From the Flame buoyant lands of Rajasthan... Laheriya

Fabric Resist - Tie and Dye

        ‘Tie and dye’ is the process of creating patterns on clothes or fabrics. It is dyeing natural fabrics that results in interesting and colorful patterns. The technique of tying of cloth with thread and then dyeing it is the simplest and perhaps the oldest form of creating patterns on a plain piece of cloth is known as tie and dye.

        However, the art of dying fabrics and specifically tie-dyeing goes far back in time. The earliest surviving examples of pre-Colombian tie-dye in Peru date from 500 to 800 A.D. Their designs include small circles and lines, with bright colors including red, yellow, blue, and green. 

        China and Japan had fully developed the art of tie-dye as early as the sixth century AD, about one and a half millennia ago. It has been practiced there since at least the eighth century. The availability of silk and hemp, which are very receptive to the resist technique, made these countries' art outstanding. Some early tribes in Western China, South East Asia, and Central America tied and dyed the threads before weaving their cloth. Technically this was not tie and dye but the beauty of the designs that appeared was striking as were the patterns done with tie-dyeing. 

       Other forms of tie and dye can be found in other countries around the world. Varied styles of tie-dye have emerged to distinguish the different nations of Africa, the Indian tie & dye technique called Bandhani, also known as Bandhni and Bandhej is the oldest tie and dye tradition we know that is still practiced. The Malay-Indonesian name for this technique is Plangi. The technique involves a design made of dots, in which many small points are tied with thread before immersion dyeing.

       The centres of tie and dye fabric, especially in Gujarat are Jamnagar in Saurashtra and Ahmadabad. The finest bandhani work of Rajasthan comes from Bikaner, Jaipur, Jodhpur, Barmer, Pali, Udaipur, and Nathdwara. Tritik and plangi are derived from Indonesia. Additional varieties include mudmee which originated in Thailand but is also used in Laos. Shibori, which started in Japan somewhere around the eight century.

Bandhej of Rajasthan

Tie and dye is known as Bandhej in Rajasthan. Multi coloured chunries, sarees, safa were very popular in Rajasthan. The characteristic feature of these kinds of chunaries was that, after the material was folded in several layers, the entire area was equally divided by a diagonal line, according to the number of colours to be used. The various coloured backgrounds were took up in the form of alphabet V on untying the chunri.

Laheriya of Rajasthan

Laheriya was another style of tie and dye of Rajasthan. The term laheriya originated Hindi word ‘Laher’, meaning water waves. The laheriya had diagonal stripes and available from two to nine colours. Laheriya striped designs were created through damp material rolled diagonally from one end to another end till it looked alike a rope. Then tying and dyeing of the cloth was done proceeded with lighter shade followed by darker ones. According to the number of colours used in laheriya, it was named as do ranga laheriya (Two coloured Laheriya), teen ranga laheriya (Laheriya in three colours) or panch ranga laheriya (Laheriya in five colours).

Article: Odhani

Origin: Rajasthan

Fabric: Georgette

Fabric Colour: White and Dark Pink

Style of Resist: Fabric Resist

Description:  This laheriya had diagonal stripes in two colours. To manufacture this laheriya, fabric was rolled diagonally, tied at regular intervals with untwisted cotton threads and then dyed in dark pink colour to create laheriya on it. The laheriya saree had thin and narrow bands i.e. shike in white and pink. The saree was further embellished with tikki (sequin) work on pallav as well as on the field to make it more decorative and to enhance the aesthetic appeal of the saree.   

Types of Laheriyas
1) Pasavalli

It was also observed that if a laheriya had interrupted patterns on the stripes were known as pasavalli designs. The broad bands in laheriya were known as ‘patta’, narrow bands known as ‘shike’ and interrupted laheriya were known as ‘pasavalli’. 

 Article: Saree

 Origin: Rajasthan

 Fabric: Georgette

 Fabric Colour:  Blue and Pink

 Style of Resist: Fabric Resist

 Description: Laheriya with interrupted patterns on the  stripes were known as pasavalli designs. The fabric rolled  and tied at intervals and then first dyed in light colour. Then  fabric is again rolled and tied at intervals from the opposite  direction and dyed followed by darker shades. The field of  this pasavalli saree had thin diagonal stripes i.e. ‘shike’ in  blue and pink colour in opposite direction intersecting and  forming interrupted laheriya pattern called pasavalli. 

