Final document

AARI EMBROIDERY

A Craft Cluster Initiative - 2023

Department Of Leather Design

Mentor -Ms Neha Prasad

NATIONAL INSTITUTE OF FASHION TECHNOLOGY, CHENNAI

CERTIFICATE

This is to certify that the document “Aari Embroidery’ is a unique record of the work undertaken by the following

students of Leather Design at National Institute Of Fashion Technology. Chennai under their mentor, Ms.

Vijayalakshmi Ravi, The document is an outcome of original work with an integrity percentage of 90%, where in

all sources have been duly acknowledged and cited.

All rights reserved. The publication is the intellectual

property of the Department of Leather Design,

National Institute of Fashion Technology. It is purely

for academic purposes and no part of it may be

reproduced, distibuted, or transmitted in any form

through photocopying. recording, or any other

electranic or mechanical

methods.

Copyright© 2023 By NIFT, Chennai

National Institute Of Fashion Technology, Chennai

Department Of Leather Design

Group Members

ADITI RAJASEKARAN

ANANYA CHAUDHARY

B VIJAYALAKSHMI

NIHAARIKA

SREETHI BHARATHI

SHRIYA CHATURVEDI

ACKNOWLEDGEMENT

This project would not have been possible without the unending support from many respected

individuals. Every artisan we interviewed, and every person we met along the way has been kind

enough to share their unfiltered experience and knowledge with us that has shaped this project.

We would like to express our heartfelt gratitude to National Institute of Fashion Technology, Chennai for giving

us the opportunity to be a part of this craft cluster project. We are also thankful to our beloved faculty in charge,

Mrs. Vijayalakshmi Ravi, and our mentor Ms. Neha Prasad, for their valuable guidance and encouragement.

We are grateful to Ms. Nasima M, for her enduring cooperation, support, and for being a constant source of

inspiration for all of us.

CONTENTS

1.INTRODUCTION: 1

1. Objective 2

2. About NIFT Chennai 3

3. About the Leather Design

Department

4. Craft Cluster Initiative 5

5.Introduction to Handicrafts

6. Embroidery: 6

a. Introduction to Embroidery

b. Embroidery across the Globe

c. Embroidery in India

d. Origin of Aari in India

e. Types of Aari Embroidery in

India

f. Embroidery in Tamil Nadu

g. Aari embroidery in TN

2.PLACE: 16

1. Mahabalipuram 18

a.About the City

b.Geography

c.Climate

d.Topography

e. Soil

f. Flora and Fauna

g.Demography

h.Places to visit

i.Transportation

j.Culture

k.Market

2. Aari embroidery in 36

Mahabalipuram

3.THE CRAFT: 37

1.Raw Materials 38

2.Tools and Equipment 51

3. Glimpse of Aari Process 55

4.Pre-Production 56

5.Production 58

6.Time study 59

7.Post-Production 60

8. Packaging, Transportation and

Marketing 61

9.Costing 62

10.Product Category &

Catalogue 63

4.VISUAL ASPECTS 79

OF AARI:

1.Design Inspiration 80

2.Motif-development 81

3.Variety in motif Development 85

4.Stitch types 86

5.Color Combinations 90

6.The uniqueness of the craft 92

7.Differences Between Aari 93

Embroidery and Zardosi

5.THE ARTISANS: 95

1.Cluster Profile 96

2. Layout of Cluster 97

3.Geography of Cluster 98

4. Artisan Profile 99

5. Artisan Demography 108

6. Socio-Economic Status of the

Artisans 109

7.Artisan questionnaire &

analysis 110

6.MARKET STUDY: 121

1. Govt. Initiatives 122

2. Communities around the Cluster 125

3. Online v/s Offline Market 130

4. Consumer Analaysis 132

5.SWOT Analys 134

6.Revival of the craft 136

a. Design Intervention

b. Workshop Layout Design

c. Marketing Intervention

7. Recent Interpretation of Aari 140

7. The Team 141

8. Glossary 142

9. Bibliography 144

10. Annexure 145

AARI EMBROIDERY

INTRODUCTION

1. THE OBJECTIVE

This Craft Research Documentation undertaken by the students of NIFT Chennai from 1st June 2023 - 19th June 2023, is

an initiative of the National Institute of Fashion Technology under the Ministry of Textiles, India.

The aim is to document the craft of Aari embroidery in Mahabalipuram, Tamil Nadu; to gather information regarding the

Cluster, understand its relevance and significance; understand the evolution of the craft and the reasons for the same, and

provide the information regarding the craft cluster to various stakeholders.

2. NIFT

The National Institute of Fashion Technology was established in 1986

by the Ministry of Textiles of the Government of

India. The Institute was declared statutory in 2006 and

has held the power to award degrees ever since. NIFT has 18 campuses

across India with the New Delhi campus being its first establishment.

NIFT Chennai came into existence in 1995 and ranks 4th in the list

of India’s leading design colleges according to India

Today 2022. The centre presently offers seven UG and two PG programmes.

In its sublime odyssey spanning across almost three decades, NIFT

Chennai has fostered many young minds into brilliance in the

field of Fashion Design, Technology, and Management.

3. LEATHER DESIGN DEPARTMENT

The Leather Design Department of NIFT Chennai was formed in 2010.

The department provides an understanding of leather, its uses,

its purpose, and its alternatives. Students are taught the design

and construction of leather products, footwear,

and garments, as well as leather

and non-leather studies and processes.

Fig.1 Illustration of aari embroidery

4. CRAFT CLUSTER INITIATIVE

With the support of the Ministry of Textiles, India, The office of Development Commissioner (Handlooms) and The Office of Development

Commissioner (Handicrafts), NIFT has formulated and implemented a “Craft Cluster Initiative” program that aims to provide exposure to the

students about the crafts of our country, while uplifting the clusters with modern design interventions.

India is a country that boasts far and wide about the rich culture and craftsmanship that prevail here. Through the craft cluster initiative, students

learn to sensitize with the craftsmen and craftswomen, by working closely with them for a diagnostic study, design intervention and prototype

development.

5. INTRODUCTION TO HANDICRAFTS

India has always been a culturally rich country with a widespread appreciation of her heritage and values. The country has birthed many

handicrafts that portray both history and mythology. The workmanship, talent, and creativity of Indian craftspeople are genuinely unparalleled.

Indian Handicrafts are also known for their use of traditional methods and local resources. These handicrafts reflect India’s cultural aesthetic and

are a symbol of skill excellence.

Indian handicrafts span thousands of products, such as clothing, ceramics, jewelry, leather goods, carvings in stone, paintings to name a few.

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6.A.Embroidery

6.B.Embroidery across the Globe

Ancient Chinese Silk Embroidery or Suzhou

embroidery is known for its intricate detailing, bright

colours, and traditional motifs. It is a very

elegant and culturally significant craft

Embroidery is threadwork done on a material to improve its appearance.

It is a type of surface technique that uses a needle and thread to decorate mainly

fabrics, although it can be carried out on other materials as well. There are many

styles of embroidery spread across the world; India herself has a lot of variety in

terms of embroidery, varying from state to state and region to region.

Beads, sequins, wires, mirrors, etc are often used along with thread to carry out the

technique. There are a few basic stitches that are commonly used globally, but every

nation has its interpretation and method of conducting it. eg. Running stitch, back

stitch, chain stitch, bullion stitch, stem stitch, lazy daisy, flying stitch, couching stitch,

blanket stitch, etc.

Fig.2 Brazilian Dimensional Embroidery

Native Brazilian Dimensional Embroidery or

Bordado Dimensional is a unique embroidery technique

that creates three-dimensional floral designs. Its usage of

ribbons, beads, and padding techniques helps it stand out.

Fig.4 Ancient Chinese Silk Embroidery

Embroidery can be traced back to Ancient China circa 30,000 BCE. Today, embroidery

is a fairly popular hobby and means of living for a lot of Artisans who are

struggling to keep the dying significance of handicrafts alive.

Russian Embroidery or Russkaya vyshivka is a traditional craft featuring

motifs inspired by nature and the usage of satin

and cross stitch. It uses vibrant colours of threads along with

occasional metallic ones.

Sashiko is a form of Japanese embroidery that involves stitching

geometric patterns on indigo dyed fabric using a running stitch technique

with a white thread, creating a contrast. It was traditionally

used for mending work but has evolved into a decorative art form.

Fig.5 Russian Embroidery

Fig.3 Sashiko- Japan Embroidery

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6.B.Embroidery in India

• Pulkari (Punjab)

• Shisha (Rajasthan)

• Gota Pati (Rajasthan)

• Crewl Embroidery on leather (Gujarat)

• Kantha Embroidery (West Bengal)

Fig 7 Phulkari Embroidery holds cultural significance among

Punjabi communitiesand is associated with various occasions,including

weddings and festivals. Silk and cotton threads in various

colours are used to make floral motifs.

• Banjara embroidery (Telangana)

• Toda embroidery (Tamil Nadu)

• Parsi embroidery (Maharashtra)

• Kheng embroidery (Mehalaya)

• Aari embroidery

Fig.6 Embroidery map of India

Fig 8 Gota patti or gota work is an embroidery form from Rajasthan.

It uses the applique technique. Small pieces of zari ribbon are

applied onto the fabric with the edges sewn down to create elaborate

patterns.

Fig 9 Shisha embroidery belongs to the Indian state of Rajasthan. This

type of embroidery prominently uses small mirrors and colourful beads and is

very popular for use on clothing, hangings, tapestries, and domestic textiles.

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6.D. ORIGIN OF AARI IN INDIA

Fig 10 Kantha is a type of embroidery craft from the eastern regions

of India, particularly, West Bengal, Tripura and Odisha. It is

known for its patchwork technique

Aari is a form of hook embroidery. Hook Embroidery itself can be dated

back to as early as the 7th Century CE in Persia and Central Asia.

In the 16th Century, Aari made its way to the Indian State of Gujarat

along with the Mughal invaders in the form of fabric embroidery as well as

applique work on leather known as “Mochi Bharat”.

