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Khwabida
 A fter immense effort and diligence it was
possible for the team to extract the required
data. This would not have been possible without
the unsurpassed guidance, valuable feedback
and constant encouragement by our mentor Ms.
Anupreet Dugal. We would like to thank all the
craftsmen who very enthusiastically indulged in
sharing their knowledge with us. Especially, Mr.
Maher Alam and his family for their hospitality and
availability. We extend our gratitude to all the
weavers with whom we have had the pleasure to work
during this cluster. A special thanks to Mr. Mukhtar
Ahmed for sharing his wisdom and experience of
working in this field for the last four decades. A note
of thanks to Mr. Rizwan Ahmed Ansari, who helped
us explore the town and its many treasures. Also,
we are grateful to Mr Iftikhar Ahmed Ansari for
his constant involvement in making the endeavour
successful. Most importantly we would like to thank
National Institute of Fashion Technology, New Delhi
for giving us the opportunity to document this
mesmerising craft. Without the support from the
department of Fashion Communication, our efforts
would have been futile.
 K hwabeeda is not just a result of seven students visiting
an eclipsed town called Mubarakpur, but the countless
weavers who accepted these students as their own and poured
out their hopes, dreams and most intrinsically, their craft.
A craft they believe is an “inaayat” or a faculty presented
to them by the Gods, a craft they have nurtured for the last
four centuries. These weavers are quite like the innumerable
Jacquard Cards, they use to weave exquisite brocades, that
rhythmically move towards the jacquard machine waiting
patiently for their turn to be pierced by the needles and give
birth to an embossed fabric, divine enough to be donned by the
Gods. These nameless weavers too, go through consequential
hardships, for days at end, for the genesis of this very fabric.
This exquisite fabric was originally termed Kim khwaab or
woven dreams by the enamoured mughals, pertaining to its
surreal beauty or it being Khwabeeda.
Khwabeeda is a humble attempt at acknowledging the
dreams, aspirations and needs of these weavers through a
thorough study of their craft aimed at providing them with
the exposure and identity they deserve. It weaves the story of
brocade weaving in a manner similar to how these bunkars
weave silken fabrics.
CHAPTER 1

CHAPTER 2

CHAPTER 3
CHAPTER 4

CHAPTER 5

CHAPTER 6
03
05
09
13
17
19

The journey of jacquard weaving begins with the design being

plotted on graph, the journey of understanding it begins with
appreciating the environment it is generated in.
 P eople who frequent Mubarakpur, call it ‘the city of
narrow alleys’ as they find it difficult to distinguish
one lane from another. For the many lanes in town are
resplendent with the same sights; vibrant houses with goats
tied to rusted window grills, children oscillating in makeshift
swings, men advanced in both years and experience sitting
in plastic chairs, looking at them with feeble eyes and silk
yarns stretched along the span of these very lanes. The air
is brimming with whiffs of ‘biryani’ flavours emanating
from the houses, while the synchronised music of the looms
operating in almost every house remind the visitor what this
alleyed town is all about.
Hidden away from the public eye, these looms and
their masters bring into being one of the most exquisite
handwoven fabric: the Mubarakpur brocade. More than
25000 weavers toil daily to carry forward the legacy of
‘hiranya’ or the golden cloth alluded to in the Rig Veda.
04
Mubarakpur is a small town situated in the Azamgarh
district of Uttar Pradesh, India. It lies at a distance of 844
Km from New Delhi. There are many modes available to
travel this distance. A train journey from New Delhi to
Azamgarh takes twelve hours. There are no direct routes
to travel to Mubarakpur by train, so the journey has to
be broken in Azamgarh, which lies at a distance of 13
kilometres from Mubarakpur. ‘Tempo Rickshaws’ easily
available in Azamgarh take around 45 minutes to travel
the rest of the way to Mubarakpur.
06
Road to Sonawar

