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National Institute of Fashion Technology, Chennai 51

The process of removing any natural or added hydrophobic impurity from a natural fiber is called Scouring or de-gumming. Raw silk constitutes six major components: Fibroin (70-80%), Sericin (20-30%), Waxy matter (0.4 – 0.8%), Carbohydrates (1.2-1.65%), Inorganic matter (0.7%) and Pigment (0.2%) De-gumming is the first pre-treatment process and is mainly done to remove the Sericin, which is referred to as silk gum and is a protein which holds the silk filaments together. The property of Sericin which makes the process possible is the fact that it is insoluble in water and gets hydrolyzed into soluble degradation products. The process is critical for improved sheen, color, texture and handling of the silk. It also highly increases the absorption tendency of the fibers and is generally done for natural fibers. It is very important for light shade dyeing. In a few cases, the textile may be woven to completion and then de-gummed to prevent aberration on the loom. On an average, the process leads to a 25% decrease in the weight of silk in case of warp and about 28% in weft. The Scouring Process For Silk: STEP 1: The bath is first set with the substrate at room temperature. Following this, soap and other necessary auxiliaries are added. If necessary, trisodium phosphate or soda ash is added to maintain the desired pH. For 1kg of yarn, 40g of soda is required and the process is continued for 20 minutes. STEP 2: The temperature is raised to 95 degree celcius and the process runs for another two hours for optimum removal of sericin gum. STEP 3: The temperature is brought down to 70 degree Celsius and the bath is then dropped. STEP 4: The final step includes washing with cold and warm water successively. STEP5: Checking the quality of the yarns. 52 Thugil | Fashion Design Department, 2019

After the process of degumming the quality of the yarns are checked .This is done by stretching the yarns between two metal poles. 5200 yarns (elai) required to weave six sarees is divided into 52 sets (indha) of 100 yarns each by placing, jhoku small cotton threads. If there is any breakage in the yarns ,the yarns are joined together with ash . These yarns are sent for dyeing after this process. National Institute of Fashion Technology, Chennai 53

Dyeing 54 Thugil | Fashion Design Department, 2019

National Institute of Fashion Technology, Chennai 55

Dyeing is the application of dyes or pigments on textile materials such as fibers, yarns, and fabrics with the goal of achieving desired colour. Traditionally, nature has always been the source for obtaining dyes. Since the mid-19th century, due to advancements in technology, humans have produced artificial dyes. Benefits of artificial dyes over animal/plant dyes: 1) to achieve a broader range of colours 2) to render the dyes more stable to washing and general use Acrylic fibers are dyed with basic dyes, while nylon and protein fibers such as wool and silk are dyed with acid dyes, and polyester yarn is dyed with disperse dyes. Cotton is dyed with a range of dye types, including vat dyes, and modern synthetic reactive and direct dyes.Key controlling factors: time and temperature. (fig 1.1) Dyeing is normally done in a special solution containing dyes and particular chemical material. The dye powder (fig 1.2 and 1.3) required for dyeing is bought from Coimbatore, Kanchipuram, Tirupur and Bombay. The yarns required for dying are sourced from Dharmapuri, Hosur and Bangalore. Process: STEP 1: 90l cold water is boiled for 15 minutes at 90 degree Celsius. For dark colours, 60g of dye powder is added for every 1kg of yarns, whereas for light colours, 10g of dye powder is added. STEP 2: After the boiling point is reached, the yarns are added. STEP 3: In the last 5 minutes, 50ml of Acetic Acid is added to prevent bleeding. STEP 4: The dyed yarns are rinsed off in water and then put in a vessel for hydroextraction. This is done to remove excess water. STEP 5: The dyed yarns are hanked for drying and then hung under the sun. (fig 1.6) 56 Thugil | Fashion Design Department, 2019

