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WHAT TO REMEMBER WHILE BUYING FOOTWEAR

Gauri Goel

Good footwear should have the following qualities:

• The inner side of the shoe must be straight from the heel to the end of the big toe.
• The shoe must grip the heel firmly.
• The forepart must allow freedom of movement for the toes.
• The shoe must have a fastening across the instep to prevent the foot from slipping when walking.
• The shoe must have a low, wide-based heel; flat shoes are recommended.

People buying footwear for work should take the following advice:

• Do not expect that footwear which is too tight will stretch with wear.
• Have both feet measured when buying shoes. Feet normally differ in size.
• Buy shoes to fit the bigger foot.
• Buy shoes late in the afternoon when feet are likely to be swollen to their maximum size.
• Consider using shock-absorbing insoles where the job requires walking or standing on hard floors.

When selecting footwear, one should remember that tight socks or stockings can cramp the toes as much as poorly-fitted shoes. Wrinkled socks, or socks that are too large or too small, can cause blisters. White woollen or cotton socks may be recommended since coloured socks cause skin allergies in some people.

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TYPES OF FOOTWEAR

Dr. Gauri Goel

The men’s, women’s and children’s footwear are available in different styles and functionality. Footwear consist boots, shoes, sandles and swim fin. Demand for specialist fibres and fabrics are increasing rapidly. The footwear market may be divided into categories of:

·        Formal, casual footwear

·        Sports and recreation footwear

·        Safety footwear

When you classify footwear it's important to identify what type of footwear it is and any particular purpose it might have. Some of the more common types of footwear covered in are listed below:

Clogs - usually the uppers are made in one piece and are fixed to the soles by rivets. Sometimes clogs are made in a single piece and don't have - or need - a separate, applied outer sole, in which case they're classified according to the material they're made from and not covered in this chapter.

Espadrilles - these are also called beach shoes and have plaited fibre soles that are no thicker than 2.5cm. They don't have heels.

Flip-flops - these are also referred to as thongs. The thongs - or straps - are fixed by plugs that lock into holes in the sole.

Hiking or walking boots - note that these aren't classified as sports footwear.

Indian sandals - these have leather outer soles and leather uppers. The upper consists of straps that cross the instep and go around the big toe.

Moccasins (American Indian type) - these use a single piece of material - traditionally soft leather - to form both the sole and the upper (or part of the upper). This makes it difficult to identify where the outer sole finishes and the upper begins. 

Neoprene footwear - this is typically used in diving and water sports. If the neoprene upper is covered or laminated with textile on both sides, then it's classified as being made of textile. If the upper has no textile covering, or it's covered only on one side, then it's classified as being made of rubber.

Safety footwear - footwear in which the toe caps are made of metal.

Sandals - the front part of the upper (the vamp) consists either of straps or of material with one or more pieces cut out of it.

Shoes - this term covers footwear, including trainers, that aren't described elsewhere in this guide.

Slippers - these include mules as well as other indoor footwear such as ballet slippers and ballroom dancing shoes. If the outer sole is made of plastic or rubber (approximately 1cm thick) and then covered by a very thin, insubstantial layer of textile material, the slippers are classified as having "plastic/rubber" outer soles. In some cases, all or part of the plastic or rubber outer sole is covered with a thicker, more durable textile material which is dotted with polyvinyl chloride (PVC). This is to prevent the wearer from slipping. These slippers are classified according to the material that has the most contact with the ground. If the slipper has a plastic or rubber sole that's covered with a textile covering, the slipper can only be classified under heading code 6405 if the textile is proved to be durable. The durability of the textile can be proven by submitting the shoe for a martindale abrasion test and tested at 51,000 revolutions.

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Fashion History

Dr. Gauri Goel

Couture Beginnings

In France, tight corsets, and pharthingales were worn by royal courts. The first fashion designer who was not merely a dressmaker was Charles Frederick (1826–1895). Before the former draper set up his maison de couture (fashion house) in Paris, clothing design and creation was handled by largely anonymous seamstresses, and high fashion descended from styles worn at royal courts.

