Diagnostic Study Report Lucknow Chikan Cluster

DIAGNOSTIC STUDY REPORT
&
LUCKNOWI CHIKANKARI CLUSTER
Dist. LUCKNOW, UTTAR PRADESH

Submitted to
Development Commissioner MSME
Ministry of Micro Small & Medium Enterprise
Govt. of India, Mumbai

Submitted By
General Manager
District Industries Center
Lucknow

SHILP SADHANA
14, Ram Block, Sector-11, Rajaji Puram, Lucknow 226017
Ph. No. 0522-2419005
Fax No. 0522-2414280
Email- shilpsadhana@yahoo.com
www.lucknowidastkari.com

DSR_Lucknowi Chikankari Cluster 1 Shilp Sadhana

THE UNIQUENESS OF LUCKNOWI
CHIKANKARI

Due to the variety of stitching-styles
involved in Chikankari, it is claimed to be one
of its kind hand embroidery that is impossible
to imitate in any other part of the world


When the sun smiles strongly, you know it is the time to
celebrate cool muslins and soft mulls.
Traditional yet contoured in a modish contemporary
twist, the ageless chikankari, comes to your cool rescue.
Chikan work with its gossamer quality has become one
of Indian fashion's hottest exports and is an expression
of haute couture, combined with mirror work, muquaish
and even zardozi.


INDEX
Sl.
No.
PARTICULARS
PAGE
No.
1 Diagnostic Study Report/ Detail Project Report - Check List 1-2
2 Summery Details of The Proposed Cluster 3-4
3 Current Information Required for Cluster Selection 5-8
4 Executive Summery 9-10
5 Scope and methodology of Diagnostic Study 11-13
6 Industry Scenario of Handicrafts in India 14-16
7 Global Scenario of Handicrafts 17
8 Embroidery Traditions in India 18-24
9 Introduction of Chikankari 25-27
10 Stitches of Chikankari 28-29
11 Process of Chikankari 30
12 Production Process 31
13 Craft Map of India 32
14 Map of the state of UP 33
15 Map of the Lucknow District 34
16 About Lucknow District 35-39
17 Important features of the Cluster 40
18 Key Milestone in performance of Chikankari Industry 41-42
19 Support Environment 43-45
20 Products of the cluster 46-48
21 Value Chain Analysis 49-50
22 Analysis of Business Operations in the cluster 51-53
23 Assessment of Organisational Linkages in the cluster 54
24 Cluster Map (Pre Intervention) 55


25 Cluster Map (Post Intervention) 56
26 Inter Firm Matrix (Pre Intervention) 57
27 Inter Firm Matrix (Post Intervention) 58
28 Survey Analyses 59-62
29 Copy of Survey Questionnaires 63-64
30 SWOT Analysis 65-66
31 Common Problems and Need of the Cluster 67
32 Vision & Strategic Goles 68
33 Strategy for Implementation 69
34 Activity Chart 70
35 Proposed Annual Action Plan for Soft Intervention 71
36 Proposed Budget & Means of Finance for soft intervention 72-73
37
Activity wise Break up of the Expenditures of the activities of Soft
Intervention
74-75
38 Details of No. of persons to be trained in each program 76
39 Details of outcome envisaged in the cluster 77-78
40 Details of Quantative Outcome 79
41 Copy of Registration Certificate of SPV 80
42 Copy of Meeting of Validation of DSR 81-82
43 Letter of assurance from Technical Agency 83
44 Consent for contribution from SPV 84


DIAGNOSTIC STUDY REPORT - CHECK LIST
NAME OF THE CLUSTER: - LUCKNOW CHIKAN CLUSTER
1. Name & Address of the organisation
conducting Diagnostic Study
:
SHILP SADHANA
14, Ram Block, Sector-11,
Rajaji Puram, Lucknow
2. Gaps found as per the DSR 1. Unorganised Cluster
2. No Designer Input
3. Lack of Entrepreneurship Skills among
artisans & manufacturers
4. Non availability of Design Lab/ Center
3. Name & Address of Implementing
Agency/ SPV
: Lucknow Chikankari Cluster Audhyogik
Vikas Sahkari Samiti Ltd.
20, Sangam Vihar, Janki Puram
Extension, Lucknow
&
District Industries Center, Lucknow
4. Registration No. and Date :
5. Name of the main promoter : Mr. Vibhu Dixit
Address : 20, Sangam Vihar, Janki Puram
Extension, Lucknow
Phone No. : 0522 2754877
Email : vibhu4645@yahoo.com
6. Name of the Cluster Development
Executive
: Mr. Sharad Srivastav
Assistant Manager
Address : District Industries Center, Lucknow
Phone No. : 80044 33135
Fax No. : 0522-2614 083
7. Out Line of the Project :
A Soft Intervention/ Training etc.,
time limit
Skill Upgradation of Artisans (4 months)
Design & Product Development
Workshops (15 days)
Seminar on Geographical Indication
Registration


B Permanent Assets- details and
time limit
Design Development Center
Information Center
Product Display Center
(To be established with in the cluster
with in 1
st
& 2
nd
year of the project)
C Time limit of Project Self
sufficient/ Hand Over/ Exit
After completion of three years
8 I Details of the project
A Does the land is required Yes/ No Yes
B Details of availability of Land/
Building