Dyeing Of Saree In 2 Different Colours: • In certain sarees, the body and pallu are in separate colours to achieve this the yarns are dyed in a certain way. • In a set of warp yarns, the yarns of the body part and the pallu part are separated by tying rubber tubes between them. After this, the yarns are dyed separately in their respective colours . • This method of protecting the bleeding of colour from the body to the pallu by tying the yarns with rubber tubes is called mundu katradhu. In this process, the yarns which require light hue are dyed before the yarns which require darker hue. After the dyeing process, the yarns are dried and sent in the godown , where each set of yarns are tagged. The tag has the details of the weavers name, contact address etc.These yarns with tags are sent to the society where the weavers come and collect their respective yarns. fig 1.1 fig 1.2 fig 1.3 fig 1.4 fig 1.5 fig 1.6 National Institute of Fashion Technology, Chennai 57

Reeds and Shaft 58 Thugil | Fashion Design Department, 2019

National Institute of Fashion Technology, Chennai 59

The Reed The reed is a part of the weaving loom, and resembles a comb in structure. It has three main functions: • Separate and space the warp • to guide the shuttle's motion across the loom • To push the weft threads into place. Process STEP 1: The bamboo strips are first soaked in water for a day.(fig 2.1) These strips are cut and trimmed manually using a tool called the tuqni (in Bengali) or the vetrum (in Tamil).(fig 2.2) The size of the strips is measured with a wooden plank, which has measurements embedded on it. (fig 2.3) These strips, when cut into the same size are called Eenai.(fig 2.4) The Eenai is two faced, that is, one side is smoothened entirely which makes one face and the opposite raw side makes the other face. STEP 2: The Eenai is then tied onto a wooden frame with the help of a cotton thread in garland fashion in such a way that the smoothened side of the strip faces the front of the comb.( fig 2.5)The comb consists of 2400 sticks in total. Every one inch consists of 50 sticks which make up a set. In a set of eenai, the 50th stick is dyed for indication of the next set.(fig 2.6) STEP 3: The eenai which makes the middle of the comb is tied with thinner thread and the ones that are on the beginning and the ending are tied with coarser threads. This makes the comb dense at the beginning and the end which in turn forms the jamul (selvedge). STEP 4: After this attachment, the comb is smoothened out completely Using knife and sand paper These bamboo combs get worn out after every 60 sarees and they need to be made from the scratch. Since this is a time-consuming process, the longevity of the comb is increased by double the time by using brass strips instead of bamboo strips. 60 Thugil | Fashion Design Department, 2019

fig 2.1 fig 2.2 fig 2.3 fig 2.4 fig 2.5 fig 2.6 National Institute of Fashion Technology, Chennai 61

fig 2.5 fig 2.3 fig 3.2 fig 3.1 fig 3.4 fig 3.3 fig 3.6 fig 3.5 62 Thugil | Fashion Design Department, 2019

The Shaft A heddle is an integral part of a loom. Each thread in the warp passes through a heddle and consequently gets separated for the passage of the weft. The typical heddle is made of cord or wire, and is suspended on the shaft of a loom. Each heddle has an eye in the center where the warp is threaded through. As there is one heddle for each thread of the warp, they can be near a thousand heddles used for fine or wide warps. In weaving, the warp threads are moved up and down by the shaft.This is achieved because each thread of a warp goes through a heddle on a shaft. When the shaft is raised the heddles are two, and thus the warp threads threaded through the heddles are raised. The warp is threaded through heddles on different shafts in order to obtained different weave structure thus; heddles can be equally or unequally distributed on a shaft, depending on the pattern to be woven. Process Raw materials - Nylon threads - Thread hook (Villai needle) - Wooden plank ( Villai) The size of the villai is determined by the length of the reed – For example, - 1 3/4th “reed (in height) requires a 7” villai (in length) - 2” reed requires a 9” villai.The width of the villai is known as Patram. - 2 ½” reed requires a 12” villai. STEP 1: The wooden plank of the required size is taken and the needle is placed above the plank. STEP2: Now the thread is tied around the wooden plank along with the needle and they are knotted thrice in garland fashion. STEP 3: After the completion of tying onto the entire length of the villai, the villai is removed and prepared for the next length. These threads are inserted onto two wooden sticks which acts as the shaft. National Institute of Fashion Technology, Chennai 63