2) Mothara

Mothara was also a one type of laheriya only. The main characteristic feature of this laheriya was plaid striped pattern. It was tied and dyed to form plaids.

Article: Odhani

Origin: Rajasthan

Fabric: Cotton

Fabric Colour:  Yellow, Light Green, Dark Pink, Violet Blue and Sky Blue

Style of Resist: Fabric Resist

Description: The field of the saree had diagonal broad bands i.e. patta in light green, yellow, violet and sky blue. Over these multi coloured bands dyeing with magenta colour was done to create magenta thin bands i.e. shike in opposite direction. The plaid effect was carried out on the saree through tie and dye method as the characteristic feature of the Mothara.

3) Bhopalshahi

Bhopalshahi was a type of laheriya with distinctive feature of zigzag striped pattern. 

 Article: Saree

 Origin: Rajasthan

 Fabric: Georgette

 Fabric Colour:  Black, White, Orange and Violet

 Style of Resist: Fabric Resist

 Description: Bhopalshahi was a type of laheriya with  distinctive feature of zigzag striped pattern. The saree was  first pleated in several layers and then rolled diagonally, thus  giving a zigzag pattern. The saree had white colour as a  background. The saree was dyed first in light colour i.e.  orange colour followed by darker shade such as violet and  black. The field of the saree had thin bands ‘shike’ of white  followed by thick bands ‘patta’ of black, orange, white and  violet colour. 

4) Samunder Laher
The Samunder Laher saree is one type of laheriya only. The Samunder Laher word literally means 'Ocean Waves'. The characteristic feature of this saree is that it is always dyed in pastel shades of colour of Ocean water such as Sky blue, Blue, Sea green, Light green, Light Yellow, Pink, Magenta etc. 

Article: Saree

Origin: Rajasthan

Fabric: Georgette

Fabric Colour:  Yellow, Light Green, Magenta, and Sky Blue

Style of Resist: Fabric Resist

Description: The Samunder Laher word literally means ‘Waves of the Ocean’. The field of the saree had laheriya bands of equal thickness called patta. The characteristic feature of the saree was the samunder laher saree is that it always had pastel shades. This saree also had selected numbers of colour which resembles the colour of the ocean and creates shades of it that’s why it was classified as samunder laher saree. The field of the saree had diagonal patta of equal thickness dyed first in light green followed by darker shades i.e. sky blue, yellow and magenta.

That's all for today....

*I do not own this samples. All this samples can be seen at 'Textile Art Museum', Department of  Clothing and Textiles, Faculty of Family and Community Sciences, The Maharaja Sayajirao      University of Baroda, Vadodara - 390002, Gujarat, India.

More from the treasure chest of the Indian Textiles....... Ajarakh

Ajrakh

Ajrakh is one of the oldest living textiles in the world still practiced in parts of Gujarat and Rajasthan in India, and in Sindh in Pakistan. Sindh is the actual birthplace of Ajrakh cloth. Ajrakh has been in Sindh since the era of Mohenjo-Daro, one of the oldest civilizations in the world, or even before that. The history of the Ajrakh can be traced from the times of the ancient civilizations of the Indus Valley, around 2500 B.C. to 1500 B.C.

           It is also believed that a popular ruler insisted that his bed spreads be changed almost daily but on a certain day he got impressed by the colour and print of the sheet and told his servant “Aaj Rakh!”(Keep it today) and the name stuck Ajrakh. In Arabic, Ajrakh indicates the blue or indigo colour also means making beautiful. In fact, Ajrakh denotes the blue colour – a primary and essential colour of these fabrics.

           The main characteristic of Ajrakh is - It is patterned in intense jewel like colours. The dominant colours are rich crimson and a deep indigo. A little bit of white and black is also used to give definition to the geometric patterns. A major foundation of any Islamic art is ‘Mizan’ which means balance and orders. This principle also governed in the design and pattern of Ajrakh. The artist incorporated their geometrical knowledge to achieve a systematic and inter relationship between the part as well as whole design. The geometrical designs in the fabric seem to echo principles of Sufism or Islamic spiritualism that has several great proponents in the ancient land of Sindh. The symbolism of geometric patterns is generated from the concept of symmetry — these repeated patterns representing cosmic processes that extend in all directions. 