Akbar has been said to have been a great patron of this craft according

to Abu-al-Fazl ibn Mubarak’s Ain-i-Akbari and his court saw great use of

Aari in the form of royal garments and tapestries. ( An Overview of Hook

Embroidery- Maya Heath).

Another origin story suggests the Eighth Sultan of Kashmir, Zain-Ul-Abidin

brought shawl and carpet weavers to Kashmir who then introduced and

popularized ‘Zalakdozi’ (the Kashmiri term for Aari). The floral motifs

used in Aari have been said to have derived from the flowers growing in

the valleys of Kashmir. (The Embroidery Artisans of the Kashmir Valley-

Deborah Emmett).

Although Aari was traditionally practiced in villages amongst the Muslim

communities in India, hubs of this embroidery can be found across India

with styles differing from region to region. As there are no centres or schools

teaching this craft, the skill is passed from generation to generation thus

bringing change in designs.

Fig 11 Toda Embroidery (local name: pukhoor) is a long living craft practised by

pastoral tribes of Nilgiris, Ooty. Their needle work has fine finish,resembling woven

fabric.

The Toda Women use red and black threadover white fabric to make unique shawls (local

Fig 12 Aari Embroidery work involves a hook, plied from the top but fed by

silk thread from below withthe material spread out on a frame.

This movement creates loops, and repeats of these lead to a line of chain

stitches.

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6.E. TYPES OF AARI EMBROIDERY IN INDIA

Fig.14 Hyderabadi Aari Embroidery reflects

both Indian and Persian influences and uses motifs

symbolic of the Mughal period.

Fig.16 Lucknowi Chikankari is a form of hook embroidery

that is very similar to Aari and has similar origins too. It is

known for its detailed floral and paisley patterns in kurtis,

sarees, dupattas, etc..

Fig.13 Kashmiri Aari Embroidery is a very

famous form of Aari from the valleys of

Kashmir. It uses motifs inspired by the nature

surrounding the valleys such as the leaves of

the chinar tree and the flowers grown there.

Fig.15 Gujarati Aari Embroidery is practiced predominantly

in the Kutch region of Gujarat. It uses bold and

colorful designs and occasionally features mirror work.

It is done on leather by the ‘Mochi’ community and on

fabric for garments like ‘Chaniya Choli’

Fig.17 Rajasthani Aari Embroidery exhibits the rich heritage

and culture prevalent in the region. Art and architecture present

in the state are the main sources of inspiration for motifs which

include peacocks, camels, elephants, etc. One can find this type

of Aari work on home decor, accessories, and garments.

.

Fig.18 Punjab Aari Embroidery is unique in its

own right and features flamboyant designs. It is

mainly used to decorate traditional garments.

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Major types of embroideries practised in Tamil nadu are:

1. Toda Embroidery

2. Aari embroidery

Fig.19 Toda women wearing their traditional embroidery

6.E. AARI EMBROIDERY IN TAMIL NADU

The aari embroidery from Tamil Nadu is highly regarded

in international markets like Nigeria. The women of

Nigeria wear ceremonial dresses with beaded

embroideries.

In the Sri Perumbudur district of Tamil Nadu, Aari

embroidery is done by artisan families. The tribal women

from villages in and around Sri Perumbudur do aari

embroidery on products like sarees and handkerchiefs.

The fabric is worked upon with a long needle, threads,

tikkis and beads.

Apart from this, the ‘jaali’ or net embroidery work is

commonly practiced on bridal blouses.

Fig.20 Map of Nilgiris, Tamil Nadu

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THE PLACE

1.A. MAHABALIPURAM- ABOUT THE CITY

1.B. MAHABALIPURAM- GEOGRAPHIC FACTS

Mahabalipuram is one of the most historical cities in India

with many architectural marvels that highlight the stories

from ancient India. The name ‘Mahabalipuram’ has been

said to have derived from the 7th century Pallava King,

Narasimhavarman I who was nicknamed “Mamalla” which

literally translates to “Great Wrestler”. “Puram” translates

to ‘city’ in Tamil and thus the name. In the ancient times,

Mahabalipuram was known as Thirukadalmallai.

This city is also recognised as a UNESCO World Heritage Site.

• Mahabalipuram is known for its marvellous rock structures. Be it the

divine carvings on ‘Arjun’s Penance’ and ‘Descent of Ganga’, the once

lost monolith- The Shore Temple or the work of nature- Krishna’s

Butterball, Mahabalipuram contributes to the mythological and

architectural heritage of India through these magnificent constructions.

• The 2004 Indian Ocean Tsunami caused extensive damage to the

existing structures and the city itself but also unearthed the history

that had been buried underneath the sand for centuries. The granite

carvings, bronze statues and many other “man-made” structures that

were brought to the forefront, added to the charm of Mahabalipuram.

• Archaeologists believe that there still exist portions of Mahabalipuram

underwater that are yet to be uncovered.

• The city has maintained its cultural heritage while rebuilding itself as a

seaside vacation paradise and regularly hosts classical dance and theatre

festivals to promote the same.

Fig.22 Mamallapuram Area Map

Fig.21 Stupa of Sculptures, Mahabalipuram

1.C. CLIMATE IN MAHABALIPURAM

Mahabalipuram has a tropical wet and dry climate.

The Köppen-Geiger climate classification is Aw.The average annual

temperature is 28.4 °C. Temperatures are highest in May,

averaging around 32.6°C. The average temperature in January is 24.3°C,

the lowestof the year.The average temperature varies about 8.3 °C

throughout the year . Average annual rainfall is 1219 mm. Precipitation

is significantly less in winter than in summer. The change in precipitation

between the driest and wettest months is 309 mm.

• Dry seasons : January, February, March and April

• Hottest month : May, with an average of 301 hours of sunshine.

• Coldest month : January, with an average maximum temperature

of 27°C(81°F).

• Month with the most rainfall : November, with 334 mm (13.1

inches)

of precipitation.

• Driest month :March, with 4 mm of precipitation.

1.D. TOPOGRAPHY OF MAHABALIPURAM

1.Name: Mahabalipuram topographic map,elevation, terrain.

2.Location: Mahabalipuram,Tirukalukundram,Chengalpattu District,

3.Tamil Nadu, 603104, India(12.57960 80.1536512.65960 80.23365)

4.Average elevation: 3 m

5.Minimum elevation: -2 m

6.Maximum elevation: 20 m

7.The latitude is: 12.626927and

8.The longitude is: 80.1927109.

Fig.23 Climate data

Fig.24 Topography map of Mahabalipuram

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1.E. SOIL IN MAHABALIPURAM

Mahabalipuram comes under the Chengalpattu district.

Newly created Chengalpattu district is located on the North East

coast of Tamil Nadu.This area is predominantly covered by

red and alluvial soil.

FLORA

1.Yaanai Kodi- elephant creeper

• It is the only wine strong enough to hold an elephant, usually needs an

iron chain to damage it as the name suggests.

2.Dwarf palm

1.F. FLORA AND FAUNA OF MAHABALIPURAM

The native vegetation of Mahabalipuram comes under the category of Tropical dry evergreen

forest(TDEF).

This special kind of forest is found along a narrow strip of the coast of Tamil Nadu.

The original vegetation of Mahabalipuram has evolved to absorb moisture from coastal air in the dry

months as it rains only in a couple of months in this region.

The trees here never or rarely shed their leaves. The flora of Mahabalipuram includes creepers (and not

trees) of the Ficus family

• It is called citreechal in Tamil Nadu and is about 150years old (estimated

by professor Uday Kumar botany from presidency College Madras).

3.Korai

• A perennial shrub which grows up to 40 cm.

• It contains various medicinal properties.

4.Lice killer

• It is commonly called lice killer or dandruff killer.

• Its timber is well sculptable and is used to be made into combs with

fine teeth that is used to crush lice and its eggs in hair.

5.Screw pine

• Belongs to the pandanaceae family, it usually grows in low lying areas

of the sea.

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FAUNA

1.Mammals

•Domestic cattle such as cows,goats and bulls are reared.

•Dogs, cats, pigs and chickens

•Squirrels, Langurs, and other primates

2.Birds

•Such as egrets, herons, kingfishers, and migratory birds such as flamingo, pelican, sandpiper etc are commonly

seen.

3.Reptiles

•Snakes, lizards, turtles

4.Marine life

•Fishes like Indian mackerel, Indian oil sardine, Silver pomfret, Scad, Threadfin breams, Cat fish, crabs, and

other marine creatures are commonly seen as Mahabalipuram is along the coast of Bay of Bangal, a natural

territory of these creatures

The crocodile Bank located 14 km away from Mahabalipuram boasts species of Indian and African alligators

and crocodiles

Vedanthangal Bird Sanctuary, 53 km away from Mahabalipuram is one of the oldest water bird sanctuaries

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1.G. MAHABALIPURAM DEMOGRAPHY

1.Country- INDIA

2.State - Tamil Nadu

3.District - Chengalpattu

4.Area -8 sq. km

5.Population(2011 census)- 15,172

6.Current Population - 16500

7.Floating Population Per day - 10000/ week end50000

8.No of household - 4600

9.No of Commercial establishment - 744

10.Bulk waste generators - 15

11.No of wards - 15

12.No of Streets - 140

13.Area - 12.57 Sq.Km

14.Male Population - 8,036

15.Female Population - 7,136

16.Nearest airport & distance - Chennai

17.International Airport, 31.21 km

18.Nearest Railway Station & Distance -

19.Chengalpattu Junction, 29 km

20.Language - Tamil

Fig.29, 30 People of Nemmeli

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1.H. PLACES TO VISIT IN MAHABALIPURAM

Mahabalipuram has a huge number of activities. The most

popular activities in Mahabalipuram are:

• Shore Temple: a popular city landmark

• Beacon: for a sublime view

• Pancha Ratha: see the stone monuments

Fig.32 Pancha Ratha

• Krishna’s Butterball

• Arjuna’s Penance: A UNESCO World Heritage Site

• Indian Shell Museum: For Seashell Lovers

• Cave temples: for history buffs

• Crocodile Farm: Observe wild reptiles

• Surfing: for adventure lovers

Fig.33 Shore Temple, Mahabalipuram

Fig.31 Rock Cut Sculptures, Mahabalipuram

Fig.34 Light House, Mahabalipuram

Fig.35 Lion Sculpture, Mahabalipuram

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1.I. TRANSPORTATION

Mahabalipuram is well connected with various means of transport.