Hanuman Temple

Mohallah Purani Basti

MUBARAKPUR

Amilo
Post Office Mubarakpur

100km
1 2

11. NIFT, Delhi Campus

2.
2 New Delhi Railway Station
3.
3 Azamgarh Junction
44. Qasba Mubarakpur
 F oraging through the narrow
alleyways of this place, is likely
to make any tripper exhausted and
appreciate the smell of the biryani being
prepared by the villagers. From cutting
chai to serving fulfilling samosas, these
people find every reason to serve snacks
to tourists with all their hospitality skills.
‘Mehman Nawazi’, a term frequently
used, is practiced with a lot of enthusiasm
amongst everybody. Plates of fruit and
beverages like tea or lassi is served while
visiting someone at their house for the
first time. Although simple preparation of
dal and seasonal vegetables with chapattis
form a part of the vegetarian diet of the
people. With the Muslim community
being in majority, the diet composes of
mostly of non-vegetarian cuisines such as
fish, chicken, meat and their prominent
dish biryani. For dessert sevaiyaan and
halwa is commonly served.
10
 T he ambient noise of the incessant tak-tak of the wood clapping continuously, makes a pleasant
sound for a newcomer in the alleys of Mubarakpur. Men dressed in white kurta with white
skullcaps going on about their way is a common day scenario. While some of them relax in their
abode with lungi and vest on chaukis, some of them work tirelessly on handlooms to produce the royal
fabric of brocade with finesse. Women clad in burqa and questioning eyes go about their day hiding
their questions in them which peek through the niqab that’s wrapped around their head. Young boys
in kurta scurry through the ‘galis’ in order to achieve their next mischief. While little girls in salwar
kameez hide behind their mother’s pallu with inquisitive eyes. Majorly populated by the Muslim
community, the people follow Islamic culture strictly. The community further gets dissected into four
major parts which are Shias, Sunnis, Deobands and Bohras. On the other hand, Harijans and Yadavs
are the two Hindu communities who also form the citizens of the humble town of Mubarakpur.
Celebrating all the major festivals as grandly as possible, these people believe in fraternity. Qawali, a
form of entertainment, is thoroughly enjoyed by the people, which takes place during major Muslim
festivals.

The language, that they speak is an amalgamation of Urdu and Hindi language, called ‘madri’.
Chilllen who are often seen playing games on the pavements, are sent to ‘madarsas’ and private
schools. There are about eight - nine private schools till primary classes which are English medium
and CBSE affiliated, five - six high schools, a government school and a college which offers courses like
B.Ed and B.A. The ‘madarsas’ in the area are Islamic schools that enroll Muslim kids without any fee
till class 5 and after that charge a nominal fee.

While filling their stomach is already a mighty task, promoting children to study further becomes a
humongous role to play for these villagers. Therefore they prefer their children to keep them at home.
The segments who can manage it send their children for graduation as well.

12
 J acquard weaving is the life blood of Mubarakpur, being
practised in the area since the last 400 years. The Jacquard loom
travelled to India with the British and soon became the preferred
loom due to the ease with which complicated designs could be
created. Brocades are textiles created by inserting extra wefts while
lifting a certain number of warp threads according to the design
desired. Brocade is ornamental in nature and the ornamentations
are wrought as additions to the main fabric, sometimes stiffening it,
though more frequently producing on its face the effect of low relief.
The term brocade has the same root as the word ‘broccoli’, that is
the Italian term broccato meaning “embossed cloth.” In Mubarakpur,
gold and silver zari is used as the extra weft threads. Brocade
weaving in Mubarakpur is majorly done by the 30000 Muslim
family residing there. The looms majorly used are pit looms, with
a large array of threads attached to it, while the weaver sits with his
legs hanging in the pit, working on the peddles. A single piece takes
days at end to weave. In certain households, pit looms have been
replaced by the mechanical power looms to increase output.

14
Rizwan Ahmed, Master Weaver
 T he town of Mubarakpur has seen light dawn on it, then an eclipse in totality followed by the
brilliance of the rising sun. Through it all, the town of weavers has not lost what it stands for,
hope. Previously known as Qasimabad, named after a wealthy Muslim landlady, Qaseema bibi, the
area was prone to invasions from kings of neighbouring lands and floods from the river, Tauns. The
place is known for its fine silks since the 14th century. In the 15th century, Raja Mubarak Ali Shah
visited this town, bringing with him many families of weavers, also protecting the place from further
invasions. In doing so, he laid down the foundation of the town that will be called Mubarakpur from
thereon. In the 17th century, prominent writer, Ibn Batuta visited Mubarakpur and talked extensively
about the finesse of the Mubarakpur brocades in his works.

Mubarakpur has never been an important commercial or administrative centre, it was although a
prominent centre for textiles during the eighteenth and nineteenth century specialising in silk and
silk-and-cotton fabrics known as sangi and ghanta. Though, the colonisation of the nation affected
Mubarakpur, it survived rather well compared to the other textile centres of the region. Even the
influx of mill cloth from Britain which was the last straw in the downfall of the textile trade could
not fully shake this industry, though it surely lost its vigour. The trade depression took its toll with,
towards the end of the nineteenth century, the weavers being forced to weave handkerchiefs and
turbans, which were more in demand in the time of mass poverty, in order to survive. It was at this
time that weavers started migrating from Mubarakpur. Yet again Mubarakpur rose from the ashes of
a distraught independent India, the weavers working their way towards a more stable trade. Another
blow to the craft were the Hindu-Muslim riots of the 90s that had the traditional clientele shying away
from the craft, which resulted in the Mubarakpur weavers loosing the footing they had in the market.
Furthermore, the area has always been occulted by textile giant, Varanasi operating a small distance
away. Over time, the Mubarakpur sari came to be identified as the Benarasi sari, though, being
distinguishable, and lost its own identity.