Sizing 64 Thugil | Fashion Design Department, 2019

National Institute of Fashion Technology, Chennai 65

Sizing: The Heart Of Weaving Sizing is the process of applying a protective adhesive coating over the warp yarn’s surface before weaving. This process is usually done at the crack of dawn to prevent yarn damage which may occur due to extra heat from the morning sun. The size ingredients change the physical properties of the cellulosic fibers which are used for making a weaver’s beam. Post sizing, the yarn tends to have a higher tensile strength, weight, elasticity and frictional resistance. These factors maintain good fabric quality by reducing hairiness, weakness and increasing the smoothness and absorbency of the yarn. Raw material: One entire set of yarns undergoes sizing at once. This quantity of yarns is used to weave six sarees. Procurement of raw material for this process is not much of a hassle since most of the materials are either readily available or prepared by the artisans themselves. The main materials required for sizing of one set of yarns are: Starch (Kanji) - Coconut Oil - Kerosene ( Mannenai) - Water 2 liter 10ml 50ml as required 66 Thugil | Fashion Design Department, 2019

Process: Step 1: 2 litre starch is filtered thoroughly to remove the impurities and then added to the required amount of water in a vessel to be diluted Step 2 : To the diluted starch, Coconut oil of 10ml is first added to provide lustre and 50ml Kerosene is further added to prevent pests from damaging the yarns. The kerosene also provides more tensile strength to the yarns. If required, further dilution is done at this stage. Step 3: The prepared starch is now transferred in two different vessels, one for the Pallu and one for the body of the saree. This step is important to avoid the staining or bleeding of the dark colour onto the light colour. Step 4: The yarns are soaked in both vessels one after the other, and rinsed continuously for about 5-10 minutes. The excess water is squeezed out and a cloth is taken to dab on the yarn to absorb the remaining water. Step 5: A pole is then erected on the ground where the yarns are hung and stretched. With the help of a stick these stretched yarns are first twisted clockwise and then in anticlockwise motion to remove the water. Then, in the twisted stage itself, they are dabbed with a cotton cloth to keep them damp but not wet. Step 6: 5,200 yarns from the set are now divided into 52 sets of 100 yarns. These yarns are stretched out to another pole to dry in this count- one end of the yarn is tied on to a rock and the other end is stretched onto a metal rod which is held by two poles in a horizontal position, where the count of 100 yarns for 52 sets is maintained. Step 7: The yarns are attached to a rolling pin and a newspaper is placed underneath them. Step 8: At this stage, the yarns are separated with the bendu sattam, a comb, by maintaining uniform pressure, so that the yarns don’t stick together to avoid tangling. Step 9: The yarns are now rolled onto the beam with the help of a rod which is inserted at one end of the beam. Every now and then the yarns are combed out till they are entirely rolled. Step 10: The beam is finally fitted onto the loom, ready for weaving. For zari neetal, the same process is carried out and it is called as thalapu kattal. National Institute of Fashion Technology, Chennai 67

fig 4.1 fig 4.2 fig 4.3 fig 4.4 fig 4.6 fig 4.5 68 Thugil | Fashion Design Department, 2019

fig 4.7 fig 4.8 Beaming: The yarn after warping is prepared into warp sheets by rolling the length of yarn to an iron rod. The process of transferring the warp sheets into the weaver’s beam is called beaming. It is a part of the loom setting activity, which is done before weaving. In this process the strands of yarn pass through the reeds and heddles. This is done by joining each silk strand to the old warp threads manually using Ash. It takes nearly 2 to 3 days to complete the joining process. Usually, women in the family perform this joining process. This process is called as paavu ponnaithal. Preparation Of The Weft: The silk skeins are put on two bamboo sticks called thapa kattai and wound on to thiruvattar. The rattinam winds the silk on to the thar kuchi from thiru vattom. The thar kuchi is held in the nada (shuttle), which goes in between the warps filling the yarn there by weaving the fabric.On the hand loom, the warps are raised and lowered by the panchala or the harnesses. There are four harnesses 2 to raise and other 2 to lower. The zari is wound in a small thiri. The interlacing of the weft when the warp is raised and lowered according to the design on the punch card finishes the sari in 15 to 20 days. A gummy material called gondh is applied to the zari to make it stiff. fig 4.9 fig 4.10 National Institute of Fashion Technology, Chennai 69