Early twentieth century

Throughout the early 20th century, practically all high fashion originated in Paris. At this time in fashion history the division between haute couture and ready-to-wear was not sharply defined.

Around the start of the 20th century fashion style magazines began to include photographs and became even more influential.

By the end of the 19th-century, the horizons of the fashion industry had generally broadened, partly due to the more stable and independent lifestyle many well-off women were beginning to adopt and the practical clothes they demanded. Toward the end of the decade the fashionable silhouette gradually became somewhat more straight and slim, partly due to high-waisted, shorter-skirted line of clothes.

1910s

During the early years of the 1910s the fashionable silhouette became much more lithe, fluid and soft than in the 20th century. Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 20th century. Changes in dress during World War I were dictated more by necessity than fashion. As more and more women were forced to work, they demanded clothes that were better suited to their new activities. By 1915 fashionable skirts had risen above the ankle and then later to mid-calf.

Between the wars

The period between the two World Wars, often considered to be the Golden Age of French fashion, was one of great change and reformation. Carriages were replaced by cars, princes and princesses lost their crowns, and haute couture found new clients in the ranks of film actresses, American heiresses, and the wives and daughters of wealthy industrialists.

1920s

Soon after the First World War, a radical change came about in fashion. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose to dress like boys.

1930s

Overall, 1930s clothing was somber and modest, reflecting the difficult social and economic situation of the decade. The waist was restored to its proper position, hemlines dropped, there was renewed appreciation of the bust, and backless evening gowns and soft, slim-fitting day dresses became popular.

Mid-twentieth century

The couturier Christian Dior created a tidal wave with his first collection in February 1947. The collection contained dresses with tiny waists, majestic busts, and full skirts swelling out beneath small bodices.

1950s

In the early 1950s, many couture houses used the interest in "foundation wear" to launch their own lines, soon after many lingerie manufacturers began to build their own brands. In 1957, Jane Russell wore the "Cantilever" bra. The invention of Lycra (originally called "Fibre K") in 1959 revolutionized the underwear industry and was quickly incorporated into every aspect of lingerie.

1960s

Until the 1960s, Paris was considered to be the center of fashion throughout the world. In the 1960s fashion became just as much a statement of personal freedom.

At the start of the decade skirts were knee-length, but steadily became shorter and shorter until the mini-skirt emerged in 1965. The basic shape and style of the time was simple, neat, clean cut, and young. Synthetic fabrics were very widely-used during the 1960s.

1970s

In the 1970s, Jeans became popular American fashion.  

Late twentieth century

During the late 20th century, fashions began to criss-cross international boundaries with rapidity. Popular Western styles were adopted all over the world. Synthetic materials such as Lycra, Spandex, and viscose became widely-used.

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Khadi: the fabric of our nation

       Dr. Gauri Goel and Mansi Rastogi

Vidya Institute of Fashion Technology, Meerut

Khadi refers to Indian handspun and hand-woven fabric. Khadi is also known by another name ‘Khaddar’. It is mainly manufactured in rural areas of India. The raw materials for khadi may be cotton, silk, raw silk or wool fibres, which are spun into threads on a spinning wheel “charkha”. The fabric is produced by the masses for the masses. Today, Khadi has gained worldwide appreciation as it is handmade, durable, long lasting and organic in nature.

In previous times khadi was considered as the fabric for the poor rural workers & farmers, also the type of khadi available was the “khadi cotton” which had very coarse texture and feel. However many finer varieties of khadi like khadi silk, khadi wool and khadi cotton are available now, which makes it a fashionable fabric. Wearing khadi is no more for the poor, many high profile personalities and economically sound people prefer to wear it. It is considered as one of the most beautiful Indian fabric. The khadi wearer gets a royal and distinguishable look due to its fall and style. It symbolizes luxury and uniqueness.

The movement of khadi manufacturing and wearing was a part of the Indian Independence struggle. Khadi was launched in 1920 as a political weapon in the Swadeshi movement of father of nation Mahatma Gandhiji. To discourage the Indians from wearing of foreign clothes, Gandhiji called upon the people to make their clothes by themselves.