Once throttled by Hindu-Muslim animosity, the Muslim dominated town now lives in harmony.
Mubarakpur and its weavers have seen more struggle than the average social group and risen again
and again to prove their mettle. Today, once again, the town and its people strive to get an identity of
their own, through hard work and hope.

18
 Hazrat Owais al-Qarani was devoted to Mohammed Wazoor
Sallalahu Alaihi Wasallam. When he got to know about Sallalahu
Alaihi Wasallam’s teeth being sacrificed, out of love he also got
all his teeth broken. To commemorate this event people make
halwa on the day of Shab-e-baraat to honour the kind of love and
devotion between the two.

The famous writer and scholar of Morocco, Ibn-e-Battuta (of late

17th Century), on his visit to India, has chronicled that very high
quality dresses made in Mubarakpur were sent to Delhi and from
there, exported to various countries.
Kabir, the saint weaver compared God to a master weaver in his poetry.
While weaving, he composes a song, where he wonders how God, the
Master Weaver, made finely woven fabric called skin that we wear all our
lives, with such care. It is unfortunate to know that all saints who wore
them defiled it but Kabir kept it intact with all his tenderness.

A popular belief amongst the Muslim community was that the town
Mubarakpur remained prosperous because of Raja Mubarak Shah’s blessing.
It was his farman that nobody else could rise above his mazhar else he and his
line would be there no more. For the longest time, people feared erecting houses
of more than two storeys, not wanting to offend Mubarak Shah’s spirit.
The jacquard cards flow in a rhythmic manner, one after the other attaching
themselves to the jacquard machine, clinging on to get perforated by needles to
result in the fabric of dreams, kim khwab.
 I t is crucial and foremost to source the right kind of raw
material. Raw material for the making of a brocade saree in
Mubarakpur is sourced from Varanasi, Gorakhpur, Malda and
Bihar. Silk, cotton and polyester are majorly sourced. The speciality
silk fibres are sourced from China and are the finest quality. The silk
or ‘resham’, which the weavers call the kudrati dhaaga is available
in the market in the form of hanks (lurchi / bakla).

Zari, the metallic thread can be used for the taana as well as the
baana. Zari is sourced from nearby town of Mau. It is available in
both pure chandi (silver) as well as artificial. And in a variety of
colours like neemzari, gold, copper gold, mehendi, silver and rose.
24
 Spools of fibrous threads are put on a spinning machine,
which is similar to a charkha and works on the same
principle. This is usually done on an electrical machine in
Mubarakpur, which has eight to twelve hexagonal frames,
aligned parallel to each other on which the fibre spools are
mounted and then twisted and turned to make yarn spools.
This machine ensures strength and uniformity of the thread
or yarn being made.
 Plying of the yarn, that is the process of twisting two
or more yarns together in order to provide thickness, if
required, is also done on a spinning machine. Generally
three yarns are plied to make the yarn used in Mubarakpur
brocade saris. However, very fine delicate silk saris often use
single ply yarns. These yarns in the form of hanks or skeins
are then sent for dyeing.
Mukhtar Ahmed
President, Adhunik Bunkar Sahakari Samiti
 After procurement of the right kind of hanks and skeins,
the next step, is degumming. The hanks are first put around
a single wooden log, and three or more such logs are dipped
and pulled out of a metallic bath one by one, containing
boiling water with soap solution and caustic soda. This
process called kharaiya (degumming), is repeated multiple
times, for about half an hour, to remove the sericin from its
surface, which is the yarn’s natural gum. This increases the
yarn’s property to retain dyes and also gives it a fine texture.

After kharaiya, it is put on a metallic rod, dipped and re-

dipped in a smaller water container several times. It is then
stuck onto a stationery rod and twisted and turned around
it to squeeze the water out of it, washing away the soap,
hence it is called dhulaiya.
 Specialised rangaari shops in Mubarakpur perform
the prime task of giving brocade saris their most
significant feature, their colour. Dyeing or rangaiya is
done in a similar manner to degumming, where the
yarns are dipped multiple times in boiling acidic dye
solutions in the dye bath. The hanks are held in place
with two metallic rods, held by two individuals standing
diagonally. These rods are used to rotate the hank,
ensuring uniform colour distribution throughout the
hank. Once dyed, the hanks are rinsed with cold water
and hanged for drying in the shade.
If the sari is supposed to be neutral in colour or to
be dyed post weaving, undyed hanks are often sent for
reeling directly.
- Excerpt from The Weaver Poetti