Roadways:

MTC (Metropolitan Transportation Corporation) and TNSTC (Tamil

Nadu State Transportation Corporation) (Villupuram Division)

operate bus services between Mahabalipuram and Chennai,

Chengalpattu, Kanchipuram, Thirtani, etc.

MTC`s bus services from Chennai range from normal fare busses to airconditioned

luxury buses. Mahabalipuram is 56km from Chennai and

takes approximately 1.5 hours to reach. The cheapest fare is rs. 20 per

head from Vandaloor Zoo. The nearest bus stand to National Institute

of Fashion Technology Chennai is Thiruvanmyur Bus Depot where

busses ply for every 10 mins to Mahabalipuram. The fare is rs.43 per

head

Railways

The closest station to Mahabalipuram is the Chengalpattu Junction.

Trains can also be taken to Chennai Egmore and then buses/cabs can be

used to reach the city.

Airways

As there are no direct flights to Mahabalipuram, Chennai Airport is the

closest. Taxis are easily available and can be hired from outside the

airport

Fig.36 MTC buses

1.I. CULTURE

Mahabalipuram is a temple town in Tamil Nadu . It is widely recognised amongst

domestic as well as foreign tourists for its Pallava architecture. The major religion

of Mahabalipuram is Hinduism, yet people following other religious faiths also live

happily and harmoniously in this cosmopolitan town.

MASI MAGAM FESTIVAL

Masi Magam or Masi Makam Festival one of the most celebrated religious festivals

of Mahabalipuram that takes place at the Thirukadalmallai Temple in the month of

Chithirai (March or April).

On the day of Masi Magam, Lord `Perumal` and his consort `Nilamangai Thaayar`

are carried to the Mahabalipuram beach in a grand yatra known as Oorvalam here.

The origin of this festival is tied to Lord Shiva.

Thousands of devotees crowd the Mahabalipuram beach to witness the Masi Magam

rituals and they immerse themselves in the holy water where the deities are bathed.

Special spectacles of the Masi Magam Festival are the Float Festival and the

Deepotsavam.

Once every twelve years, the Masi Magam Festival is celebrated as the Maha Magam

in a lot more exalted and pompous manner.

Fig.37 Bus ticket from Thiruvanmyur

to Mahabalipuram

Fig.38 Auto stand at Mahabalipuram

MAHABALIPURAM DANCE FESTIVAL

1.J FOOD CULTURE OF MAHABALIPURAM

Mahabalipuram Dance Festival, organized by the tourism department of the Tamil Nadu

government annually, is widely known as the ‘Open Air Dance Festival’. This is a reputed event on

the global platform that starts on 25th December and continues till the last week of January. It is

conducted on weekends and all public holidays during this span of time. Many renowned dancers

from all parts of the country gather at Mahabalipuram to participate in this prestigious event. The

stage of this festival is set up against the backdrop of the glorious monument of Mahabalipuram.

Eating out is a treat for tourists in the picturesque city of Mahabalipuram, with

plenty of restaurants serving mouth-watering delicacies. Restaurants in the city

offer a variety of dishes, from spicy and fried seafood to authentic South Indian

recipes. Seashore Restaurant is the perfect place to enjoy great seafood and spicy

tiger prawns. Moonrakers is also a popular spot for tourists who enjoy delicious

seafood. But if you’re a pure vegetarian, don’t worry. Mamallapuram Bhawan in

Mahabalipuram also offers the best vegetarian cuisine. Additionally, the Village

Restaurant offers a picture-perfect setting for dining and delectable cuisine

under coconut trees overlooking a tranquil lake.

PONGAL

Pongal is a four-day harvest festival celebrated in January. It begins on the last day of the

Tamil month Marghaji and continues until his next three days in Tamil Thai. The first day of

Pongal is ‘bogi’ when people clean their homes. The second day is celebrated as ‘Surya Pongal’

in honor of the Sun Lord, a delicacy called ‘Chakkara Pongal’ is made from rice and jaggery,

and houses are decorated with Kolam motifs.‘Matu Pongal’ is his third day when cows are

ritually bathed and decorated with flowers and beads. The fourth day of this festival,

‘KaanumPongal’, is a day to meet with relatives and friends. This day honors farm workers.

Fig.39 Preparing a South Indian cuisine

Fig.40 Preparing idlis for breakfast

1.K. MARKET OF MAHABALIPURAM

Ranging from majestic stone carvings to striking sea shell crafts, Mahabalipuram is an active market for tourists who get attracted to craftbased

products. Stone carving being the major craft in the land of the Pallavas, attracts tourists from all around the world.

The main market area in Mahabalipuram is centered around the Shore Temple, one of the most iconic landmarks in the town. Here, you will

find numerous shops and stalls selling a range of items, including beautiful hand-embroidered products, leather goods, seashell crafts, stone

carvings, sculptures, and jewelry.

Furthermore, several food stalls are offering delicious South Indian cuisine, such as dosas, idlis, and seafood cuisine.

Stone craft

Fig.43 Stone craft

Fig.44 Terracotta sculptures

Fig.41 Rise and Shine boutique

Fig.42 Dar Brothers boutique

Fig.45 hand-embroidered wall

Fig.46 Metal works

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2.AARI EMBROIDERY IN MAHABALIPURAM

The demand for aari embroidery in Mahabalipuram can be attributed to its cultural significance, the appeal of handcrafted souvenirs, the

craftsmanship and quality of the embroidery, the demand for bridal and festive wear, and the support for artisan empowerment.

Today, Tourism plays a significant role in the livelihood of craftspersons in Mahabalipuram. The town attracts a large number of tourists, both

domestic and international, who appreciate the exquisite craftsmanship and often purchase these handicrafted aari embroidery products as

souvenirs.

The aari embroidery artisan demography of Mahabalipuram comprises both local artisans and individuals who have migrated from villages in

and around Mahabalipuram and neighboring cities.

These artisans often come from families with a long lineage of craftsmanship, passing down their skills and knowledge from one generation to the

next.

THE CRAFT

Fig.47 Aari Embroidery in

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1.RAW MATERIALS

Fabric /துணி/thuni/

Cotton threads /நூல்/ nool

Zardosi /கோரா / kora

Chalk powder

Kerosene/மண்ணெண்ணெய்/

manneinnai

Zari /ஜரிகை /Jarigai

Silk thread/பட்டு நூல்/ pattu nool

Sequins /டிக்கி/tikki

Beads /மணி/mani

Fabric Glue

Fig.48-57 Raw Materials in Aari

Fig.48-57 Raw Materials in Aari

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FABRIC: (THUNI)

Artisans use a wide variety of fabrics depending on the requirements of the

customer. They differ from each other in price and quality-wise. Different fabrics

for aari embroidery include poplin, polusatin, silk cotton, pure cotton, pure silk,

silk tissue, Banaras silk, georgette, and netted fabric. On an average scale, most

artisans purchase 1 or 2 meters of fabric per blouse. Pure silk is the most preferred

among bridals since stitches will stay longer, bears more weight and gives a rich,

shiny textural look. All types of fabrics are sourced from Krishna Emporium, 23,

Godown Street, Sowcarpet, Chennai and is transported via Shree selva vinayaga

lorry service. Silk is used to give a premium look whereas other fabrics are used

based on preferences. Pure silk is the most difficult fabric to be worked on because

of its delicate nature whereas cotton is the easiest fabric to be worked on.

How is colour decided based on customer preference, Complementary colour

scheme is used, and Analogous Color schemes are not recommended. The colour of

the fabric fades if kept out. Mostly fabric is got from customers hence don’t buy in

bulk usually. If so, it is stored in plastic covers.

Order of ease to do aari work :

cotton > poplin > silk cotton > velvet > netted > jute > leather

WEAVES TYPES

1.Satin weave- weft yarns are floated over warp yarns, which results in a smooth and shiny surface.

2.Plain weave-each and every weft thread goes under and over the warp threads across the width of the

fabric.

The advantage of this weave is that it is quite strong and durable

3.Rib weave- A variation of the plain weave. Here, either weft yarn or warp yarn is woven raised because

it is a thicker yarn, i.e., the warp and weft yarns are of different weights. Usually, the weft yarn is thicker,

in which case there is an appearance of prominent ribs in the horizontal direction.

4.Twill Weave- one or more warp fibers alternately weave over and under two or more weft fibers

repeatedly

5.Poplin weave- is an unbalanced plain weave in which two weft threads and one warp thread of the same

color cross each other. i.e fine warp yarn and a thicker weft yarn is used.

6.Leno weave- warp yarns do not lie parallel to each other as in other weaves; the adjacent warp fibers

(two or more) are twisted around consecutive weft fibers (one or more)to form a spiral pair

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THREADS (NOOL)

Commonly used thread types include “pattu nool “or silk thread, cotton thread,

and zari.

The artisans recommended Amit brand silk thread since it has a higher tensile

strength compared

to other brands like GV and Kuil.

Only cotton sewing thread is used for beads and sequins. Zari isn’t flexible and silk

thread has less

tensile strength.

They are usually stored in plastic and wooden boxes.

Thread- Lotus Brand (Embroidery Silk Thread)

- 100%Viscose rayon, 150count

-23gms

Rs15/pc

- Close to 300 shades

Zari threads

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BEADS AND SEQUINS (MANI)

The common beads and sequins used by the artisans are- sugar beads, (Gold, Silver, Rose gold, Cut

bead, Tube beads, Gem bead, Big bead) purl beads ( kuthu mani), mirror

( kannadi kal), designer stone ( kal), etc.

There are mostly no differences in terms of colors.

The needle used for beads/sequins is different from that of the needle used for silk thread. It has a

more thin and narrow tip.

All the beads and sequins are stored in plastic covers and boxes to avoid fading of colors

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ZARDOSI OR SOFT METAL ( KORA)

Using kora or zardosi is similar to using beads.