Mahatma Gandhi propagated kahdi as not just a fabric, but a way of life. The great concept of khadi practice by Gandhi ji was to generate employment, income and, hence, self-reliance to the unemployed rural population of India. Gandhi’s vision was clear, according to them khadi spirit means illimitable patience, illimitable faith and fellow-feeling with every human being on earth. khadi denotes simplicity in every walk of life. Spinning yarn on the charkha, Gandhi believed inculcated discipline and dedication. It was meant to be a great social equalizer. Gandhi ji wrote; Swaraj (self-rule) without swadeshi (country made goods) is a lifeless corpse and if Swadeshi is the soul of Swaraj, khadi is the essence of swedeshi. Therefore khadi became not only a symbol of revolution and resistance but part of an Indian identity.

The weaving of khadi is preceded by the spinning of the thread on the charkha after which it goes to the bobbin winder, warper, sizer and finally the weaver. Spinning is mostly done by the girls and women in the villages, while weaving is dominated by men. Because of the work involved, the price of the khadi cloth when it reaches the shops is more than that of the mill or handloom cloth.

Khadi is a versatile fabric. This fabric has coarse texture and gets easily crumpled, therefore in order to keep it firm and stiff, starch is to be added. This fabric on washing is more enhanced thus the more you wash it, better the look. It is a very durable fabric and does not worn out easily for at least 4-5 years. During spinning of khadi the threads are interwoven in such a manner that it provides passage of air circulation in the fabric and makes it very soothing for summers. It has the capacity to absorb moisture therefore it easily soaks the sweat and keeps the wearer cool and dry. Apart from this unique property, it also provides warmth in winter season which is quite surprising factor. Khadi comes in many colors and is not harmful to the skin.

Khadi is sourced from different parts of India, depending upon its raw materials - While the silk variety is sourced from West Bengal, Bihar, Orissa and North Eastern states, the cotton variety comes from Andhra Pradesh, Uttar Pradesh, Bihar and West Bengal. Haryana, Himachal Pradesh and Jammu and Kashmir are known for the woolen variety.

It is widely accepted in fashion circles. Many types of apparel are manufactured from khadi cotton like saris, salwar suits, shirts, trousers, skirts, handkerchief etc. The most common outfit of made from khadi cotton is the ’Kurta’. Very attractive and designer apparel are made by doing handwork on them garments made from it. Khadi cotton comes in plain as well as in printed fabrics. In khadi silk, is quite an expensive fabric which provides a royal and rich look. The various types of apparels made from khadi silk are designer salwar kameez, kurta pajama, saris, dupattas, shirts, vest and jackets. Previously khadi was dyed in earthy color tones and was used to make traditional garments but now designers are experimenting by dyeing khadi with striking colors like lime-green, violet, baby pink, turquoise blue, etc. Stylish garments like miniskirts, halter neck tops, racer tops, tunics, etc are also made from khadi.

Leading fashion designers now include it in their collection by designing clothes with khadi material. There is huge demand of it in international market, especially in western countries. In 1989 the first high fashion khadi show was presented in Mumbai by the Khadi and Village Industries Commission (KVIC) where nearly 85 dazzling garments were created by Devika Bhojwani. Leading fashion designer Sabysachi’s khadi sarees having vibrant colours, intricate zardozi would cost the monthly budget of an upper middle-class family. In 1990 designer Ritu Kumar of Delhi presented her first Khadi collection at the Crafts Museum. Her Tree of Life show, an audio visual tableau spanning the history of textiles in India, showed the design lexicon of the country. Eight collections were presented of which khadi was a very significant one. Once again in 1997 Ritu Kumar presented the Tree of Life shown this time in London where the British were amazed with her khadi collections. Once the sign of freedom, Khadi today holds its own on the fashion scene… it is a part of every wardrobe when it comes to selecting fabric with a discerning eye, informs Ritu Kumar. Another person who has been working regularly with khadi is Kamal Wadkar, the well know promoter of traditional crafts. Her exhibitions in Mumbai for KVIC (Khadi Village Industries Commission) have netted nearly Rs.12.5 million. Kamal has presented nearly 4500 garments in 150 styles in different colours weaves and embellishment with prices ranging from Rs.460-750.