32

After dying the hanks, they
are now to be made into suitable
packages. A motorised bobbin
making machine is used for
this process, locally called the
bharnewali machine. It consists of
a number of wheels, on which the
hanks are systematically arranged,
in a manner that each hank is
attached to an empty bobbin. As
the wheels rotate, multiple bobbins
are simultaneously filled with the
yarn. This machine can fill around
80 to 100 yarn bobbins at a given
time.
The required number of bobbins
are then placed on the bobbin
creel in the warp setting machine,
locally called the tani ka sancha.
The bobbin creel ensures that the
yarns can be separately pulled from
each bobbin without touching or
disturbing one another. With the
means of harnesses and combs
present in the machine, the
yarn from the bobbins is made
into the warp according to the
required warp width and length
specifications. Sometimes, the
yarn is sent from here for dyeing,
depending upon the order from the
grihast.
Artisans in Mubarakpur use
the traditional method of street
warping, where the warp beam
is stretched across a long street.
On one end, the yarns are fixed
to a permanent wooden beam
called tur, the other end is kept
outstretched by the means of ropes
tied to sticks. Across the width of
the warp, a white thread is tied
at equal intervals, by counting
the number of threads, to ensure
proper segregations. This thread is
called banaki. The tanihars, who
specialise in this process then roll
the length of the warp on bamboo
sticks in a methodical manner,
while the roller on the other end is
rotated outwards, providing tension
to the warp.
 For preparation of the weft,
the hank is rolled around a
pareta. A pareta resembles
a traditional hand spindle
and consists of a hexagonal
cone like top, held in place
However, many machines
by three diagonal sticks. It
have now been installed
is made up of thin bamboo
around the qasba, generally
and has a linear central axis
called kati ki machine to
which makes the rotation
perform the same task.
feasible.
These automated machines
efficiently reel multiple naris
simultaneously from larger
bobbins, saving manual
labour. Before inserting in
the shuttle, the zari filled
spools are dipped in water, to
make the yarn softer.
 The yarn is then
transferred to a charkha,
which is used for winding
the yarn on small naris. A
nari is a plastic or wooden
spool, small enough to fit
inside a shuttle. Generally
the women of the house are
seen filling naris and they
do so by rotating the handle
on the charkha on the right
hand side, while the reeling
happens on the left.

36
 The magic of the jacquard weave begins at the hands of the
Nakshaband or the grapher. The grapher being the originator
of the design in the process, draws the motifs and patterns
by scaling them in size on large drawing sheets. He generally
draws the motifs from his memory or as ordered and asked
from the client. He keeps updating the designs depending
upon the trends and colour availability.
These motifs are then transferred on spacious graph sheets
called Naksha with the accurate colours, which enables the
card cutters to recast these designs on cardboard. A Naksha
for a saree usually contains all three elements, the booti, the
palla and the border.
With the installation of certain computers around the
village, graph making is now being done on softwares like
Autotech. The method however remains the same. A single
unit defines a single thread and the marked or crossed unit is
where the harness is to be lifted.

40
 Skilled technicians perform the meticulous task of
building jacquard machines. These machines contain a
grid like network of a number of vertical (khadi tiri) and
horizontal iron hooks (patttiri), along a certain width, called
as jharna. It also has a four faced roll on which the jacquard
cards switch and move.
42
 The speciality of the jacquard loom are the cards, or patta,
which contain the holes that encapsulate the magic of the
brocades. A cardboard piece is put in between a metallic
frame (patri) and a plate with holes. A small iron rod
(summi) is used to punch the required holes with the help of
a hammer. The graph is kept alongside for reference and an
iron plate is used as a ruler. The people cutting cards have
a lot of experience with great skillsets, and manage to cut
large quantities in minimal time.
These cards are laced together with special knotting
techniques, carefully making sure not to flip or invert the
cards’ orientation.

44
 Mukadims or professionals set up the
loom, which is one of the most tedious
tasks in the process. It involves drafting
and denting. Drafting is the process of
pulling the yarns of the warp from the
loops in the headless, while denting is
passing the warp through the gaps of
the reed.