Zardosi comes in various colors such as PURL, OFF-WHITE, GOLD,

DULL GOLD, SILVER, ANTIQUE, ETC.

PREPARING ZARDOSI BEFORE STITCHING

Before expansion: 17cm

After expansion: 22cm

Expansion: 5cm

zardosi lenght(soft wire):1.6cm

Now, The long strands are cut into small pieces.

Fig.64 Preparing zardosi before

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CHALK POWDER

2.TOOLS AND EQUIPMENTS

The artisans used “Vardhavep” tracing powder, mixed along with kerosene or water is

useful for tracing beautiful embroidery designs onto the fabric. In the mint street of

KEROSENE (MANNENNAI)

Fig.65-67 tracing powder

Kerosene, a flammable liquid, is stored in opaque plastic containers or metal drums is

sourced outside Parry’s. 10ml of kerosene is mixed with 5g of zinc powder in the ratio 1:2.

Fig.68-71 Tools and equipments

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AARI NEEDLE:

SHEARS:

Material of needle- iron or stainless steel, and raped by a thread for

nice and perfect griping

Length of the needle-11cm or 4.3”

Width of the needle- body: 2mm, tip:1mm

The angle of the hook of the Aari needle-1 degree

The angle of the hook of Aari beads needle-1 degree

Fig.72 Aari needles used by the

A fabric shears is commonly used by

the artisans for cutting the thread, zari

etc.

Shears:

Material of shears- Metal

Size of shears- 6.5” length

Type- Dressmaker’s shears

Cost- Rs.150

Source- Parry’s corner

Storage- In plastic boxes or plastic

covers

Life expectancy- Minimum 2years

Needle types-

1. Thread needle ( single thar- more curvy hook): 50 ₹

2. Thread needle ( double thar- less curvy hook): 50 ₹

3. Normal Embroidery needle (for French not)- 6₹

4. bead needle- 25 - 30 ₹

Angle while punching-90 degrees

Angle while taking out the needle-110 degrees.

Angle while taking out with beads-130 degrees.

Where to buy from- Mint Street, Parry’s, Chennai

The life expectancy of the needle- 2 years with regular use

Storage-Kept in a plastic box with wax to prevent rusting

Fig.73 Angle of needle

FRAME :

Frame(Circular ring)+ embroidery ring- 350₹

Dimension: 16 inches

Inner: 40cm

Outer: 41.5 cm

Aari bed or aai frame:

Sizes available:

1.4feet by 2- Rs.1600

2. 5 by 2 feet- Rs. 1400

Material of FRAME: TEAK WOOD

Where to buy from- Neelkant, Mint street, Parry’s,

Chennai. But, most artisans make the frame by

themselves

Fig.74 Shears

Fig.75 Aari bed

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BELL PINS (GUNDOOSI)

Gundu oosi is used during the pre-production process for tightly seccuring the fabric

over the wooden frame. It is also used during aari production process for pinning

the Applique fabric, hence preventing bubbles under the fabric

3.GLIMPSES OF AARI PROCESSES

1.Design Creation

2.Fabric Selection

3.Frame Mounting

4.Tracing the Design

5.Threading the Needle

6.Chain Stitch Embroidery

7.Filling and Embellishments

8.Finishing Touches

9.Quality Check

10.Final Product Creation

Fig.76 Zari threads

Fig.77 Chain stitch to further fix the fabric

Fig.78 Artisan making aari embrodery

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4. PRE-PRODUCTION

FIXING THE FABRIC ON TO THE FRAME

TRACING THE BLOUSE PATTERN

The blouse pattern is traced according to the

measurements of the customer. v

Fixing the fabric onto the Teak wood frame or ‘adda’ is a very crucial step. One

must sit upright and not lean on the frame as it may cause the fabric to lose

tension and tightness. Cord thread is used to tighten the fabric properly onto the

‘adda’.

First, bell pins are used to fix the actual fabric onto the waste fabric temporarily.

A series of chain stitches are done using cotton thread with a double thar needle.

Next, the frame is pulled apart and a measurement of the amount of fabric to be

used is taken. It usually takes two people to fix the stand and consumes about 30

minutes.

Fig.80 Transferring pattern onto the fabric

TRANSFERRING PATTERN ONTO THE FABRIC

Chappa process is the mixing of chalk powder (50g) and kerosene (100ml) in the ratio

1:2. Holes are poked on the tracing paper. The paste is applied over the tracing sheet.

Sometimes the artisan directly creates the designs on the fabric using white pencil for

quicker work.

Fig.79 Fixing the fabric to the frame

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5.PRODUCTION

6. TIME STUDY

In the next stage, the cloth is strongly pulled over a casing.

The frame comprises four wooden fences laying on wooden posts.

A chain stitch is done using Aari or hook as a tool.

The needle is pushed through the cloth and the thread is driven into the

hook from behind.

At the point when the needle is pulled up for the second time, it creates a

loop.

Whenever the needle goes through the loop, it forms another loop

through the last loop.

Approximately 4 minutes and 23 seconds are taken to set up the wooden frame and another 1 minute and 30 seconds are required to tie the

fabric to the frame. Rounding the frame takes close to 1 minute and 18 seconds.

An observation of three instances of loading 7 beads onto the needle was conducted with the first attempt resulting in 10.63 seconds, second

attempt in 11.31 seconds and the third attempt in 10.38 seconds. The average attempt to load 7 beads should therefore take approximately 10.84

seconds.

A similar observation of three instances of doing 7 bead stitches was conducted with the first attempt resulting in 31.91 seconds, the second

attempt in 31.27 seconds and the third attempt in 31.72 seconds. The average attempt to do 7 bead stitches should therefore take approximately

31.64 seconds.

Additionally, it takes 8.7 seconds to finish the stitch and 8.6 seconds to complete 10 chain stitches.

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7. POST- PRODUCTION

8. PACKAGING, TRANSPORTATION AND MARKETING

After the embroidery is done, the aari embroidered products go through a

process of quality check, with loose threads being trimmed and finished.

The embroidered parts are then tailored to suit the required product

category : garment, hip belts, bags etc., and other trims like tassels, hooks,

or buttons are added if needed.

The product is recommended to be stored separately in a clean cloth bag.

For the aftercare, do not machine wash the product, avoid strong

detergents that may disturb the quality of the embroidery?

The product can be wiped occasionally and ironed softly to maintain the

quality of the embroidery.

Currently, the products are packed in two different ways based on the level of intricacy of the embroidery. Products with very intricate and detailed

designs are packed in cloth ‘gunny’ bags while products with minimal intricacy and details are packed in plastic bags. However, Ms. Nasima wants

to improve the packaging and introduce packing bags with the “Rise and Shine” logo.

The raw materials and accessories are ordered on a requirement basis through “WhatsApp” and are transported from Parry’s Corner in Chennai

by ‘Selvavinayaga Lorry Service’ to Mahabalipuram.

Before starting the trust, Ms. Nasima conducted a thorough market survey wherein she researched both local markets and high-end brands and

compared how the level of presentation affected the price of a product sold in both places. Presently, marketing of Rise and Shine is done only

through Facebook and Instagram, however, Ms. Nasima aims to boost the reach through active social media campaigning and introducing product

catalogs.

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9. COSTING

1. Skill level of the artisan: The time and effort put into creating the embroidery design influence

the cost of the product. Highly skilled artisans may charge more for their work.

2. Time consumption: Intricate and detailed designs require more time and skill, leading to higher

pricing. Custom work involves tailoring the design to the client’s specifications, which can require

additional time and effort.

3. Materials: The quality of threads, beads, sequins, kundan stones, mirrors, and other

embellishments can add to the overall expense.

4. Other expenses: Artisans need to cover their costs like tailoring machines, rent, etc., and include a

profit margin to keep their business running.

Fig.81 Blouse 1- Rs. 1500 -Pendant design

occupies a larger space, hence the time taken

is less, leading to lower pricing

10. PRODUCT CATEGORY AND CATALOGUE

Aari embroidery products can be classified into 4 major categories.

1.Apparels

2.fashion accessories

3.home decors

4.desktop accessories

Apparels

•Aari embroidery is done on bridal blouses, sarees, suits, salwar kameez, dupattas, lehanga’s,

jackets

Fashion accessories

•Aari embroidery has been incorporated in various fashion accessories such as bangles, footwear,

chokers, hip belt, maggam jadda, handbags, clutches etc.

Home decors

•Aari embroidery is done on cushion covers, carpets, rugs, wall hangings, curtains etc.

Desktop accessories

•Aari embroidery is also done on desktop accessories like penstands

Fig.82 Blouse 2-Rs. 2300 - Bead filling is more

intricate than pendant, hence more time and skill,

leading to higher pricing

Fig.83 Blouse 3- Rs. 4500- Chain stitch filling

using Silk thread is more time consuming

than bead filling

Fig.84 Blouse 4-Rs. 5000-Filling by French

knot is more time consuming than chain

stitch filling

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1. HANDBAG

Type of stitches-Satin stitch, chain stitch.

Type of thread -Silk, embroidery thread.

Type of base fabric -Silk cloth

Lining -Cotton

Scrap or procured -Scrap.

Design used -Peacock.

Extra elements -Beads, Runner 9zip)

Life of product -6 months - 2 years

Maintenance -Soft washing

Customised or Mass production -Customised.

No. of pieces-1

Time taken -1 - 2 weeks

Price -Rs.500-600

Wages-Rs.300

Use of product- Stain-free products can be kept.

Dimensions of Handbag-35cm*27cm*11cm

handle: 67 cm

Fig.85 Handbag with peacock motif

2. HIP BELT

Type of stitches -Soft stitch, chain stitch.

Type of thread -Zari, cotton thread.

Type of base fabric -Polyester

Lining -Polyester

Scrap or procured-Scrap.

Design used-Abstract.

Extra elements -Beads, Lace, and Gold shiny cloth

Life of product -6 months - 1 year

Maintenance-soak in water and dry


No. of pieces-1

Time taken -1 - 2 weeks

Price -Rs.200-500

Wages -Rs.300

Use of product - Styling with traditional and western

garments

Dimensions of Hip belt- 75cm*6cm

Fig.86 Hipbelt with abstract aari design

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3. PEN STAND

4. TOTE BAG

Type of stitches -Chain stitch.