Khadi and village industries commission (KVIC) is the Indian government body which promotes the usage of khadi. This government body was created through an Act of Parliament in 1957 with the aim of providing employment through the production of saleable articles and building a strong rural community in India. The commission works towards supplying raw material and implements to producers, promoting research in production techniques, quality control of khadi products and promoting the sale and marketing of these products. This gave a boost to the khadi manufacturing sector of India, as a result many new outlets of khadi gramodyog opened all over the country. These shops sell stitched as well as unstitched khadi fabrics. Every year starting from the date- 3rd October to January 29th all khadi gramodyog bhavans provide discount to the public on various khadi products. Indian government conducts various exhibitions and trade fairs in India and abroad to promote this fabric.

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aticle on chikankari embroidery, lucknow
published in Dainik Jagran Daily Newspaper

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"GARAM   MAUSAM   KA   NAYA   FASHION"
"YE   NAWABI   ANDAAZ   HAI"

TEXTILE HANDICRAFTS:  SUSTAINABLE MEANS FOR LIVELIHOOD

 Gauri Goel

The Handicrafts Sector plays a significant & important role in the country’s economy. It provides employment to a vast segment of craft persons in rural & semi urban areas. Handicraft industry generates substantial foreign exchange for the country, while preserving its cultural heritage. Handicrafts have great potential, as they hold the key for sustaining not only the existing set of millions of artisans spread over length and breadth of the country, but also for the increasingly large number of new entrants in the crafts activity. India’s rich cultural diversity and heritage provides a unique and huge resource for developing craft products. Craft is one of the strategies adopted by individuals/ households to support themselves and build on their existing assets.

Handicrafts are the products which are produced either completely by hand or with the help of tools. Such products can be utilitarian, aesthetic, artistic, creative, culturally attached, decorative, functional, traditional, religiously and socially symbolic and significant. According to the Task Force on Handicrafts definition ‘Handicrafts are items made by hand, often with the use of simple tools, and are generally artistic and / or traditional in nature. They include objects of utility and objects of decoration’. (1989)

Importance of Textile Handicrafts:

The Cultural Importance: textile handicrafts play very important role in representing the culture and traditions of any country or region. Handicrafts are a substantial medium to preserve of rich traditional art, heritage and culture, traditional skills and talents which are associated with people’s lifestyle and history.

The Economic Importance: India is one of the important suppliers of textile handicrafts to the world market.  The Indian textile handicrafts industry is highly labour intensive and decentralized industry being spread all over the country in rural and urban areas.  Numerous artisans are engaged in crafts work on part-time basis.  The industry provides employment to a large number of women and people belonging to the weaker sections of the society. Textile handicrafts become a prominent medium for foreign earnings.

The handicrafts sector is a home-based industry which requires less expenditure, infrastructure or training to set up. It uses existing skills and locally available materials. Inputs required can easily be provided and these are more in terms of product adaptation than expensive investment in energy, machinery or technology.  Also, income generation through craft does not (and this is important in a rural society) disturb the cultural and social balance of either the home or the community (Dastkar,1995). Many agricultural and pastoral communities depend on their traditional craft skills as a secondary source of income in times of drought, lean harvests, floods or famine. Their skills in embroidery, weaving, basket-making are a natural means to social and financial independence.

The government is also very encouraging in this area and is protecting the small-scale industries by specifying certain products only reserved for them to produce. Handicraft industries create balance in the development in the regional industries. The variety of products like embroidered items, pottery, handmade carpets and rugs etc are very popular among the international community and this provides more opportunities to these industries. So it is important that these industries are more and more developed so that it is better for the people and also for the balance in the economy of the country.