          Traditional Ajrakh colors are red, black, and indigo.

       The authentic Ajrakh is printed on both sides by a method of printing called resist printing. The printing is done by hand with hand carved wooden blocks. When worn and washed the colors of the Ajrakh become more brilliant and luminous. There are 22 processes in Ajrakh printing and is very tedious and time consuming. Very few printers go through all the stages. Ajrakh colours come out the best on cotton fabric. 

        The ajrakh print is employed with grid, the repetitive pattern creating a web like design or central jaal. Apart from jaal, border designs are also incorporated in the fabric. These borders are aligned both vertically and horizontally and frame the central field, distinguishing one ajrakh from another. The lateral ends are printed using a wider, double margin in order to differentiate the layouts of the borders.

       The typical motifs used in ajrakh were pencho, mifudi, keri mifudi, champakali, kakkar, mohar, bodi riyal,sitar, char pa ek, mohammad shahi, ginni, kan kharek, jileb, jimardi, tavith etc. 

       There were two types of ajrakh – Ek puri and Bi puri. Ek puri ajrakh means printing was done on only one side of the fabric. Bi puri ajrakh means printing was done on the both side of the fabric. 

Ajrakh

Article: Sirakh (Bed Sheet)

Origin: Barmer, Rajasthan

Fabric: Cotton

Fabric Colour: Indigo, Maroon, Beige

Weave: Plain

Style of Resist: Fabric Resist

Description: The Ajrakh was divided into three rectangular registers. The fabric was first treated with myrobalan which gave yellow colour to the fabric. The motifs were printed with rekh i.e. outline block.  Motifs were filled with colour using datlo i.e. foreground filling block. The background of the artifact was done with gadh i.e. Background filling block. Then fabric was dyed in indigo colour. The central field of the artifact was printed with pencho design all over with one drop brick repeat in indigo colour with tavith motifs on either side in maroon and beige colour. The middle and outer register also had tavith motif in maroon and indigo colour and maroon and beige respectively. The either ends of the Ajrakh were printed with chheda motif. The lowest border of the chheda was termed as madagulo (mada means girl and gulo means flower), three lines above mada gulo were known as tinnaro and above it was butto motif. All the motif sections were separated by a running border bopai.    

 Configuration of Pencho Motif

Chhedo in Ajrakh

 * I do not own this samples. All this samples can be seen at 'Textile Art Museum', Department of  Clothing and Textiles, Faculty of Family and Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara - 390002, Gujarat, India.

One more gem from the Indian Textiles..... Kalamkari

Kalamkari:

       Kalamkari had originated in India around 1000 B.C. Kalamkari is an ancient Indian art that got its name from Kalam meaning "pen," and Kari meaning "work." The name meant "pen work." The Moghuls patronized this craft in the Coromandel and Golconda provinces. Thus the name Kalamkari comes from the Urdu word Qualam meaning Pen. Muslim influence and therefore trade links were traced between Safavid Persia and Qutbshi Golconda around the sixteenth century.

        The graceful Kalamkari designs are symbols of skillful, talented craftsmen, who design them. Block making plays a crucial role, in printing a Kalamkari fabric, as it needs to be sharp. If the block is not good, the colours may spread around the cloth. The craftsmen who make these blocks take utmost care in carving them. Generally teak wood is used for engraving blocks. The wood selected should have no holes & cracks, and surface of the block is evened. The design to be carved is outlined on a paper sheet, which is stretched out evenly on the wood and gently tacked into place along the edges. A metal instrument, shaped like a pencil the sharp pointed edge, is lightly hammered along the lines of the pattern. This causes the transfer of the outline on to the wooden surface, and the block maker begins to sketch the design.

            The ancient art of painting in India mainly used organic colors and dyes. The majority of the colors were prepared by using the roots and leaves of plants and mineral salts of iron, tin, copper and alum. 