Type of thread -Silk thread.

Type of base fabric -Silk

Lining -Silk


Design used -Peacock feather.

Extra elements -Cardboard, Lace, Stones, thread tassel

and Glitter

Life of product -3 months - 6 months

Maintenance -Dusting


No. of pieces -5

Time taken -6-7 days

Price -Rs.200-300

Wages -Rs.200

Use of product - Pen, pencils, and paint brushes

Dimensions -12cm *12cm*12cm

Type of stitches -Satin, blanket, back, chain and

french knot


Type of base fabric -cotton

Lining -nil



Extra elements -Tikki, flower beads

Life of product -2-3 years

Maintenance -soak in water and dry


No. of pieces -5

Time taken -2 days

Price -Rs.300-400

Wages-Rs.180

Use of product - Stain-free products that are not very

heavy can be taken

Dimensions -14.5” *11.5”

handle: 40cm

Fig.87 Pen stand with peacock feather

Fig.88 Tote bag with floral motif

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5.DREAM CATCHER

6. CUSHION COVER

Type of stitches -Chain stitch, satin, stem stitch.

Type of thread-Silk, embroidery, woolen thread.

Type of base fabric -cotton

Lining -nil


Design used -Lotus.

Extra elements-Lace, beads and sequence

Life of product -2 years

Maintenance -Dusting

Customised or Mass production -Mass production.

No. of pieces-35

Time taken -2-3 days

Price -Rs.300-500

Wages -Rs.200

Use of product -Decoration

Type of stitches -Chain, stem, zig-zag stitch.


Type of base fabric-Poly cotton

Lining -nil



Extra elements -Sugar beads, Lace, Nakshi and Pearl

Life of product -6 months- 1 year

Maintenance -Dry wash


No. of pieces -1

Time taken -1-2 and half days

Price-Rs.250-350

Wages -Rs.200


Dimensions -12’ * 10’

motif:6’ * 4

Fig.88 Dream catcher with lotus motif

Fig.89 Cushion cover with peacock motif

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7. POUCH

8. LETTER HOLDER

Type of stitches -Chain, satin stitch.

Type of thread -Embroidery thread.

Type of base fabric -Satin

Lining -Poly cotton


Design used -Butterfly.

Extra elements -Zip, tassel, and sugar beads

Life of product -3 months - 6 months

Maintenance -Dusting, spot cleaning

Customised or Mass production-Mass production.

No. of pieces -30

Time taken -2hrs - 1 day

Price -Rs.250-350

Wages -Rs.200


Dimensions of Pouch-7.5’ * 9’ * 2’

Type of stitches 1Chain, satin stitch, and french knot.

Type of thread 1Silk, embroidery thread.

Type of base fabric 1Jute(product), Shining and cotton

cloth(motif)

Lining 1Poly cotton

Scrap or procured 1Scrap.

Design used 1Peacock.

Extra elements 1Sugar beads, Lace, flower beads, wheat

beads, and stone dollar.

Life of product 15 years

Maintenance 1Dusting and spot cleaning

Customised or Mass production1Customised.

No. of pieces 14

Time taken -1-3 weeks

Price -Rs.800-1000

Wages-Rs.200

Use of product - newspaper etc.

Dimensions of Letter holder- 31.5’’ * 8’’

handle: 10.5

Fig.90 Pouch with butterfly motif

Fig.91 Letter holder with peacock motif

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9. CELL PHONE POUCH

AARI MOTIFS

Type of stitches -Chain, satin stitch

Type of thread-Zari thread.


Lining -cotton


Design used -Flower.

Extra elements -Snap button.

Life of product -2 years

Maintenance -Spot cleaning

Customised or Mass production-Customised.

No. of pieces-1

Time taken -1-2 weeks

Price -Rs.250-400

Wages -Rs.200

Use of product- keep cell phone

Dimensions of Cell phone pouch- 6.5’’ * 3.5’’

flap: 3.75’’ x 2.75’’

Fig.92 Cell phone pouch with floral motif

1

Type of stitches -Chain stitch

Type of thread -Zari thread


Lining -cotton


Design -Abstract

Products that can be made: Pencil case, file , lattika purse

One stitch length -0.1 cm

Dimensions -10 ‘’ x 2 .75’’

2

Type of stitches -Chain stitch

Type of thread -Silk, Zari thread

Type of base fabric -Cotton

Lining -cotton


Design -Flower

Products that can be made: Mask

One stitch length -0.2 cm

Dimensions -4 1/8 “ 3 7/8

Fig.93 Motif 1

Fig.94 Motif 2

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3

5


Type of thread -Embroidery thread

Type of base fabric-Polyester

Lining -cotton


Design vFeather

Products that can be made: Lattika bag

Extra -Tubes, Aari and disco beads

Dimensions - 9 1/4” to 2.5”

4

Fig.95 Motif 3

Type of stitches -Chain, satin, French knot

Type of thread -Zari, embroidery thread


Lining -cotton


Design -Peacock

Products thatcan be made: Applic work on bucket bag

Extra -Sugar beads, beads

Dimensions -6’’ x 4’

6

Fig.97 Motif 5


Type of thread -Embroidery, Zari thread


Lining -cotton


Design -Flower

Products the can be made: Purse

Dimensions -6’’ x 6 1/2”

Type of stitches -Chain, satin stitch and twin thread

on which overlapped

Type of thread -Embroidery, zari thread silk thread


Lining -cotton


Design -Raw mango

Products the can be made: Handbag, purse, sling bag

Extra -Sugar beads

Dimensions-4 1/8 “ 3 7/8”

Fig.96 Motif 4

Fig.98 Motif 6

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Fig.99 Motif 7

Fig.100 Motif 8

7

Type of stitches-Chain stitch

Type of thread -Zari thread


Lining -cotton


Design -Flower

Products that can be made: Beach bag

Extra -Sugar beads

Dimensions - 8 1/2 ‘’ x 3”

8


Type of thread -Embroidery, Zari thread


Lining -cotton


Design -Flower

Products the can be made: Purse

Dimensions -6’’ x 6 1/2”

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VISUAL ASPECTS OF AARI

1.INSPIRATION FOR DESIGN DEVELOPMENT

2.MOTIF-DEVELOPMENT

The artisans made varied motifs and designs from their imagination and also according to the customer’s preference. The design ideas for

Aari motifs can come from various cultural, natural, and artistic influences. Here are some common Aari motifs we saw at the cluster:

1. Nature- Raw mango, feather, flowers, and leaves are commonly found in Aari embroidery designs. The intricate beauty of natural forms provides

endless possibilities for creative expression.

2. Abstract ideas

3. Cultural Celebrations, Festivals, and Weddings: Aari motifs may be inspired by the themes and symbols associated with cultural celebrations and

festivals, reflecting the joy and spirit of these occasions. The traditional pallak design, where the bride is depicted as if she is sitting in the palanquin,

gracefully carried by two persons on either side, is an example.

4. Geometric Patterns- squares, triangles, and circles, are often used in Aari motifs to create structured and repetitive patterns.

5. Personal Creativity and Imagination- Artisans often infuse their unique creativity and imagination into Aari motifs, creating original and one-of-a-kind

designs

6. Mughal and Persian Influences: Aari embroidery has historical connections to Persian and Mughal art. Some Aari motifs may be influenced by the

intricate designs and patterns seen in Persian rugs, miniatures, and Mughal architecture.

Fig.101 The cloth is tightened on to the frame.

Pattern is prepared on tracing paper and

transferred on to the fabric/ drawn directly

on to the fabric

7. Mythology and Symbolism: Aari motifs incorporate symbols and motifs inspired by mythology, religious beliefs, or cultural symbolism. For example,

“mankolam” or paisley, a stylized image of the mango is a symbol of auspiciousness, associated with Lord Ganesha.

8. Buta Designs: Paisley motifs, also known as “buta” or “mankolam,” are classic elements in Aari embroidery. They originated from Persian art and are

widely used in Indian embroidery styles.

9. Contemporary Art and Design: Aari embroidery can also be influenced by modern and contemporary art and design trends. The artisans at

Mahabalipuram mainly adapted and incorporated elements and motifs that are in trend.

10. Traditional Art and Architecture: Aari motifs often draw inspiration from traditional art and architectural elements from different regions. These

motifs may include patterns found in historical buildings, temples, palaces, or folk art.

Fig.102 The color palette is

chosen and

the required threads are

bought.

Fig.103 This is the thread needle and

bead needle used by Kavitha

akka

81

Fig.104 The thread is put into the needle

Fig.105 Chain stitch

or(sangili thaiyal) is

done along the traced outline

starting from the motif

bottom(leaf stem).

Fig.106 Final motif

BEADS AND SEQUINS USED:

bead 1-tube bead

(cylindrical)

bead 2-tube bead

(withtapering ends)

bead 3- sugar beads

bead 4-Green tikkis

bead 5-Pink tikkis

STITCHES USED:

chain stitch

nakshi

jumping bead

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3.VARIETY OF MOTIFS

Floral Aari Embroidery primarily uses intricate floral designs that appear realistic. Different types of flowers and leaves are showcased to

create a nature-inspired pattern.

Paisley Aari Embroidery also known as “mankolam” or mango design, is droplet-shaped or teardrop-shaped.

Geometric Aari Embroidery features straight lines, triangles, squares, etc to develop standout and technical patterns.

Figurative Aari Embroidery reflects designs with human figures, animals, birds, and other living beings. These designs add a storytelling

element to the fabric and can represent mythology and folklore.

Abstract Aari Embroidery does not feature specific objects or figures. Instead, shapes, lines, and patterns to form unique compositions.

Motif Aari Embroidery incorporates various culturally inspired motifs from different regions and traditions. These motifs are often used to

decorate garments or textiles for special occasions.

Contemporary Aari Embroidery involves modern and unique designs, sometimes blending traditionality with modernity. This style allows

artisans to experiment with colors, textures, and unconventional patterns.