Classification of Handicrafts

Handicrafts are unique expressions and represent a culture, tradition and heritage of a country. Handicrafts industry comprises diversified products portfolio and there is large variety available in market. Handicrafts products can be distinguished into Metal ware, Wood ware, Hand printed textiles, Embroidered and crocheted goods, Shawls, Carpets, Bamboo products, Zari goods, Imitation jewellery, Paintings, Earthenware, Jute products, Marble Sculpture, Bronze Sculpture, Leather Products and other miscellaneous handicrafts.

Clay work

Being one of the most basic materials found in every corner of the country, clay has been used for making earthen ware, figurines, bricks, tiles, beads etc. Terracotta objects are one of the earliest artifacts found during excavations of archaeological sites as early as the chalcolithic period and continue to exist in the present times.

Stone work

Another basic material that does not need much processing and technology is stone. Different types of stones from the most common ones to region specific ones to precious gems have been used in different ways from architectural construction, to sculptures, to making jewelry and so on. One would need to discuss different aspects of stone works that have existed through thousands of years.

Metal Crafts

Metal has a wide variety where technology plays an important role. A number of crafts communities have been sustaining on age old practices of making objects from metal which involves the knowledge of technology/ indigenous technology among artisans, from processing the metal, to casting, polishing and finishing the objects. Whether it is Moradabad in Uttar Pradesh or Kondagaon in Bastar or Cuttak in Orissa and so on, these are the pockets where the livelihood of families of hundreds of craftsmen is sustained through metal crafts.

Jewelry

Jewelry, whether made from precious stones, beads and metals or bell metal or terracotta, from most intricate and delicate forms to the bold and traditional motifs, Indian traditional jewelry is one most cherished items in the international market, among tourists, foreigners and Indians are the biggest buyers of jewelry in the world!

Painting

Painting is one of the first expressions which makes manifest different emotions and deeds of the earliest human settlements. Whether painted on walls, floor, roof, paper, palm leaf, wood, cloth or any other surface, paintings have a pictorial communication/ a visual language narrating traditional practices, folklores, folktales etc.

Paper and paper crafts

Handicraft traditions where different products are made from paper and papier mache have been prevalent from Jammu and Kashmir to Kerala for preparing various objects. The process of making these objects, vary from place to place.

Woodwork

Wooden articles in India range from the ornately carved to the absolutely simple. One can find toys, furniture, decorative articles, etc. bearing the art and individuality of the craftsman. India is known particularly for its lacquered wood articles. 

TEXTILE CRAFTS

Clothing and textile being one of the three basic needs of human beings, apart from food and shelter, finds place almost everywhere from the most common material of cotton to the expensive silk and wool. Most of the textile crafts are self sufficient systems where the process starts right from acquiring raw materials to making them worthy to be woven, dyeing, printing, painting, embroidery, etc. Some of these traditions are hundreds of years old. While textile exports are high, new experiments with jute, banana fibres etc. are also underway.

Natural Fibre weaving

Natural fibres such as grass, bamboo, cane, jute, leaves etc. have varied usages from making/ weaving baskets, mats, brooms, rooftops, clothing etc. which provided shelter and income to many communities in India. Many communities have a practice where women themselves weave household objects for their daily use whereas many industries survive on production of materials from jute. All north-eastern states have rich traditions of handicrafts manufactured from cane and bamboo.

Weaving is the oldest form of textile craft; it is something which is designed on cloth using colored threads. Spinning is an art of making thread and rope using raw fibers. Each and every region of India contributes in creating a myriad of textile tradition. The hilly region of the country produces a rich variety of woolen textiles. The pashmina and shahtoosh shawls of Kashmir, shawls and woolen garments of Himachal Pradesh and other north eastern states provides excellent examples of world famous woolen Indian textiles. These woven textile crafts serves as a great tool of income to the weaker communities of India. Carpet weaving and rug making are also very eminent in this direction.

Hand Printing and Dyeing

Hand printed textiles including block and screen printing, batik and kalamkari (hand painting by pen). Bandhani (tie and die) is method of pattern dyeing making beautiful articals which are loved all over the world. Products ranging from bed-covers to sheets, dress material to upholstery and tapestry.  These techniques are simple and people of villages can utilize their leftover time by making the commercialized printing products.