Designing 70 Thugil | Fashion Design Department, 2019

National Institute of Fashion Technology, Chennai 71

Designing Process Ancient technique of punching cards involved using wooden frame and nail, making the punching cards and the feeding them into the jacquard. This machine is called kail attaeyaditae. They follow the graph to punch holes in the cards. Traditionally the motifs were also inspired from the temples in and around the area. Technology has a huge part in the production of silk sarees. The automated design process has replaced the traditional design process.The design is either hand drawn or taken directly from internet reference and edited with software called paint shop pro. The image of the motif is traced and filled with bitmaps finally the image is transferred to the punch cards through the unit box where the punches are created by the punching software. Cardboards for card punching are from Hyderabad and Madurai. Cards are also available in plastic. Four types of punching cards are available which are of sizes 120, 240,280,and 480. The cost of each card before punching is rupees 1.50. After punching, 120 punches is rupees 3. 240 punches- 5 rupees 480 punches -7.50 rupees For tying the cards together, kambi ( thin steel rod) is inserted after every 14 cards and all of them are tied using cotton thread. After this process, the punched cards are handed over to the weavers. The cards are put up in the jacquard box accordingly, for body, border and pallu separately. This automated process is simple and time saving. 72 Thugil | Fashion Design Department, 2019

fig 5.1 fig 5.2 fig 5.1 fig 5.4 fig 5.3 fig 5.5 fig 5.6 National Institute of Fashion Technology, Chennai 73

Motif study Puli negam Kamalam Neli Vanki Pogidi 74 Thugil | Fashion Design Department, 2019

Muthukattam Rudraksha Pavun Floral National Institute of Fashion Technology, Chennai 75

Everyday life,nature and basic activities are the main influences see in the motifs on the sarees: Mango: Rudraksham: If the manga-malai (mango Necklace) is a Beads used to keep count during the ‘japam treasured piece of jewellery among Tamil or continuous chanting of God’s name. In the women, the mango motif is a favourite of the weaver’s bands, beads of gold weavers. Found in any number of sarees with Diamond: innumerable variations and embellishments. Kalasam: Is a Tamil bride ready for marriage? Yes, if her Complete with mango leaves and coconut, the diamond earrings are ready! The weaver can’t kalasam is central to many a Tamil religious help but weave in the diamond motif every ritual. Replicated in different metals, adorning now and then. puja shelves, the kalasam finds a place in a silk Neli: saree too. The Tamil woman finds may ways to tell the Temple : world she’s The most celebrated motif of them all. married – the neli or toe ring is slipped in by Immersed as he is in the city of a thousand the husband when she places her feet on the temples, the weaver cant help but flaunt his grinding stone during the wedding. heritage – the temple gopuram or gateway. Kodi Visiri: A creeper, a grapevine…. Yet another of nature’s patterns that the weaver draws from. 76 Thugil | Fashion Design Department, 2019

National Institute of Fashion Technology, Chennai 77

Colour Revel in the the endless brightness of parrot green, the depths of coffee browns and maroons, the shimmer of golden yellow! Or be surprised by the double coloured – the blue green mayilkazhuthu(peacock’s neck) the red-orange of a lion, the violet green of a new born mango leaf… While the reds and pinks still dominate the wedding sarees, there is a massive level of innovation in the colour combinations now being used for the lesser- priced silk sarees. Sometimes, a little stonework is also added, where silver stones are stuck using fabric glue onto finished sarees. 78 Thugil | Fashion Design Department, 2019