Anna pakshi known as the “queen of motifs” is a combination of the body of the swan and the feathers of the peacock

Fig.107 Motif dimensions

MOTIF DIMENSIONS

Length=11.2cm or 4.4 inch

Width=4.4cm or 1.73 inch

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4. STITCH TYPES

1.Basic Chain Stitch Aari Embroidery is the fundamental form of Aari embroidery where the chain stitch is used to create simple and continuous lines or

outlines to form basic patterns or designs.

2.Double thar thread is folded twice and basic chain stitch is used to create motifs.

3.Sequins filling or Buti Aari Embroidery is used to densely fill a specific area of the fabric with sequins or small repetitive motifs or “butis.”

4.Khatta stitch (cross stich/herringbone stitch) is making zig-zag stitches over a single chain stitch.

5.Beads/Seuins filling uses chain stitch to secure the beads and sequins onto the fabric

6.Zardozi Aari Embroidery is a luxurious form of Aari embroidery that features metallic threads, such as gold and silver.

7.Raised or 3D Aari Embroidery is done by creating a raised or 3D effect by using padding material underneath the fabric. The chain stitch is then used

to secure the fabric to create a raised surface.

8.Appliqué work is combined with Aari embroidery by attaching pieces of fabric onto a base fabric and then embellishing them with the fundamental

chain stitch.

9.Mouding Stitch

Thread molding- 4 strands of cotton cord/twited yarn is taken and khatta stitch is done over it using cotton thread

Bead molding- First stitch using zardosi/sugar beads followed by a back stitch using only cotton thread and the process is repeated

thread molding

10.Mirror work : mirror is stuck to fabric using fabric glue, around which overlapping chain stitches are used to secure in place.

11.Naaka Tikki is used in bridal blouses. It is done using a sequin and a sugar bead.

12.Mat stitch, is alternative chain stitch(brick like) with a stitch length of 1 cm

Fig.108 Swatch library

13.Sequins upper is done with sequin beads using single ply silk thread

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MOULDING

1.soft molding

2. Bead molding

3.thread molding

SEQUINS UPPER

Single ply

Sequin beads

are used

Silk thread is

used

NAAKA TIKKI

-for bridal blouses

Materials:

One sequins

One sugar bead

SOFT MOULDING

Threads used:

1.Cotton cord/twited yarn - 4 strands

2. Cotton threads

Batwa- for placing the beads and taking them easily

Length taken : depending on the design

Stitch used: Kaatta stich(cross stich/herring bone

stitch)

BEAD MOULDING

THREAD MOULDING

MIRROR WORK

Flat load method

Double ply

Silk thread is used

mirror is stuck to fabric using

fabric glue, around which

overlapping chain stitches are

used to secure in place

MAT STITCH

Stitch length : 1 cm

Alternative stitch (brick

like)

Done on - the backside of

dolls

Material:

Cotton thread

Zardosi

Sugar beads

Stitch used:

Front and back Stitch

Front- with the beads

Back- only the thread

- Moulding chord is folded 5times

colors:Orange- skyblue- yellow

Pink- greenOrange- light pink

Finishing stitch in done with

contrast colors

-Katta- zigzag stitch is put over

the chord-length: 4mm

-Width:190mm

Materials

Brand name: Lotus

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5. COLOR COMBINATION

At the cluster the artisans cater to local customers who match their aari work with their sarees, hence these colours are significantly

seen in aari embroidery. Bridal blouses mostly come with a red combination. The color of fabric, threads, zari, and sequins for aari

embroidery is sourced according to the saree color. Commonly used color combinations by the aari artisans:

pink-green

red-dark blue

blue-yellow

black-white

gold-orange

While neutral colours take the lead amongst consumers in general as they are trendy, artisans don’t work with neutrals as their target

audience is mainly brides or people looking for festive wear. Pink and green as a colour combination is the second most popular amongst

consumers but for the artisans it is their most sellable combination.

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Red: The Colour of Tradition - In South Indian weddings and festivals, red Kanchipuram sarees are worn by the bride and symbolize

fertility and prosperity.

Green: The Colour of Nature - Green sarees are perfect for occasions like weddings, festivals, and pujas. They are also popular during the

monsoon season when nature is at its peak.

Gold: The Colour of Wealth -Gold is used in the form of zari threads, which are woven into the borders and designs of the saree. Gold

Kanchipuram sarees are often worn by brides and are a symbol of their wealth and status.

Blue: The Colour of Serenity - Blue sarees are admired by women who prefer understated elegance.

Pink: The Colour of Femininity - Pink is a feminine colour that represents love, affection, and romance. Pink sarees are in demand for

weddings and other festive occasions. They are also widely chosen by young girls and women who prefer a more youthful and playful look.

Yellow: The Colour of Joy - Yellow is a cheerful and happy colour that represents joy, happiness, and new beginnings.

White: The Colour of Purity - White is a pure and pristine colour that represents innocence, purity, and peace. White sarees are often worn

for formal occasions like weddings and receptions by women who prefer a more minimalist look.

7. DIFFERENCES BETWEEN AARI EMBROIDERY AND ZARDOSI

6.UNIQUENESS OF THE CRAFT

Aari embroidery can be differentiated from other embroideries visually with the use of vivid colors and golden zari embellishments. Aari

embroidery involves the use of a specialized hooked needle, called an “aar”. The needle is pointed at one end and has a hook at the other,

allowing the artisan to create intricate and fine designs on the fabric.

Aari is different in the sense that it uses a hook-like needle that is worked from beneath the fabric rather than from the top, unlike other

embroideries wherein the process occurs from the top. The repetition of loops in Aari creates a movement. A similar embroidery done with a

normal needle takes longer to complete than Aari with a hooked needle.

Since two hands work simultaneously, both sides of our brains are engaged while doing the craft.

Aari embroidery is done manually hence bringing out perfection and hand work adding richness to the product

“Any kind of design can be brought in using the aari technique”

-Ms. Nasima, Founder of Nandri Trust.

92 93

THE ARTISANS

1.CLUSTER PROFILE

The Aari embroidery cluster in Mahabalipuram was formed

under theguidance of Ms. Nasima .M. The cluster comprises

underprivileged women who were subject to abuse at home,

much similar to what Ms. Nasima went through. Having

identified a common passion for design and embroidery

among these women, Ms. Nasima was driven to create a

substantia livelihood for them. That’s when “Nandri” trust was

formed. “Nandri” translates to thank you in Tamil, and

Ms. Nasima says that the name was representative of the

gratitude she had for all the struggles and hurdles that made her

strong.Under Nandri trust, various women artisans, mostly

between the age range of 30-40 years old, are working as Aari

embroiderers and tailors.On february 14, 2013, the trust was registered

with the government.Now, the trust has expanded

as a boutique “Rise and Shine” where they sell handmade Aari

embroidered and tailored products, and a tailoring institute

“New Imaginations” where women are coached with

Aari embroidery and tailoring.

2.LAYOUT OF CLUSTER

-The Agni Siragugal shop is located on the main road.

-The entry leads to the shop’s display where all the artisans’ products are arranged category wise, from bags to keychains.

-The billing desk is located to the left of the display section.

-There are a few sewing machines behind the display section, opposite the billing desk.

-The workspace is located behind the billing desk where there are some more sewing machines alongside storage areas for Aari embroidery/sewing

materials.

-There is also an extended storage area behind the workspace. together to form mesh designs, often used as borders or decorative elements.

Zardozi Aari Embroidery is a luxurious form of Aari embroidery that features metallic threads, such as gold and silver, along with silk and cotton threads.

This style is commonly used to adorn garments and textiles for special occasions and adds a regal and opulent touch to the embroidery.

Beads and sequins are sometimes added to Aari embroidery, creating a more glamorous and textured effect. The chain stitch is used to secure the beads

and sequins onto the fabric, enhancing the overall design.

Raised or 3D Aari Embroidery is done by creating a raised or 3D effect by using padding material underneath the fabric. The chain stitch is then used to

secure the fabric to create a raised surface.

Appliqué work is combined with Aari embroidery by attaching pieces of fabric onto a base fabric and then embellishing them with the fundamental chain

stitch.

Mouding Stitch

soft molding

Bead molding

thread molding

Fig.109 Nasima ma’am

Fig.110 Aari embroidery detail on

Nasima ma’am’s blouse

96 97

3. GEOGRAPHY OF CLUSTER

4.ARTISAN PROFILE

Fig.111 Location: Agni Siragugal Trust Shop, Swetha Complex, N°6, E Raja St,Mahabalipuram, Tamil Nadu 603104

98 99

100 101

102 103

KAVITHA

Hailing from Poonjeri, a small village near Mahabalipuram, Kavitha Akka has beenpracticing the craft of Aari

embroidery for about two decades now. She is currently the only member of her family who is a part of this profession.

Having only a secondary school education herself, she wants her children to further their studies instead of learning

her craft.Apart from Aari, Akka is also skilled at crochet and wire basket craft. Despite earning nomore than ₹5000 a

month, Kavitha Akka only complains about the knee and back pain her job accompanies. She enjoys the intricacy of

the craft and loves coming up with new products to incorporate her designs in, so far, she has introduced pencil holders,

wall hangings and purses to the SHG she belongs to. Currently, she is looking to improve in areas such as design and

capacity. Even though she faces discouragement from her family, Kavitha Akka keeps the craft of Aari alive.

Fig.112 Kavitha akka

SARITHA

Saritha Akka travels a total of four bus stops every day, from Vadakadumpadu to Mahabalipuram to reach the

cluster. She is also involved in basket weaving and theGovernment’s 100 days’ work scheme. While currently

she is only one of the two members of her family practising Aari, she plans to teach her kids and make them a

part of this richheritage too. She chooses to work on designs that are influenced by both the market and the

customer. She would like to improve on her skills and marketing more than anything else.

Hip and back pain and lack of proper knowledge are Saritha Akka’s only sources of problems.

Fig.113 Saritha akka

Fig.114 Magheshwari akka

MAGHESHWARI

The quaint village of Kokilamedu in Mahabalipuram is Magheshwari Akka’s home. Currently in her early 30’s,

Magheshwari Akka has been practicing Aari since she was a young girl, thus collecting over 25 years of experience.