Embroidery

The famous embroidered articles of silk and cotton often embellished with threads, mirrors, shells, beads, and metallic pieces are also found in India.  Embroidery is also done on leather, wool, felt and velvet etc.  This segment of the industry accounts for strong employment. The barren and semi barren regions like Rajasthan and Gujarat usually prefers embroidered home furnishing. The state of Punjab is famous for its phulkari work. Lucknow, a city in Uttar Pradesh is famous for its chikankari work. Utilitarian textile products like bedspreads and sheets, pillows and cushions, linens and mats, curtains and napkins, carpets and rugs and many such other items are produced by all parts of the country.

Some other Textile Crafts

Lace making, Macramé and Rug Hooking are some other important textile crafts. Indian rugs, carpets and durries are very colourfull and beautiful in their designs.  Needle craft is the oldest form of craft which is turned on a piece of cloth or different forms of cloth,  Needle craft includes Appliqué, Crewel embroidery, Crochet, Cross-stitch, Knitting, Patchwork and Quilting. The ornate style of applique most commonly done bright colored fabrics from the Kutchh region of Gujarat is very popular in the country as well as in abroad. Apart from those mentioned, each and every region and state of India has its own distinct individual style in textile.

Constraints and Problems of Textile Handicraft Industry

The Handicraft sector has, however, suffered due to its being unorganized, with the additional constraints of lack of education, low capital, and poor exposure to new technologies, absence of market intelligence, and a poor institutional framework. Some problems of Indian textile handicraft industry are:

·         Today, consumer tastes changed rapidly on account of economic liberalization. They focus on quality and product diversification with increasing awareness. In such conditions traditional manufacturers face lack of guidance in product design and development.

·         Increasing challenge offered by availability of mass-produced competing product lines using different raw materials (often man-made) and mechanized production techniques.

·         Products are high priced in big and metro cities, which are beyond, reach of people belonging middle and lower middle class. Because there is lack of capital to invest in raw materials to a scarcity of raw materials and their availability at reasonable rates.                     

·         There is poor promotion for craft products in national market. There is lack of awareness about new traditions and among craftsmen and there is need of technological support and training.

·         Traditional rural marketing infrastructures are being edged out by multinational corporations, supported by sophisticated marketing and advertising. Absence of direct marketing outlets and difficulty of access to urban areas that are now the main markets for craft product.

Requirement for Sustainable Development by Handicraft Industries

Employment creation is considered as the main goal of most poor countries, and creation of employment through indigenous crafts tradition is believed to be a productive source of income (Harper, 2000) and can compliment other livelihood strategies. But with ever-increasing competition from mill-made products and decreasing buying power of village communities due to prevailing economic conditions, artisans have lost their traditional rural markets and their position within the community. Craft producers need more support than ever if they are to become viable and competitive (Dastkar, 1990).

Crafts have been an integral part of village life in India. But production for home consumption is radically different from production for a commercial market. Given changing and competitive markets, getting the product right is often the key to the success or failure of a craft project. The traditional craft skill, however beautiful, needs sensitive adaptation, proper quality control, correct sizing and accurate costing, if it is going to win and keep a place in the market. In other words the right combination of human, financial, physical and social capital is essential. Jaitly (2001) reinforces that neither training, nor design and product development, nor easier access to credit and cheaper raw material can on their own sustain the craftsperson unless marketing avenues with the least number of intermediaries are available simultaneously sustainable livelihood.

Sustainable poverty elimination will be achieved only if external support recognizes the socio-economic, cultural and ethnic diversity of communities focuses on what matters to people and works with them in a way that fits in with their current livelihood strategies, social environment and ability to adapt. Poor people must be closely involved in identifying and addressing livelihood priorities. Involvement of government and non government agencies is must. Reviving crafts can provide livelihood and they can become the key and catalyst to development's many other aspects: independence, education, health, community building, women's emancipation and the discarding of social prejudices.