for Leather export report;
the export of footwear, leather and leather production from India was about
US$5.69 billion in 2018-19. India was the second largest exporter of leather
64 garments and third largest exporters of Saddlery and Harness in the world.
 India is the second largest global exporter, after Italy with a global market Growth of Indian Fashion
Industry
share about 17 percent.
the leather industry is an employment intensive industry, about 4.42 million
people employed in the industry.
in, 2017, India was the second largest producer in the world after China,
about 2.41 billion pairs were produced in this year.
Trend of item-wise India’s export of leather and leather products has shown
significantly rise in growth rate of export since last five years.

Non-Leather Footwear 29739

330
156 7
Saddlery & Harness 14
9
7 13164634
Leather Goods
46581 1371045
9 55
33139 3
Footwear 5
84
Components 2194
Leather 5
14
Footwear 8
722 87
4 104
Finished Leather 6
0 500 1000 1500 2000 2500

2018-19 2017-18 2016-17 2015-16 2014-15

Fig. 4.7: India's Export of leather and leather products since last five years (in US$ Million)
Source: Data compiled form the Council for leather exports, (Ministry of Commerce and Industry,
Govt. of India). Retrieved from http://leatherindia.org/

Check Your Progress 2

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) Describe the growth textile and apparel sector of Indian fashion industry.
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
2) What is the contribution of footwear industry in the growth of Indian
fashion industry?
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
65
Understanding of Fashion The textile and apparel industry of India can be divided into two parts; (i) yarn
Industry
and fibre; and (ii)processed fabrics and apparel. Indian apparel has also got
recognition in global fashion market. The Indian textile industry is a largely raw
material base depends mostly on agriculture sector. It is the 2nd largest
manufacturer, producer and exporter in the world. It contributes 7 percent of
industry output in value terms, 2 percent of India’s GDP and 15 per cent of the
country’s export earnings. It is one of the largest sources of employment generation
in the country. It provides employment opportunities to large number of rural
women. The strength of India textile industry depends on its hand-woven sector
as well as in the capital-intensive mill sector (2nd largest in the world). The other
sectors like handloom, small scale power-looms units and handicrafts called as
traditional sectors also contributing in the Indian economy significantly. These
sectors are creating more employment opportunities for rural and semi- urban
area. They also contribute more than 75 percent of total textile production in the
country. The market size, export and cloth production of textile and apparel
industry in India have been presented in Figure 4.1.

4.4 CAPCITY BUIDLING AND RESEARCH AND

DEVELOPMENT
To improve knowledge and skills in various aspects of fashion industry, public
and private sectors has taken various steps for the capacity building and research
and development programmes. In this regard, various public and private
institutions/organisation are set up. Some of them are mentioned below.

a) The government of India established National Institute of Fashion

Technology under the Ministry of Textiles in 1998 with mandate to help
India’s apparel expert industry. The fast- increasing growth in the clothing
sector, on the job as well fresh skill trained manpower is vital need of the
fashion industry. To meet this challenges, certificate, diploma and degree
level programmes are being offered from NIFT. Various efforts are being
made to update faculty knowledge of the industry at real life situation for
exposes the latest practices being adopted in the industry so that they can
disseminated in the class room teaching. In addition to this, Government of
India initiated various Research and Development projects in collaboration
with industry for growth of fashion industry in the country. Various national
bodies and industry association are being associated with R&D activities.
b) Sardar Vallabhbhai Patel International School of Textiles & Management
(SVPISTM) was set-up on 24th November, 2002 at Coimbatore, Tamilnadu;
c) The Cotton Advisory Board (CAB) is also helping for the growth of the
fashion industry and trade. It provides an opportunity for liaison among the
cotton textile mill industry.
d) Exports Promotion Councils (EPCs) representing textiles and apparel sector
i.e. readymade garments, cotton and silk and others. These are (i) Apparel
Export Promotion Council, (ii) The Cotton Textile Export Promotion
Council, (iii) The Synthetic & Rayon Textiles Export Promotion Council;
and (iv) Indian Silk Export Promotion Council.

66
Research and development (R&D) activities are important tool for the growth of Growth of Indian Fashion
Industry
Indian textile industry. In addition to above mentioned steps, government is
investing in R&D in the textile machinery. Existing research literature on the
subject reveals that continue technology upgradation, suitable policy framework,
innovation in designing, enhancing production capacities and quality assurance
were considered important factors by the stakeholders for the growth of textile
and apparel industry in India. To enhance high growth in Indian fashion industry,
Ministry of Textiles, Government of India initiated various schemes for the R&D
activities. For example, it has been providing financial support to those who are
associated in R&D projects. For this, Ministry engaged eight Textile Research
Associations (TRA). These are: (i) Ahmedabad Textile Industry Research
Association (ATURA); (ii) Bombay Textile
Research Association (BTRA), (iii) South Indian Textile Research Association
(SITRA); (iv) Northern India Textile Research Association (NITRA); (v) Man-
Made Textile Research Associations (MANTRA);
(vi) Synthetic and Art Silk Mills Research Association (SASMIRA); and (vii)
Wool Research Association (WRA). In addition to these TRAs, University and
Industry Association, IITs, AICTE, DST/DSIR recognised engineering colleges/
research centres can also submit research project proposals. For details, you can
visit at http://texmin.nic.in/.