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Finishing 80 Thugil | Fashion Design Department, 2019

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After the sari has been woven some unwoven warp is intentionally left. Then the yarns are woven for about 1” and again few warps are left unwoven, so that this unwoven part can be fastened to the nails in the warp beam.( It’s woven for 1” so that when the warp is fastened onto the nails it doesn’t tear off.) The end of the unwoven warp is cut using a scissor or a blade prefera- bly. These unwoven warps are tied into kunjams(tassels). Each saree con- sists of nearly 100 tassels or kunjams. These are not just for decorative purposes, they also make sure that the weave doesn't loosen. For exclusive saris, they attach tassels made of pure zari. Folding Of The Saree After the saree is unwound from the beam, there are fold marks from the beam on the saree. Based on these fold marks the saree is fold. Like for eg.:1 fold =6(2 inch fold marks on the saree). For pallu it is 1 fold =5(2inch fold marks). The following are the steps to the fold the thirubuvanam saree, Step1: In the beginning and at the end of the saree, the top and bottom edges are folded towards the saree in a triangle shape. This is to prevent the saree from peeping outside. Step2: They stack the folds one on top of the other, this is called visiri madippu (fan folding) a speciality of thirubhuvanam saree. Step3: They place a metal rod at the end of the saree to avoid pulling towards bot- tom ,while arranging the pleats of the saree. Step4: Each fold or pleat is smoothened out flat by creasing the fold lines. Step5: Scale is used for evening out the number of pleats in order to correct the misplaced pleats. Step6: Thick rod is placed in the mid length of the saree to fold it into 2 halves. Step7: Thread is used to wind the saree to hold the fold/pleats in place. 82 Thugil | Fashion Design Department, 2019

fig 6.1 fig 6.2 fig 6.3 fig 6.4 fig 6.5 fig 6.6 National Institute of Fashion Technology, Chennai 83

fig 7.1 fig 7.2 fig 7.4 fig 7.3 fig 7.6 fig 7.5 84 Thugil | Fashion Design Department, 2019

Maintenance and Repair of the saree: · Dry clean only. · Refold the sarees from time to time to avoid fading on the creases. · Try to keep them wrinkle free. · Never dry saree under direct sun. · Always iron on medium heat and do not spray water while ironing as it might leave a stain. · Store them folded and wrapped in a pure cotton cloth as this would allow the saree to breathe. · Store them in a cool dark place in the cupboard to avoid discolouration. If the saree is damaged the following are done, Darning (Rappu): Darning is the process of repairing and rectifying the silk saree on the basis of covering the holes, repairing the worn out yarns, removing stains, addition of missing warp and weft yarns, rectifying the lifting of yarns and so on. There are 14 varieties of darning: Pettu ellai pokku Pettu thirai Self thirai Pattayam kizhisal Self kalella Jamul kizhisal Jamul pidhungal Pest infestation Pettu uriyal rappu Oodal butta rappu Butta rappu Pettu jalar thirai Petni rappu Karaigal Raw materials: Silk gum which is obtained from karuvelam maram, Vajram (cow fat), needle of sizes 12, 8 and 10. Process: · 10gm of silk gum is soaked in 1l of water for 1 night. · This silk gum is applied on the silk thread and is inserted into the needle. · This thread is allowed to move in back and forth motion in horizontal and vertical direction to cover up the damage and to patch it. This rectification and repair process is done in the case of worn out yarns and holes. This is a tedious process which requires a lot of precision. Major damages takes approximately 2 to 3 days, minor repairs take approximately 2 to 3 hours. If it’s a stain (karai), it is removed by using soap water and a chemical called hydrocement. During this process, some amount of dye gets bleached due to the harsh effect of the chemicals. This part is dyed again by using a damp cloth of same colour and rubbing it on the required area. National Institute of Fashion Technology, Chennai 85