Presently, both she and her husband are involved in the craft but have no plans of passing it on to their children. Apart

from traditional crafts, she also runs a small grocery store to increase the monthly income. While she is now practicing

Aari in Mahabalipuram, earlier it was based in Sri Perambathur. In the last two years, Magheshwari Akka has

purchased cattle, electronics, and a two-wheeler to name a few. She likes to come up with her own designs derived from

traditional patterns and customer preferences and has also come up with new products such as chudi, sarees, frocks

etc. Due to better pricing, creative liabilities, and market demands, Akka has started working with newer raw materials.

Right now, poor marketing and eye strain are the only difficulties she faces.

Fig.116 Sudha akka

SUDHA

Sudha Akka is a Master Craftswoman belonging to Devaneri in Mahabalipuram. She has amassed nearly 25 years of

experience and is one of the five members of her family involved in Aari. She is associated with multiple other crafts

such as costume designing, areaka plate, plastic upcycling etc. Prior to Mahabalipuram, she used to practice Aari

in Mylapore, Chennai. Recently, she has incorporated newer techniques such as gold printing and unusual colour

combinations due to market demands. She has also introduced new products such as hairbands, belts, bangles, and

kundan sets etc. and has seen an increase in profits as a result. She wants to improve on areas of marketing and design

innovation to increase her business. Customers not being understanding of the time and patience required for Aari and

constantly asking for price reductions is a problem she faces often

SORNAMALA

SANOLI

The one right next to the cluster is Sornamala Akka’s home. She is one of the two members in her family practicing

Aari, although, her experience is under 5 years. She is also skilled at tailoring which helps her stitch the blouses she

embroiders. She comes up with her own designs based on market demand and would like to work on and strengthen

them. Like other artisans, she too faces the challenges of joint pain and eye strain that the craft brings about.

From Mahabalipuram itself, Sanoli is a 20-year-old Artisan who is currently also pursuing her undergraduate

degree. She keeps up to date with the latest trends and her designs are majorly influenced by the western trends that

tourists bring to the town. In the last two years, she has also started working on newer products such as saree pallus

which prove to be more profitable than the older ones. Sanoli would like to work on strengthening her marketing,

production and packaging so that she is able to further her market reach.

Fig.115 Sornamala akka

Fig.117 Sornamala akka

A R T I S A N P R O F I L E

107

5.ARTISAN DEMOGRAPHY

The aari embroidery artisan demography of Mahabalipuram comprises both local artisans and

individuals who have migrated from villages in and around Mahabalipuram and neighboring

cities.These artisans often come from families with a long lineage of craftsmanship, passing down

theirskills and knowledge from one generation to the next. Though aari embroidery as a craft is arecent

evolution in Mahabalipuram, it is not uncommon to find master craftsmen who havededicated

their entire lives to perfecting their craft.

Number of artisans interviewed : 6

Age Structure: The cluter has a broad age range of 20-47 years

Marital Status: The artisan families often include marriedcouples with 2-3 children. Arranged marriages are commonpracticed.

Education: 50%of the atisans in the cluster have completed theirsecondary schooling, while 16.7%

had only primary schooling.33.3%of the artisans have an Undergradute degree.

Religion and Culture: The aari embroidery artisans belonged todifferent religions. Most of them were either Hindu or Muslim

Language spoken: Tamil is the commonly spoken language. Oneout of the six artisans was able to understand english.

6. SOCIO-ECONOMIC STATUS OF THE ARTISANS

The income levels of Aari embroidery artisans of Mahabalipuram vary depending on factors

such as their skill level, the complexity of the work they produce, and market demand for their

products. Some artisans earn through multiple sources of income, while others may face

fluctuations in earnings. The demand for Aari embroidery products is influenced by tourism

and cultural events in Mahabalipuram. Artisans experience seasonal variations in sales, with

peak demand during tourist seasons and festivals which is mainly in the months of January,

February, April, June, July, August, and November. Government schemes and initiatives have a

significant effect on the socio-economic status of Aari embroidery artisans in

Mahabalipuram.

108

Fig.118 Artisans producing aari embroidery

Fig.119 Artisans of Rise and Shine boutique

7. ARTISAN QUESTIONNAIRE & ANALYSIS

110

111

112

113

114

115

116

117

118

119

MARKET

STUDY

1.GOVERNMENT INITIATIVES

CHAIRWOMAN OF MAHABALIPURAM

“A lot of opportunities are emerging for aari embroidery. Presently there are lack of skilled artisans to teach aari embroidery.There is no of

companies in this region to provide employment for women. I believe ari embroidery, helps self-employed for women.”

-Mrs: valarmathi yashwanthrao (Chairwoma n)

INTERVIEW WITH VILLAGE OFFICER

Name: Vadivel

The Role of Village Administrative Offi cer:

- give scholarship and loans to the cluster

-verifies the artisan ID details and sign them

- informs the scheme that comes under state and

central government

Fig.122 Interaction with the village officer

Fig.120 Chairwoman of Mahabalipuram

Fig.121 Interaction with the Chairwoman

INTERVIEW WITH TOURIST OFFICER

2.COMMUNITIES AROUND THE CLUSTER

Name: -T.Sakthivel

-No.of years in service: 15 years

-Which country people visit here the most: France, Italy

Because Pondicherry (French colony) is just 95kms away from mahabalipuram

-Tourism rate: From the last 2 years statistics, it is inferred that the tourism rate has almost doubled

after covid

- Important festival: Dance festival- for one month( December - February)

- Food: sea food- because- fresh fish is easily available

Tea, Coffee, Sambar, and other Vegetarian food items is preferred by the tourists.

-Resorts: Mamalla resort. Most preferred for Vegetarian food.

Do they have foreign alliance: No

Steps taken to grow tourism:

1. Government schemes like Swadesh Darshan promote cultural and heritage value of

Mahabalipuram.

2.Creating awareness among the local communities about the importance of tourism

3.Enhancing the tourist attractiveness in a sustainable manner by banning plastics and creating a

plastic-free mamallapuram.

4.Conducting workshops that teach the handicrafts like embroidery, basket weaving and stone carving

techniques for the tourists.

5.Tourists who come here stay max for 1 month and attend the Indian Dance Festival that happens

during December.

Fig.123 Interaction with the tourist officer

KANIMAR - MR. CURTIS JOHN DAGLER

If philanthropy could take a name, face and form, it would be

Mr. Curtis John Dagler. For the past two decades, he has

worked passionately towards improving the lives of the

Irulars, a scheduled tribal community settled near the districts

of Chengalpattu and Thiruvallur in Tamil Nadu, India, by

utilising their talents in the crafts of Aari and hand needle

embroidery.

“I want to create a sustainable economic

livelihood for the Irulars”

, is something he reiterates multiple

times. Mr. John’s efforts towards uplifting the community of

Irulars has proven to be prolific over the years, and it doesn’t

seem to stop.

-Products they buy the most: ‘paasi mani’- because it is cheap to buy

Fig.124 Mr. John Dangler

124

125

EARLY LIFE

WORKING WITH AND FOR THE IRULARS

As a 74-year-old hailing from the United States of America,

Mr. John has been calling India his home for the past 20 years.

He started his career with an undergraduate degree in

Anthropology from the US, and learnt Tamil as a fellowship

course. He also worked as a pension officer in the US Central

Government, following which he came to India in 2003. When

he discovered about the Irular community and the struggles

that they go through as a scheduled tribe in India, he began his

journey towards their progress in 2005. As a person with a

sense of art and design, Mr. John decided to introduce the craft

of embroidery to the tribals to create a sense of livelihood.

Throughout the years he has developed this into a substantial

vertical for the Irular women to earn from with their

embroidery creations. Currently working as a scuba diving

instructor in Auroville, he is continuing his work with the

community with the same grit he had in 2005.

The Irular tribal community are settled primarily in Tamil Nadu, near the districts of

Chengalpattu and Thiruvallur.

This community was subject to generations of injustice as a low level, marginalised

group, trapped without work. Most of them had lost their rights to land, and identity. In

an attempt to retrieve them from the issues they face, Mr. John began giving them

embroidery designs to work on – most of which were done by women. He paid them for

each design that they made on different types of fabric, which was then converted into a

product.

“Kanimar” is the name with which he identifies this developmental activity – the name

was derived from the deity of the Irulars,

“Irukaniamman”

.

The designs that the women embroidered were mostly inspired by Sacred geometry,

mandala, kolams and other geometrical elements from the South Asian culture.

The embroidery was done at a time which was flexible for the women, and this was

identified as “cottage work”

.

Mr. John sources the materials like silk and polycotton thread, glass beads, needles

and fabric, and supplies it to the workers directly.

Fig.126,127 Mr. John’s works with the Irular community

Fig.125 Mr. John Dangler’s early life

126

MORE ABOUT THE CRAFT

AARI ARTISANS IN CHENNAI

The women majorly create just the embroidered swatches,

which is then fabricated into wall art, zipper bags, pouches,

tote bags, cushion covers, and necklines for churidhars.

The embroidery exceeds the pattern of the products in

quality, although the best of materials is used. From YKK

zippers to glass beads, the materials are sourced from

various places.

Mr. John purchases all the glass beads and “Anchor”

polycotton threads from Mint Street, a wholesale

marketplace in Parrys, Chennai. The fabrics range from

poplin, cashmere, to fine silk. When interacting with the

Irular women, the gratitude is seen through their words.

“The livelihood that John sir has created for us around the

craft of embroidery, clubbed with our favourite “kolams”

and “mandala”, is the sole reason why we are happy and

stable,” says Ms. Sumathi, a 28-year-old Irular woman

who works under Kanimar.

Fig.128 Raw material storage at Mr.John’s

Frame details:

18 inch embroidery frame for designs on a smaller surface area

Huge metal frame that is made by the artist for larger designs (fabric is clipped to the frame and stretched)

Design details

Basic chain stitch using silk thread at the ends of the border for ease in tailoring.