48
 W eaving is done, when the yarns from the warp (taana)
running lengthwise interlace with the yarns from the
weft (baana) running width wise.The warp roll is fixed lengthwise
onto the loom, while the weft is put manually each time. It involves
three primary steps.
Shedding, which separates the warp threads by lifting the heddles
according to the pattern of the jacquard coming from the card.
This is done through alternatingly pushing the beams hanging in
the pit, by the means of feet.
Picking, which is the motion of throwing the shuttle across the
width of the saree, so that the nari releases thread and the weft
is formed. Mostly fly shuttles are seen in Mubarakpur, which are
operated by the help of the hanging auti. Picking can also be done
through two types. Phekua, by throwing the shuttle across the full
length and Kadhua, which involves manually inserting the naris,
generally the zari work.
Beating, which is done by beating the reed along the new weft,
that is inserted towards the fell of the cloth.The made cloth keeps
rolling on the cloth beam, and is later sent for cutting if there are
any floats on the back side, in order to make it neat.
- Maher Alam, Weaver

52
 When the entire length of the woven fabric is completely
rolled around the cloth beam, it is taken off the loom and
is called Thaan or Reja. If the saree has floats, that is the
extra thread falling between two motifs on its back side, it
is either sent for cutting or attaching a net to avoid any kind
of damage. After this, the saree is folded in the standardized
manner.
 After this the sari is sent through two
heating rollers for ironing. A sizing
material to keep it stiff is also applied at
this step.

54
 P redominantly used in
Mubarakpur, this loom or as it
is known as khaddi in Mubarakpur,
has four supports set into the floor
just above a pit, where the pedals
of the loom hang to help carry out
weaving at eye level. The weaver
sits in the pit to comfortably weave
on the loom in front of him. The
pit contains treadles which control
the harnesses or shafts and the
jacquard attachment. After treadles,
the warp and the cloth beams are
affixed where the warp and the cloth
are rolled respectively. The loom
contains a reed used for combing
and beating the warp threads. The
looms are kept close to the ground
so that the fabric absorbs moisture
during the process, resulting in a
softer and lighter fabric. The looms
in Mubarakpur, are eight harness
looms and have a manual jacquard
attachment which has a set of punch
cards attached to it to create the
desired designs.
 A nother kind of loom
popularly operated in
Mubarakpur is the power loom.
These looms were introduced
in Mubarakpur less than ten
years back. The power looms of
Mubarakpur are quite basic, with
motors attached to the base of
the looms, which is connected
with the healds and the jacquard
attachment. The healds and
jacquard attachment are lifted
mechanically with the help of
the motor. Although, this loom
increases efficiency and require
minimum labour, it cannot be used
to weave silk products. Polyester
and cotton are the only materials
woven on a power loom as it
requires threads of high tensile
strength. Though, decreasing
workload, the quality of power
loom woven fabrics cannot be
compared with the those woven on
handlooms.

56
 59
62

The motifs spread on the brocades like the first drop of ‘shabnam’ or
dew, that proliferates the entire leaf becoming one with it. These motifs
of gold and silver adorn the saris in ethereal labyrinths as dense as the
veins running through this leaf.
Motifs are simple and very traditional in nature. The inspiration for motifs was originially drawn from
Mughal architecture and are now seen in interesting variations of the same.

Phulwar Phulwar Paan booti Paan booti Genda bel Patiya

Gulab bel Meena bel Chaukdi Figure Bel patti
 M otifs forms a huge part of
the look of the woven fabric.
A single floral form of flower figure
made separately are known as butis.
The bigger form of buti is called a buta.
They are further split by number of
petals used which also give their names,
like tinpatia (three petals), panchpatia
(five petals), satpatia (seven petals). The
butis when woven in a creeper pattern,
the names changes to bel and its
variation found are called guldaudi bel
(chrysanthemum), genda (marigold)
and gulab (rose).
Other than floral motifs there are
coin-shaped motifs called asharfi, betel
shaped motif called paan and moon
and star shaped called chand-tara are
prevalent. Patterns like stripes locally
known as doriya and chequered stripes
known as charkhana are also a popular
choice of motifs in the town. In order
to maintain harmony and correlation
between motifs, certain geometrical
patterns are used, the most common
being - khanjari (chevron), charkhana
(checks) etc. Motifs are simple and very
traditional in nature.
The inspiration for motifs is drawn
from the previous design which are
either modified or used as it was. The
skilled weavers of Mubarakpur, are
particular about proper utilization of
the space between patterns and the
overall visual look. Therefore, the saree
is layouted accordingly. Layouts form
the most crucial ingredient of the visual
appearance of any fabric. Depending
upon the layouts, the arrangement
can be differentiated under various
heads. Popular layout patterns of the
Mubarakpur saris are - adha ( diagonal),
jaal/ jangla (overall pattern) etc. Shias
and Sunnis are the two communities of
Muslims who work on different motifs.
The Shias make floral design whereas
the Sunnis make animals.
 M ubarakpur fabrics have always been
woven in beautifully dyed yarns.
Shades of orange, red and pink and green were
adorned during various gatherings, whether it
is a fair, wedding or festival. The colors being
available cheaply is another reason for the
popularity of these colors.
Some of the popular color are pyazi (light
pink), gulabi (pink), rani (dark pink), narangi
(orange), badami (light buff), jamuni (violet),
sabbuj (green), kahi (dark green), udda (dark
blue), amral (light blue), phirozi (turquoise
blue) and zard (yellow).