Thico Society 86 Thugil | Fashion Design Department, 2019

National Institute of Fashion Technology, Chennai 87

The Thirubuvanam Silk handloom weavers Cooperative Production and Sale Socie- ty Limited, was established in the year 1955 to liberate the handloom weavers from clutches of weaving unit owners who were fleecing them. Silk sarees sold under Thico silks are of highquality, shine, uniformity and lustre. The society provides raw materials to the weavers and also has its own dyeing unit. Production is monitored at every level to maintain high quality. The society was started with an investment of just ten thousand rupees for uplifting the weavers and preserving the art of silk-weaving. Business commenced from the 24th of November, 1955 and it is now the biggest co- operative society in Tamil Nadu. It was registered on 12th November 1955 under the Tamil Nadu Cooperative Societies Act. The society is also a member of Silk Export Promotion Council, Mumbai and the Handloom Export Promotion Council. Today the society has about 1840 active members. The main office of the society is at Thirubuvanam, along with 37 sales outlets in Ta- mil Nadu and 2 in Pondicherry. Quality Policy: “ The Thirubuvanam Silk handloom weavers Cooperative Production and Sale Society Ltd, Z-322, Thirubuvanam is committed to provide its customers, sari manufacturers, with quality silk and zari at the lowest possible price. It is committed to provide continuous employment and improvement the socio-economic condition of its members. The society also intend to motivate and utilise the skills of its employees for continual improvement of the institu- tion “ Quality Objectives: “ To improve the annual sales turnover of the present Rs.43,000 crores to Rs.44,000 crores March 2016. To give motivation training for all the identified employees at least for one day per year. To maintain the issuing of 4 warps per year to the member to ensure increase in positive factors and decrease negative factors in the departmental objectives for continual improvement “ 88 Thugil | Fashion Design Department, 2019

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Benefit and care of the weavers is one of the main policies of the society and thus, the government provides subsidies for the society members that include: - Insurance and savings policy - Weavers family pension scheme - Personal pension scheme - Bunker bima yojana - Shiksha sagaya yojana - Dr.M.G.R handloom weavers welfare trust provides scholarship for the weavers children - Muthra loan for handloom weavers - National handloom development scheme - Trichy handloom organisation - Scholarship for higher studies The society has taken initiatives to market the products through different channels, in order to make the people aware of the magnificence of these exclusive sarees - Direct sales - Sales through branching and selling agents - Sales through Co-optex - Sales through exhibitions Given that the policies are numerous and generic, implementation seems to be of trouble in a few aspects such as: - shortage of working capital - high incidence of unemployment - lack of adequate institutional support in raw material - lack of expansion and modernization - higher rate of interest on loans - price fluctuations in raw materials - lack of continuous work - lack of awareness of welfare schemes Despite a few drawbacks, the success rate of sales and production has won the society numerous awards and recogni- tions: - ‘President Award’ for excellence in handloom design (1994, 1995). - One of the sarees designed by the society is in London Museum. - First handloom weaver’s cooperative society in Tamil Nadu to get ISO9001-2000 certification from British Stand- ard Institution (BSI) India Ltd. 90 Thugil | Fashion Design Department, 2019

GENERAL FACTORS DETERMINING THE PURCHASE OF SILK PRODUCTS In the silk handloom industry the demand of the products is always on the rise. Respective of the economic and social of the people all the groups purchase silk saris according to their needs which are identified during the survey. The reasons for this purchase behavior are many, But the prime factor that determines their behavior is the prestige value of the commodity. In addition to this there are other factors which play a vital role in determining the buying behavior of the consumers of silk products the higher income groups believe that the frequent purchase of silk sarees reveals that they are rich enough to afford this commodity. This conspicuous consumption is the driving force for the consant purchase of silk products. There are various other factors that are related to the culture demography taste and social convention which plays a significant part in the determination of the buying pattern of the consumers. The family size plays an important role in the determination of the demand for silk products. According to their culture people will purchase silk sarees, for example in the southern states of india during the marriage function its felt that wearing silk sarees and silk dhotis is compulsory. For acquiring social status while going to temple and attend important functions people are accustomed to wear silk products.Demographic indicators like age group of the consumers or their marital status will also influence the purchase of the silk saris. Advertisements by the manufactures and the offers made by the dealers, feedback from neighbours and the personal interest shown by the customers also determines the demand for silk products in the district of Tanjore. National Institute of Fashion Technology, Chennai 91