Beads used depending on requested design according to customer

Basic “Buttas” are a common design motif with 3 beads.

Stitches like french knot, long french knot, Ring knot, bullion knot and lazy daisy are adapted into aari work with a foreign influence.

Storage of materials

Doesn’t store materials in bulk.

Buys when required.

Stores needles, beads and threads in separate boxes.

Price and scope of customers

Charges Rs 1200 - starting price of aari work on blouses.

Rs 4500 per month for aari work classes.

Is active on social media platforms like instagram with around 20k followers

Gets orders through instagram

128

129

3.ONLINE VS OFFLINE MARKET

CUSTOMERS

Both online and offline markets for Aari embroidery have their merits. The Aari cluster in Mahabalipuram has a

hybrid approach to reach its customers. Presently, marketing of Rise and Shine is done only through Facebook and

Instagram, however, Ms. Nasima aims to boost the reach through active social media campaigning and introducing

product catalogs. She says “Online marketing can provide insights from a wider audience and allows expanding

our customer base beyond the local area, while offline marketing enables direct interactions with local artisans and

customers.

Brands from all over India such as Rahul Mishra, Papa Don’t Preach By Shubhika, Torani, Sue Mue, Bhumika

Sharma and Amit Arora have adapted the craft of Aari embroidery into their products/garments.

A decade back, Aari was there in Mahabalipuram, but many people were not ready to spend more money on such

products. Now it has become a passion to use Aari embroidered garments/products.

During festival seasons like Christmas and New Year, the artisans produce small products like pencil cases, purses,

etc for common people and bigger products like yoga mats, and handbags for elite people. The French and German

tourists visiting Mahabalipuram are their major foreign customers

130 131

4.CONSUMER ANALYSIS

4.CONSUMER ANALYSIS

LINK TO QUESTIONNAIRE

HTTPS://FORMS.GLE/TJGT3NGQ4MRJAEH19

We noticed some key factors that influence the mindset of today’s consumer while purchasing Aari embroidered

products:

73.7 % of the consumers were aware about aari embroidery, and 57.9% of them owned aari embroidered products.

Close to 40% of them were above the age of 30, followed by 26.3% lesser than 20 (students). This portrays the

existence of aari since a long time.

More than half of them (52.9%) own aari embroidered bridal products (blouses), and they preferred small sized motifs

and mirror work.

Although neutral colours take the forefront aligning with the trend of neutrals all around us, pink-green is another

colour combination that seems to be prevalent.

Consumers are willing to spend Rs. 1000 to Rs. 5000 on silk aari embroidered products, purchased from designer

boutiques.

132 133

5. SWOT ANALYSIS

STRENGTH

OPPORTUNITY

Aari embroidery works well with all seasons, hence it has an

increased demand across the globe.

Helps women find a livelihood for themselves while staying at

home to look after their kids.

It is a fairly easy-to-grasp skill and can be done on both large

and small-scale levels

It can be done on a large variety of products, thus it is not limited

to a single market or clientele.

Be it a small village, a town, or a big city, Aari embroidery is

appreciated by people of all backgrounds

s

o

Aari work designs on sarees are appreciated by women

of all age groups.

Aari embroidery has recently caught the eye of the

western market which has led to an increase in its sale

and popularity.

Many Indian and International luxury brands have

started to incorporate Aari work in their designs.

Social Media and growth of internet has led to an

increase in awareness of this craft and the products

linked to it

WEAKNESS

Aari work is considered the most time-consuming needle

and thread work

Mass production and Fast fashion is overpowering this

time-consuming, labour-intensive handmade craft

Aari work embroideries are not easy to maintain. Drycleaning such garments is recommended. Soft ironing and

gentle hand washing are also advised. It is advisable to not

wash fabrics with such embroidery in machines.

It requires long hours of sitting in the same position which

leads to a lot of health issues such as back pain, hip pain,

joints pain etc.

A lot of focus is needed for aari, thus causing eye strain.

w

T

THREAT

The commercialization of this traditional Indian craft is

causing a threat to many karigars (Indian craftsmen)

Advanced machines that take lesser time are becoming

popular

A lot of newcomers are learning the craft as a hobby rather

than livelihood, thus increasing supply in an already

oversaturated market.

Experienced artisans are not passing the craft along to

their children

134

135

6. REVIVAL OF THE CRAFT

6. A.DESIGN INTERVENTION

Technological advancement, invention of synthetic fibres and

the minimalist nature of the modern world, made embroidery as

a thing in the past.

Yet a handcraft technique like aari embroidery makes us feel

like the creators of something authentic and unique.

While most of the artisans at the cluster work on designs that are influenced by

market trends or customer decisions, there is a lot that can be explored in order

to draw in newer clientele. Currently, most of the customers are brides-to-be

who are looking for traditional embellishments on their bridalwear. With

suitable interventions, the horizons of the cluster can be broadened.

A motif book to keep records of all designs that the artisans have worked on

so that it is easier to refer to existing blueprints and also to ensure that

designs are not stolen or repeated.

Introduction of modern, minimalist, and subtle designs to cater to

customers other than brides so that job security is maintained even after the

wedding season is over.

Incorporation of products other than garments to increase market

visibility; products like wall-hangings, keychains, frames, invitations,

covers, table mats, etc.

136

137

6. B.WORKSHOP LAYOUT DESIGN

6. C.MARKETING INTERVENTION

The haphazardness of the cluster’s layout causes a major problem- a

lack of product visibility. While there are many products on display, only

a few are seen clearly. On many shelves, products belonging to multiple

categories are placed together, and on some shelves, the products are

kept so far inside that they are hardly visible to interested customers.

Apart from this, the raw materials are also stored unsystematically.

Key areas that can be worked on :

Most of the artisans don’t have a fixed business model. They work as per the

orders they receive and that is the source of their income. If there are no

orders, there is barely any income through Aari. With marketing intervention,

business can reach the artisans even during off-months.

1.Adequate lighting to ensure all products are seen.

2.Segregation of products based on category, use, pricing, etc

3.Space for luxury- forefront display of more time-consuming and

4.labor-intensive products.

5.Color coding and digital inventory for storage of raw materials.

Business cards for the artisans can be made and circulated

A social media presence through platforms such as Instagram, Facebook,

Youtube, etc can be created to aid the growth of business

Online storefronts on marketplaces like Amazon, Flipkart, TATA, Reliance,

Myntra, etc can be started

A website dedicated to the products the cluster manufactures can be created

Brochures and catalogues about the cluster and its products can be made

and given to the hotel chains to circulate amongst the tourists.

138

139

7.RECENT INTERPRETATION OF AARI

THE TEAM

European luxury brands have incorporated Indian handicrafts in their designs for decades

now, however, recognition was only awarded when Dior brought its Pre-Fall 2023 collection

highlighting hand-embroidered garments to the forefront.

The collection also happens to carry a fresh perspective toward Aari embroidery which can be

seen as a modern interpretation of the craft.

Apart from European fashion houses, several Indian brands also extensively feature Aari work.

While brands like Sabyasachi, Manish Malhotra, Ritu Kumar, etc use aari in a more traditional

sense, Up and coming brands like Papa Don’t Preach by Shubhika, The Fizzy Goblet, Rahul

Mishra, etc bring aari out of its conventional setting and put it in a modern light.

ANANYA

B VIJAYALAKSHMI

SREETHI

ADITI

NIHAARIKA

SHRIYA

Rahul Mishra Dior Pre-Fall Fizzy Goblet Sabyasachi Papa Don’t Preach

140

141

GLOSSARY

A

Aari/ஆரி- a type of embroidery which is done on a stretched fabric and stitching the design with a long needle which has a hook in

the end.

Anna pakshi/அண்ணா பக்ஷி- divine swan

C

Chumki/சம்கி- sequin

G

Gundoosi/குண்டூசி- Bell pins

Gum/கம்- Glue

J

Jarikai/ஜரிகை - zari, golden metal thread

K

Kora nakshi/கோரா நக்ஷி - Zardosi, long curled strips of shiny gold wire

Kattil/கட்டில்- Aari bed/ ada

Kannadi kal/கண்ணாடி கல் - mirror stones

Kathrikol/கத்தரிக்கோல்- scissors

M

Mani/மணி- Beads

Mannennai/மண்ணெண்ணெய்- Kerosene

Mankolam- The paisley, a stylized image of the mango, symbol of auspiciousness, associated with Lord Ganesha.

O

Oosi/ஊசி- Aari needle

P

Pattu nool/பட்டு நூல் - silk thread

Paruthi nool/பருத்தி நூல்- cotton thread

S

Sunnambu/சுண்ணாம்பு- Chalk powder

Sangili thaiyal/சங்கிலி தையல்- Chain stitch

T

Thuni/துணி- Fabric

Ṭikki/டிக்கி- sequins

Thekku maram/தேக்கு மரம்- Teak wood

Y

Yaanai Kodi- elephant creeper

142 143

BIBLIOGRAPHY

ANNEXURE

Ancient Chinese Silk Embroidery Source: https://www.bagsoflove.co.uk/blog/different-types-of-embroidery/

Brazilian Dimensional Embroidery Source: http://www.jdr-be.com/EK5703.htm

Russian Embroidery Source: https://blog.fabricsstore.com/2021/10/28/embroidery-from-around-the-world-an-introduction/

Sashiko- Japan Source: https://www.inspirationsstudios.com/the-history-of-sashiko/

Italian Lace Embroidery Source:https://blog.fabrics-store.com/2022/01/02/finery-and-lace-embroidery-in-europe/

Raw materials https://www.dsource.in/resource/aari-hand-work-andhra-pradesh/tools-and-raw-materials

Brand Analysis

The annexure consists of legal documents, geographic maps of

Mahabalipuram, and demographic survey data collected through our

primary data collection from the cluster artisans, Village Panchayat

office, and other Organisations present around our cluster.

All of the above are added under this section, to validate the

information provided in the main text

https://www.angadcreations.com/

https:/www.papadontpreach.com/

https://aashniandco.com/

https://aashniandco.com/

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NATIONAL INSTITUTE OF FASHION TECHNOLOGY,

CHENNAI

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