62
• Products
• Sari
• Dupatta
• Market and Costing
• Today’s Scenario
• SWOT Analysis
It is fairly simple to determine the value of brocades in terms of wealth.
What is complicated, is ascertaining its worth regarding the days the
weaver has toiled in his pit, creating his livelihood, the nights he has spent
tossing in his bed, worrying about his due consignments, his entire family
dependent on this weave.

As the name suggests the
butidaar saree have buti or buta
woven in them made using gold
and silver zari threads. The type
is usually done by incorporating
Kadhua or Fekwa technique. Most
prominent variety of butidaar saree
in Mubarakpur, is the silk on silk
butidaar sari available in traditional
aswell as contemporary colours.
Butis such as chaukdi, phoolbuti,
kaiributi are some of the popular
motifs used.
One of the oldest and most
intricately designed, Jangala saree
takes up most of the time to get
produced. The sari has creeper
like motif scrolling throughout
the pallu which is known as jangla
motif. They have variation where
colourful threads are used along
with zari. The exclusive design
saree is prepared by the help of
time taking skilled work, costly
fabrics and are widely adorned
during the wedding occasion.
 Tissue saree are easily
distinguishable as they have an
extra sheen throughout. The sari
is prepared by having zari in the
weft combination and silk in the
warp, forming an organza like
fabric. Mubarakpur boasts of
duppata made in this kind and they
This type of sari is prepared
incorporate this technique in some
by cut work technique on plain
parts of the sari such as the pallu.
ground texture after removing
of the floated thread which are
not design (woven) during the
weaving process which provide
good transparent look. Cut work is
the cheaper version of the Jamdani
variety. In cut work; the pattern is
made to run from selvage to selvage
letting it hang loosely between two
motifs and the extra-thread is then
cut manually, giving the effect of
Jamdani.

70
 1

1 aanchal
4 2 patri
3 patti
4 chir
5 talav
6 tahi
7 dheri

2 3 6 7 5
 2

1 tahi
2 patha
4
3 aanchal
4 chir

3 1

Apart from saris Mubarakpur weavers boasts of their skilfully woven dupattas. They generally measure 2.5 m and
37 inches with tassels (phulna) hanging at the sides. Just like the different types of sarees, different types of dupattas
are woven, butidar dupatta being the most famous one. Jangla dupatta can also be seen. They also have the ek chhod
ek pattern motifs. The cost depends on their composition. Pure silk dupattas start at the rate of 1800 and go upto
2500 depending on the style of work done on it. The dupattas which have cotton and silk in their composition cost
approximately 1100 – 1500. Dupattas which have cotton silk with zari work weigh more than cotton silk dupattas. The
quantity of work done also determines the weight of the product.

72
 In order to identify and define marketing opportunities and problems a primary research
was conducted. It was identified that the high end brands source their merchandise from
well-known counterparts of otherwise small towns like Mubarakpur, which makes them still
fight for the light that they deserve. Customers generally lack the kind of expertise which
enables them to differentiate between power loom and handloom product. Thus, degrading
the significance of handloom. The following table states the costing through the process and
costing of the finished product in stores.

74
 T he craft cluster is a promising premise for future growth and
development of the handloom sector of the country. However,
growth requires proper cooperation of all factors affecting the cluster.

Frequent power cuts further decrease the quality of living of the

people. The workshops of the weavers are set up inside their house
and are characteristically dark. Continuously working in low light
conditions results in weakened eyesight by the time the weaver reaches
the age of thirty. Most weavers are unable to carry on weaving for a
long time after that and those who do, become blind. This is one of the
greatest challenges faced the weavers of Mubarakpur which stops them
from producing art to the fullest of their capabilities. Furthermore, the
initiation of GST has resulted in increased costs of raw materials which
results in difficulty in attaining and untimely supply of the same.

Another major issue plaguing this society of weavers from within

is the younger generation choosing a different profession despite the
weavers passing on the craft to their children from a young age. Low
wages and no scope for future development is making the younger
generation shy away from being a part of this legacy. Most of the traders
sell the products in the Varanasi market, further aggravating the issue
of people confusing between the Banaras and the Mubarakpur weave.
Consumers are not even aware of the fact that the products are actually
being produced in Mubarakpur. Power looms are quickly taking up
the place of handlooms in Mubarakpur due to their efficiency.
 The designs and motifs produced on power loom
should differ from those produced on a handloom,
according to the conditions imposed by the government
for the wellbeing of handloom owners. However, the
power loom owners manufacturing similar designs
and motifs and selling them at cheaper prices is slowly
killing the Mubarakpur brocade weaving industry.
Moreover, fed up with minimal wages from working
on a handloom, the weavers are now opting to buy a
power loom and create fabrics with that, posing further
danger to the craft.