There are of three types of Kalamkari:

• Block Printed
• Hand Painted
• Combination of Block Printing and Hand Painting 

        Kalamkari mainly used to describe cotton fabrics patterned through the medium of vegetable dyes by free hand painting with the aid of Kalam or pen and hand block printing. Even where the fabric is block printed, the Kalam is still used to draw finer details and for application of some colours. A palette of many colours derived from vegetables, animal and minerals are used to paint and print the Kalamkari. 

      Varahmihira author of voluminous Hindu text Brihasamhita describes not only the dye but also the process of mordanting in fixing colours to cloth. The Kalamkari art of painting undergoes a laborious, slow process of resist – dyeing and hand printing - painting.

Masulipattanam (which is 200 miles east of Hyderabad), Shrikalahasti (which is 80 miles north of Chennai) and Ahmedabad are main three regions in India where kalamkari is practiced and each has its own characteristics. 

Process of Making Kalamkari:

       The Kalamkari art of painting undergoes a laborious, slow process of resist – dyeing and hand printing. Cloth was first whitened by immersing it in a solution of goat or cow dung and letting it dry in the sun for a few days. Cloth was then treated in myrobolan solution. Ripe fruits of myrobolan were used in Masulipattnam, while raw fruits were used in Shrikalahasti.  Milk was then added to the solution to prevent colour spreading in the next step.

      The iron acetate solution was filled in with wooden blocks either for solid spaces or as outlines in Masulipattanam. All the areas meant to be red were painted or printed over with the alum solution as a mordant. After applying alum, the cloth was kept for at least 24 hours. Then the excess mordant was removed by washing the cloth under flowing water. The dyeing was done for the red colour by boiling with the red colouring materials. All the portions which were not to be red or blue covered with wax. Then the wax was removed by boiling the cloth in water. The yellow was painted on to produce yellow and green. The cloth was finally washed again and dried before final colours emerge. 

Kalamkari of Masulipattanum:

     

     Kalamkari work is being carried out at Masulipatnam from time immemorial with block printing technique. Masulipatnam designs are Iranian in character with intricate and delicate forms. The Kalamkaris of Masulipattanam have been known as ‘Palampores’, which are considered amongst the most original printed textiles of the country.

        

       These painted - printed cloths were products of the careful blending of the use of blocks and the Kalam. It undergoes a laborious, slow process of resist – dyeing and hand printing. Many stages have to be undergone before the final results are achieved. Unlike other styles of painting, Kalamkari painting demands a lot of treatment before and after the painting is completed on the cotton fabric. Depending on the treatment of cloth, or quality of the mordant, the colours change accordingly. Every step from soaking of cloth, to sketching the outlines to washing and drying the cloth, is done carefully and correctly.  

        Masulipattanam kalamkari was identified with printing as blocks were primarily used. The designs used in kalamkari were more towards Persian style included the tree of life, geometrical designs, flowers, foliage, birds and creepers and it had a secular and functional base. The craft was commercialized in Masulipattanam as they were used as curtain, bed sheets, canopies, prayer mats, pillow slips and table cloths.

  

 Samples of Masulipattanam Kalamkari:

Article: Napkin

Origin: Masulipattanam, Andhra Pradesh 

Fabric: Cotton

Fabric Colour:  Maroon, Black,  Beige and Green.

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing and Hand Painting

    Masulipattanam Kalamkari was products of the careful blending of the use of blocks and the Kalam. It was identified with printing as blocks were used. Bird motif – Peacock was painted in the centre of the napkin. The Napkin had maroon colour as background. The borders of the napkin were hand block printed, as the characteristic feature of the Masulipattanam Kalamkari, with Persian motifs like flowers, creepers and leaves. 

Article: Napkin

Origin: Masulipattanam, Andhra Pradesh

Fabric: Cotton

Fabric Colour:  Maroon, Black, Beige and Green.

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing and Hand Painting

      Animal motif – Camel along with its rider was painted in the centre of this napkin. The Napkin had maroon colour as background. The borders of the napkin were hand block printed, as the characteristic feature of this kalamkari with Persian motifs like flowers, creepers and leaves. 