SW Skilled weaving community Lack of feedback Quality of silk Limited offers and discounts Popularity in Kumbakonam Limited advertisements Availability of skilled weavers Collective organized marketing skills are absent The attitude of the weavers towards training The GI tag helped increase sales by 15% but the needed for product diversification and skill im- popularity is still low. provement is positive. Quality raw material suppliers are not available Extensive government help in close proximity. Colour combinations Slow production due to ageing weavers and Trendy designs reluctance on the part of youngsters to take up Dense handloom concentration this profession. 92 Thugil | Fashion Design Department, 2019

OT Collaborations with other techniques Competition of power looms Expansion in product line Rising raw material cost Imparting skill up gradation training program Lack of interest in the coming generations Wider e-trailing Maintenance of sari Expansion of sales in different areas Decline in popularity Advertisements (television, radio, social media Decrease in consumer demand etc) Price war among competitors Artificial raw materials to replace gold zari, silk by polyester. National Institute of Fashion Technology, Chennai 93

The creators Name: M.R.Anandan Age: 46 Sex: Male Contact number: 9150671061 Education level: Primary Languages known: Tamil, Saurashtra Skill: Master craftsmen Self-employed: Yes Name: M.K.Anantharaman Age: 50 Sex: Male Contact number: 8148547068 Education level: Secondary Languages known: Tamil, Saurashtra Skill: Semi skilled Self-employed: No 94 Thugil | Fashion Design Department, 2019

Name: Anushya Age: 46 Sex: Female Contact number: 9150671061 Education level: Secondary Languages known: Tamil, Saurashtra Skill: skilled Self-employed: Yes Name: Ashok Narayan Age: 37 Sex: Male Contact number: 9894201277 Education level: Primary Languages known: Tamil,Saurashtra,English Skill: Skilled Self-employed: Yes National Institute of Fashion Technology, Chennai 95

Name:Bama Age: 47 Sex: Female Contact number: 8148547068 Education level: Primary Languages known: Tamil, Saurashtra Skill: Semi skilled Self-employed: No Name: N.Bhaskar Age: 64 Sex: Male Contact number: 9442819419 Education level: college Languages known: Tamil, English, Saurashtra, Telugu Skill: Master craftsmen Self-employed: Yes 96 Thugil | Fashion Design Department, 2019

Name:R.Devi Age:26 Sex: Female Contact number: 7845703302 Education level: Primary Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: No Name: L.Dhinakaran Age: 40 Sex: Male Contact number: 9894606896 Education level: Primary Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: No National Institute of Fashion Technology, Chennai 97

Name: T.R.Gopi Age: 39 Sex: Male Contact number: 8422394642 Education level: Secondary Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: No Name: Jeevanadham Age: 42 Sex: Male Contact number: 9789261466 Education level: Primary Languages known: Tamil Skill: Master craftsmen Self-employed: No 98 Thugil | Fashion Design Department, 2019

Name: Kalidas Age: 50 Sex: Male Contact number: 9500335067 Education level: Secondary Languages known: Tamil Skill: Master craftsmen Self-employed: No Name: Karuma Murthy Age: 55 Sex: Male Contact number: 9384352806 Education level: Secondary Languages known: Tamil, Saurashtra, English Skill: Skilled Self-employed: No National Institute of Fashion Technology, Chennai 99

Name: G.Kasthuri Age: 44 Sex: Male Contact number: 9790688285 Education level: Primary Languages known: Tamil Skill: Master craftsmen Self-employed: yes Name: Kokila Age: 34 Sex: Female Contact number: 9788049103 Education level: Primary Languages known: Tamil, Saurashtra Skill: Semi skilled Self-employed: No 100 Thugil | Fashion Design Department, 2019