The Mubarakpur industry is in great need of design

intervention. Keeping the heritage intact is one of the
strengths of the Mubarakpur weavers, but not updating
the designs and colours with respect to market trends is
contributing in its downfall. Other than this, a proper
marketing channel is needed to give the craft the
stature it rightfully deserves. With the weavers being
informed of the right methods to pack and advertise
their products, brands and designers tying up with
them will help bring the craft in public eye. Today,
with the help of NGOs and brands collaborating, the
craft has become a part of many leading exhibitions
in the country, bringing hope for the craft and the
craftsmen.

78
• The unparalleled craftsmanship of
the Mubarakpur weavers
• Involvement of the entire house-
hold in the craft, including
women
• Conserving traditional heritage in
terms of motifs and colours used.
• Availability of cheap labour
• Poor quality of education among the
weavers which results in exploitation
at the hands of master weavers,
traders and middlemen
• Lack of marketing skills
• Limited contact with buyers
• Poor standard of living
• Lack of geographical indication
further leads to the obscurity of the
craft
• Lack of design innovation and no
awareness in terms of colour and
design trends prevailing in the
market
• The cluster has become a cheap
outsourcing destination for Banaras
traders and has remained in veil for
years.
• Curiosity among weavers relating
to the use of technology to
increase efficiency
• Weavers becoming aware of the
advantages of social networking
and social media marketing
• Can explore new designs, colours
and techniques
• Poor quality of education among the
• Many NGOs like AIACA trying
weavers which results in exploitation
to provide a footing to the
at the hands of master weavers,
Mubarakpur weave
traders and middlemen
• Prominent designers getting
• Lack of marketing skills
involved with the cluster, further
• Limited contact with buyers
helping in providing the weavers
• Poor standard of living
and the cluster, an identity of its
• Lack of geographical indication
own further leads to the obscurity of the
craft
• Lack of design innovation and no
awareness in terms of colour and
design trends prevailing in the
market
• The cluster has become a cheap
outsourcing destination for Banaras
traders and has remained in veil for
years.
Swot
ANALYSIS 80
 83
NIFT 85
Hope is the greatest driving force that mankind has ever witnessed. It
makes the most ardous hurdles inconsequential, mountains seem like
molehills. And the one thing the craftsmen of Mubarakpur have in hanks
other than the silken yarns, is hope.
 T he brocade weaving of Mubarakpur has been in a dormant stage in terms of growth for the
longest time and needs to be shown the way for further development. The Government of India
is involved in rigorous attempts to protect the dwindling identity of the craft. Some initiatives taken
by the government includes the USTAAD Scheme of the Ministry of Minority Affairs, Government
of India, work to create an enabling eco-system for the craft sector to add value and respect for
their skills with them becoming stakeholders and beneficiaries of the larger wealth creation process.
Others like Mubarakpur Weavers Livelihood Intervention are working to create a producer company
to be owned and managed by the weavers. The government has also set up Hasthkarda Bunkar Trade
Centre in Mubarakpur, which is by far the biggest trading centre in the state of Uttar Pradesh. It aims
at providing better trading and business facilities to weavers from Mubarakpur and surrounding
areas. If these initiatives work as promised, there will soon come a day where the craft will be revived
to its former glory.

84
 NIFT
C raft Cluster Initiative is a project introduced by National Institute of Fashion Technology which, provides
the students with a wonderful opportunity to get exposed to the core strength of Indian culture, handloom
and handicraft clusters, while training them to provide solutions to real-time problems. This leads to them
becoming a pool of future designers who are sensitized towards the crafts. Thus giving them the opportunity to
utilize the handloom sector and keep the crafts alive.
The cluster is monitored by the NIFT faculty. Valuable design inputs and customized training programmes are
provided, thereby enhancing the market value of products created by the artisans. Such exposure and interactions
help students gain a stronger rural connect and a greater understanding and appreciation of Indian culture and
aesthetics.
Through this project, various ideas were brainstormed to revamp the dying craft, with a thought that it might
generate interest amongst a wider audience. The branding and identity would increase the commercial value of
the products. The weavers will be able to improve and innovate through correct design direction and intervention.
It might also help in standardizing the craft at an international level. Thus, preserving the Indian heritage and
handloom, and making way for weavers to gain commercially.
 91
92