Article: Napkin

Origin: Masulipattanam (Andhra Pradesh)

Fabric: Cotton

Fabric Colour: Maroon, Black, Green and Beige 

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing and Hand Painting

        In this sample, Bird motif – Parrot was painted on the napkin in the centre with kalam. The Napkin had maroon colour as background. The borders of the napkin were hand block printed, as the characteristic feature of the Masulipattanam Kalamkari, with Persian motifs like flowers, creepers and leaves.

Yet more to come.........

* I do not own this samples. All this samples can be seen at 'Textile Art Museum', Department of  Clothing and Textiles, Faculty of Family and Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara - 390002, Gujarat, India.

Printed Textiles of India

Printing is the process of applying colour to fabric in definite patterns or designs. In properly printed fabrics the colour is bonded with the fiber, so as to resist washing and friction. Textile printing is related to dyeing but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more colours are applied to it in certain parts only, and in sharply defined patterns.

Traditional textile printing techniques may be broadly categorized into three styles:

1)      Direct Printing such as Kalamkari, Rogan, Sanganeri printing, etc.

2)      Resist Printing such as Dabu, Ajarakh etc.

3)      Discharge Printing 

 Rogan Printing

    

      Rogan printing and painting is one such traditional textile craft of Kutch in Gujarat. It is a conventional art of hand printing and painting influenced by Persian art. The word Rogan literally means oil based painting in Persia. This art was originated in Iran and was brought to India about 200 years ago through there is no historical evidence or support to this statement.

     

     Rogan printing is on the verge of extinction as only two families in Nirona village of Kutch and three families in Viramgam, Wadhwan and Ahmedabad are practicing this craft. Due to lack of awareness regarding this craft amongst the Indian consumers, the younger generation is no longer interested in continuing with this craft. It requires not only skill but patience, concentration, a sense of proportion, an aesthetic appreciation and not to mention visual co – ordination.

      

       It’s still practiced as a traditional craft by ‘Chippas’, hereditary craft persons belonging to Hindu & Muslim communities in Kutch district in Gujarat. Stick or iron rods with tapered ends and metal blocks with wooden handle (Block is hollowed in which printing paste is filled) are used for Rogan printing or painting.

The art of rogan printing on cloth dates back to centuries. This art came into India from the Afridis, originated in Syria; the route was through Persia, Afghanistan and Pakistan. The craft concentrated in the Northwestern parts of India, and was practiced mainly by the Muslim descendents of Afridis. Later, it was found that rogan craft was practiced not only by the Afridis but also in Peshawar, Lahore and Pathan, where linseed oil was used where as in Kutch; castor oil was used for the preparation of rogan paste. The product came to be called as Afridi lac cloths or Peshawar lac cloths.

        During earlier times, a Natural source such as stone was used while later, plant sources were also used to extract dyes. Colours such as white, red, yellow, blue, green, orange and black were used in pure form. Today, artisans have switched over synthetic dyes. Artisans were used napthol dyes for preparation of the colouring paste.

        Rogan is done two ways. One, Rogan paste is made from castor oil & natural dyes like mud, leaves, and plants pounded by hands & heated on a slow fire. Resulting colour pastes are kept in earthen pots or plastic containers & mixed with water to keep them from drying. Then printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton mulmul fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth. 

          Another technique is embedded in a thick residue called Khadi, obtained from casting hot safflower, castor or linseed oil in cold water. This paste is mixed with chalk powder, colour pigment & a binder agent to form a thick dye.

        

         Application of the pattern is hand printed with small block of special pattern, in this ready paste is filled in the metal blocks which are hollow & pressed out the design area.

        Motifs of Khadi are floral, geometrical, birds and animals. Colours used are indigo, blue, red, yellow, orange, green white and black. Gold and silver dusts are used for richer effect. 

Difference between Rogan and Khadi:

   ‘Rogan’ is an ancient Persian word meaning ‘paste from oil.’ While Khadi is also known as Tinsel Printing. 

    Rogan was painting done by hand. Rogan painting printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton mulmul fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth.

    While in Khadi the pattern is hand printed with small block of special pattern, in this ready paste is filled in the metal blocks which are hollow & pressed out the design area.