4.5 GROWTH OF FASHION INDUSTRY: FUTURE

PERSPECITVES
The future of the Indian textile industry looks very encouraging. Because, it will
be larger number of domestic consumption and also more export demand in the
global market. As mentioned in the previous sections that with rise of disposable
income of Indian, the demand for branded products will be higher than before.
Many international players have already been entered in the Indian market not
only big malls in metro cities abut also retail outlet in small towns in the country.
Government of India making all its efforts for the rise of future growth of Indian
fashion industry. It has been reported in various documents that employment

35000
28601
26711
24048
25000

20000 20582
16553
15000 11837
9242
10000 7076
5000

2017' 2018' 2019' 2020' 2021' 2022' 2023' 2024'

Fig. 4.8: Revenue projection from fashion industry of India from 2017 onwards
(In US $ Million)
Source: Data compiled from https://www.statista.com/outlook/244/119/fashion/india#
market-revenue 67
Understanding of Fashion opportunities increased from about 8 million in 2014-15 to 45 million in 2018-
Industry
19. Global fashion companies like Zodiac, Zara and Klein etc are attracting Indian
consumer through fashion products. Indian companies like Raymond, Reliance
Retail and Future Group has also launching their ow fashion products. It has
been predicted that revenue from this industry will be higher from US $ 7076
Million in 2017 to US $ Million 28601 Million in 2024 as presented in following
Figure 4.6.

Indian fashion industry is also facing some issues and challenges which may
affect future’s growth. India is having regional variation of climates and
consumer’s tastes. Hence, the demand for fashionable woolen demand will be
specific region. It may affect the demand for fashion products in specific
geographical areas and the overall growth of the Indian fashion industry. The
low quality of India’s Infrastructure in comparison of other Asian countries like
Bangladesh, Vietnam, China is another challenge. India’s in-equality of income
distribution may also impact on the future growth of fashion industry. Fashion
retailers are the heterogeneity of the market. High rent shops, tax structure are
obstacles for the growth or fashion retail industry in the country.

Check Your Progress 3

Note: a) Space is given below for writing your answer
b) Compare your answer given at the end of the Unit
1) What is the future of Indian fashion industry?
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................
................................................................................................................

4.6 LET US SUM UP

At the beginning of this Unit, we focused your attention on the genesis of Indian
fashion industry. This was followed by a consideration of the growth of Indian
textile and apparel sector. In this section, we discussed about the growth of textile
and apparel sector, production and export of textile and clothing, production,
consumption, export and import of cotton, silk production and employability,
wool and woollen textile industry of India, and lather and footwear industry of
India. We have noted that various efforts have been made by the public and
private sector for capacity building and research and development programmes
which helped the growth of fashion industry in India. You have seen, at the end
of the Unit, future of fashion industry and projection of revenue from this industry
has been discussed. Various issued and challenges like the low quality of India’s
Infrastructure in comparison of other Asian countries, in-equality of income
distribution, and heterogeneity of the market, and tax structure are obstacles for
the growth or fashion industry in the country.
68
 Growth of Indian Fashion
4.7 CHECK YOUR PROGRESS: THE KEY Industry

1) The available literature reveals that the fashion industry of India before
independent was observed at the time before Indus valley civilization (3000-
1500). It was observed by the kind of cloths wore by men and women
during this period. It has been observed from the available sculptures in the
country that men wore loincloths and women were bare to waist. The fashion
industry in India evolved from the Ancient period. The good quality of
cotton clothes in India has already mentioned by the Greek historian,
Herodotus during 5th century BC. Rig Veda also stated the dyed and
embroidered garments and fabricated technique of apparels during the Vedic
age in the 11th century B.C. During British rule, British industrial cloth in
India was promoted. The Khadi, a hand-woven material was also
mushrooming this period.
2) Reference to Section 4.4. and 4.4.5.
3) Reference to Section 4.6.

4.8 REFERENCES AND FUTURE READINGS

www.iitd.edu.in/evalution-fashion-indsutry/india http://texmin.nic.in/documents/
annual-report www.iitd.edu.in/evalution-fashion-indsutry/india. https://
www.iiad.edu.in/stories/evolution-fashion-industry-india/ http://leatherindia.org/
https://shodhganga.inflibnet.ac.in/bitstream/10603/33928/2/chapter1.pdf http://
ministryoftextiles.gov.in/sites/default/files/note-on-sericulture-English-
Jan2019.pdf https://www.statista.com/outlook/244/119/fashion/india#market-
revenue
Bhattacharjee, S. (2104). Evolution of Fashion Industry in India. Retrieved from
https://www.iiad.edu.in/stories/evolution-fashion-industry-india/, 11 February,
2019.
Garg.Yuvraj.(2017). Environmental Friendly clothing: an emerging trend in the
Indian fashion industry.
Journal of Management value and Ethics. 7 (4).
GOI (2019). Annual Reports of various years. Ministry of Textiles, Government
of India. Retrieved from http://texmin.nic.in/documents/annual-report
IBEF (2019). Textile and Apparel. Retrieved from
https://www.ibef.org/download/textiles-and-apparel-mar-2019.pdf
IBEF (2019). Apparel and Garment Industry and Exports. Retrieved from https:/
/www.ibef.org/exports/apparel-industry-india.aspx., 21 February, 2019
Khaire, M. (2011). The Indian fashion industry and traditional Indian crafts. The
Business History Review, 85 (2),pp.345-366.
Kumari, A. (2019). Digital marketing in Indian fashion industry. International
Journal of Innovative Science and Research Technology, 4(5).
Mckinsey, (2019). The State of Fashion 2019. Rederived from https:// 69
Understanding of Fashion www.mckinsey.com/~/media/McKinsey/Industries/Retail/Our%20Insights/
Industry
The%20influ ence%20of%20woke%20consumers%20on%20fashion/The-State-
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