The people of Mubarakpur have guarded the craft of brocade weaving

because the craft has been protecting their progeny since they were
presented by this faculty. Now, it is time for us to reach out to these
protectors of brocades and become guardians of their interests ourself.
- Mukhtar Ahmed,
Faisal Ansari Saqeena Alam Mukhtar Ahmed Maher Alam Hussain Imam Rizwan Ahmed

We’ d like to give our heartful thanks to all the artisans as well as every individual whom we encoun-
tered on our journey. Without their humble support, this document would not have come together.
 OUR TEAM

ABHISHEK GAUTAM
DIVYA LOHIA
NISHANT RAWAT
PUJA SHARMA
RISHABH SINGH
SHUBHAKSHI SETH
SUSHMITA CHERYL PAUL
• Anchal: the corner of a saree, also referred to as a ‘pallu’
• Anta: reel of thread which is sourced from manufacturing companies
• Auti/ Jhatka: an oval shaped lever attached to the loom for operating
• Baana: weft
• Bakla: hank
• Bane ki phirai: spinning of weft threads
• Banika: a white thread tied at equal distances along the width of the
warp, to keep the warp threads segregated.
• Charkha: Spinning Wheel
• Dharki: Small shuttle
• Firka/ Firki: Pulley in a lingo loom.
• Jhatka: the action of pulling the auti to make the plain weave.
• Judhai: the process of joining of two warp threads
• Kaati: Automatic Machine used for spinning bobbins
• Kadhua: The technique of making butis manually
• Katthla: Shuttle
• Kharai Bhatti: In which dying is done for about 15-20 minutes at 60-
80 degree celcius
• Kharaiya: Process of degumming silk
• Kharai/Kharna: The process of boiling silk threads in soap water
(sodium carbonate and water, at 90-95*C* for approx. 2hrs )
• Naksha: Graph
• Nakshabandh/ Nakshkar: Grapher • Taana: Weft
• Narri: Spools inside the shuttle. • Tahi: Field of Saree
• Neem zari: Light zari • Tanai: Preparation of Warp
• Tanihar: The people who do tanatanna
• Than/ Reja: The finished fabric when taken off the loom
• Tiri: Iron rods used in Jacuard
• Tur: The four-faced beam used for winding one end of the warp
threads during turai
• Tur: Warp beam
• Patri: A iron bar with holes in it
• Turai: Street sizing/ Street warping
• Patta: Jacquard cards
• Phenkua: Process of throwing shuttle across the width of the warp to
make patterns like jangla
• Phulki: Street food similar to golgappa where hot bhaaji is served in • Zari- metallic threads used as extra wefts to create motifs
golgappa.
• Pareta: Umbrella shaped like bobbin.
• Patri: iron frame where the cards are placed while punching. These
frames, hold the cards in place and also help in sizing the same.

• Summi: Small metal rod used with the hammer to punch the
jacquard cards
Association, A. I. A. a. C. W., 2015. Mubarakpur Weavers Livelihood
Intervention. [Online] Available at: http://www.aiacaonline.org/mubarakpur-weavers-livelihoodintervention

Association, A. I. A. C. W., 2015. Policy Event. [Online]

Available at: http://www.aiacaonline.org/policy

Jaypore, 2015. Mubarakpur Weaves a Success Story. [Online]

Available at: https://blog.jaypore.com/2015/11/27/mubarakpur-weaves-asuccess-
story/
Munir, T. S. a. P. A., 2014. Female Work Participation in Handloom Industry-A
Case Study of Mubarakpur Town, Azamgarh District, U.P. Journal of Education
& Social Policy, June , Volume Vol. 1

Munir, T. S. a. P. A., 2014. Female Work Participation in Handloom Industry-A

Case Study of MubarakpurTown, Azamgarh District, U.P. Journal of Education
& Social Policy

Roberts, M., 2008. What is Silk. [Online]

Available at: http://www.wildfibres.co.uk/html/silk.html#what-is-silk

Textiles Committee Government of India, M. a. H. W. A. V., 2017. Dream

of Weaving: Study & Documentation of Banaras Sarees. [Online]
Available at: http://textilescommittee.nic.in/writereaddata/files/banaras.pdf

Textiles Committee, M. H. W. A. V., 2007. Dream of Weaving: Study &

Documentation of Banaras Sarees and Brocades. varanasi: Textiles Committee,
Ministry of Textiles, Government of India
Jaypore, 2015. Mubarakpur Weaves a Success Story. [Online]
Available at: https://blog.jaypore.com/2015/11/27/mubarakpurweaves-
a-success-story/

Munir, T. S. a. P. A., 2014. Female Work Participation in Handloom

Industry-A Case Study of Mubarakpur Town, Azamgarh District,
U.P. Journal of Education & Social Policy, June , Volume Vol.