    Motifs in rogan were always had mirror image and significantly different than Tinsel Printing (done with metal blocks) which were more towards the nature. Rogan always had motifs painted in bold outlines with subdued base colours while Tinsel had motifs printed intricately, more finely and with sharp edges. Tinsel Printing is always done with gold and silver colours on dark coloured background.

    Traditionally the floral, geometrical and calligraphy motifs were used for the art of rogan paintings. During ancient period, the calligraphy motifs were used in Persian alphabets. The bird motifs were used only by Hindu Khatri craftsmen in Ahmedabad. These motifs were used as all over pattern. Mainly two layouts were used for motif placement i.e. border and all over. The motifs painted by Hindu Khatri craftsmen were large bird motifs with broad outline. They were incorporated bigger bird motifs which were not seen in rogan painted product of Kutch. 

Rogan Painted Sample:  

Article: Rogan Textile

Origin: Gujarat

Fabric: Cotton

Fabric Colour: Navy Blue, Yellow, Light Yellow and Orange

Style of Printing: Hand Painted

         Rogan painting is totally done by hand on cloth. The printer dips a thin iron rod into pot of coloured paste, takes pastes & places it on his left first. The cotton fabric is spread on his lap. Skillfully, he lifts the sticky paste in a thread like consistency, with the rod & paints the design on the cloth, as mention earlier. In this sample, the background of the artifact had navy blue colour. Rogan was done on the fabric by hand painting. The field of the artifact had floral, leaves and bird motifs in yellow and orange colour. The border of the artifact was the combinations of several bands of interlace patterns in orange, yellow and light yellow. The border of the artifact created a scalloped effect.



Khadi Printed Textiles:

Article: Odhani

Origin: Gujarat

Fabric: Chiffon

Fabric Colour: Red, Yellow, Orange and Green

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing

  In Khadi the pattern is hand printed with small block of special pattern, in this ready paste is filled in the metal blocks which are hollow & pressed out the design area. The background of the odhani had red colour. Khadi motifs were hand block printed on the Odhani in white, yellow and green colour. The floral motifs were printed in tiny dots. The pallav of odhani had two broad bands, one with rhombus shape and another with small floral motifs. Below the bands pan vel border was block printed in white and yellow colour.

                               
                                                                         

Article:  Khadi Printed sample

Origin: Gujarat

Fabric: Cotton

Fabric Colour:  Yellow and Golden

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing 

        

        Khadi printing is done with metal blocks. While the Khadi is wet, gold or silver zari in powder form are sprinkled on the printing simultaneously by using the on cloth. The field of the sample was block (Khadi) printed all over with floral motifs in golden zari at half brick repeat on yellow background. The borders of the sample were also Khadi printed, had motifs flower creepers in scroll pattern. The triangular motifs were also printed just above the border with golden zari.

Article: Odhani (Tinsel)

Origin: Gujarat

Fabric: Polyester

Fabric Colour:  Dark Pink and Golden

       Style of Printing: Direct Printing

Class of Printing: Hand Block Printing 

    The roghan is also done with gold or silver foil. While the roghan is wet, foil is stuck on the roghan motif and then due to application of heat the design area takes up the foil. The field of this odhani was foil (roghan) printed all over across the width in the form of wavy lines at various intervals in golden foil on dark pink coloured background. 

Article: Odhani (Tinsel)

Origin: Gujarat

Fabric: Polyester

Fabric Colour:  Green and Golden

Style of Printing: Direct Printing

Class of Printing: Hand Block Printing 

        Golden or silver foil is also used to print Tinsel to give richer look to the fabric. It is done after the printing is complete with the paste, then foil is stuck on the motif and then due to application of heat the design area takes up the foil. In this artifact paste was first block printed in the form of small dots. Then foil was stuck on it and heat was applied, so the field of the odhani was foil +

printed all over in the form of small dots on green coloured background. The printing was done with golden foil. The gota patti was attached to the odhani on four sides as well as across the width just above the end to enhance the aesthetic appeal of it.

* All this samples can be seen at 'Textile Art Museum', Department of Clothing and Textiles, Faculty of Family and Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara - 390002, Gujarat, India.