C Does the cost of Land/ Building is
included in the project cost
Yes (as state govt. contribution)
II Pattern of Financial Sharing
A Total Project Cost (Rs. In Lakhs) %
B Percentage Share of Govt. of
India & Amount

C Percentage Share of Govt. of UP &
Amount

D Percentage Share of SPV/ IA &
Amount

E Percentage Share of Financial/
Support Institutions/ Bank &
Amount

9 Any other details if necessary


SUMMERY DETAILS OF THE PROPOSED CLUSTER
1. Location: State/ City/ Town/ Village:
Urban & Rural areas of Lucknow District
Chowk, Thakur Ganj, Kashmiri Mohall, Husianabad, Khadra etc. in urban
Area
Kakori, Sarojini Nagar, Chinhat, Malihabad etc. in Rural Area
2. Cluster Product : Traditional artisanal or traditional industrial or modern/ high
tech product
Traditional hand embroidery products like Apparels, Saries, Dress Materail,
Furnishings and Accessories etc.
3. Likely age of the cluster and weather naturally evolved or recently induced with
external policy support
About 200 years.
Naturally Evolved (believed to be started by the wives of ruler of Avadh)
4. Nature of the cluster : vertical (one to one large firm centric)/ horizontal where
several small enterprises are the key cluster firms/ mixed
It is a Vertical cluster where all artisans are working for few Manufacturers/
Traders
5. Major cluster problems : as per your perception
Literacy Level of Artisan is very low
Highly Unorganised Cluster
No design and technology intervention
Low level of skills of artisans and no facility of capacity building/ training
No designer input
Technology input in production is very less
Support from Business Development Service Provider is nil
6. Key Strategic Intervention for Proposed Cluster Development: Technology/
Product/ Market/ Export/ quality etc.
Capacity building through training, workshops & Exposure visits to other
clusters
Design & Product Development Workshops for development of new designs
and products as per latest market demand


Direct Marketing platform will be provided to artisans and manufacturers of
cluster to enhance the reach
Workshops of Export Procedures will be conducted to make the cluster
actors familiar with Export market and Export Procedure & Documentation
7. Extent of Competition: With large domestic firms or other similar clusters in
India or abroad.
There are many clusters where embroidery is done to give value addition to
the products.
Lucknowi Chikankari has its own place in the market.
8. Proposed Project Duration:
One Year for Soft Intervention
Two years for Hard Intervention
9. Gross Project Fund Requirements and Likely Sources of Funds: Institutional
coordination and developmental expenditure separately
Item Total
Project
Cost
Ministry of
MSME/
DC(MSME)
State
Govt. &/
or other
support
intuitions
Cluster
Stake
Holders
(SPV)
A - DEVELOPMENT EXPENDITURE
SUB TOTAL A 8.20 6.48 0.00 1.72
B - COORDINATION EXPENDITURE OF IMPLEMENTING AGENCY (IA)
SUB TOTAL B 7.30 5.29 0.00 2.01
TOTAL (A+B) 15.50 11.77 0.00 3.73

10. Key Indicators to Reflect the outcome of the project: At the firm level and cluster
level (attributable to the proposed project)
After completion of the project Skilled artisans will be available in the cluster
Artisans & entrepreneurship will have technology support through CFC.
With development of new Designs and Products the cluster will be able to
have growth in the market.


CURRENT INFORMATION REQUIRED FOR CLUSTER
SELECTION
Sr.
No.
Parameters Answers
1. Does the cluster have a minimum
critical mass?
Yes

Number of firms, structure of firms
(large/ medium/ small/ micro/
across the value chain)
about 1800 manufacturers & about
135000 artisans in Lucknow District
more than 2.00 Lakhs artisans in and
around Lucknow District

Presence of support firms and
service providers
There are many departments of Central &
State Govt. to support the artisans of the
cluster-
Marketing & Service Extension Center,
Barabanki of The Office of The
Development Commissioner
(Handicrafts), Ministry of Textiles,
Govt. of India
District Industries Center, Lucknow
District Rural Development Authorities
State Urban Development Authorities
National Cooperative Development
Corporation
NABARD
Besides These Many Chartered
Accountant Firms, Transporters, Cargo
Agents are available within the cluster

Estimated turnover of broad groups
in cluster
Estimate turnover of the Lucknow Chikan
Cluster is about 600 crores.

Level of employment (number of
men and women) and likely income
levels
More than 1.35 Lakhs artisans and mostly
are women.
Income level of these artisans is very low
Unskilled Labour earns about Rs. 10 to 15
per day
Skilled Labour earns about Rs. 20 to 40
per day.


Manufacturers earnings depends on their
Turnover which ranges from Rs. 2.40
Lakhs to 8.00 Lakhs per annum.

Contribution of cluster to export
Direct Export from the cluster is almost
negligible in comparison of the turnover
of the cluster. Only 3-4 firms are doing
direct export.
Some products of the cluster are
purchased by exporters of New Delhi,
Mumbai for further exporting it to other
countries.

Importance of the product in terms
of its linkage with other products/
sector
The main product of the cluster is
Apparels, Dress Material, Saree, Kurta,
Furnishing Items etc. Mostly the products
of the cluster are directly used by the
consumers.

Growth trends in the recent past
(turnover, employment,
investments, exports etc.)
The cluster has seen very slow growth in
recent past that is due to increase in cost
& price of the products.

Special features of the cluster in the
terms of seasonal/ mainstay
activities/ dependence, if any
Products of the Cluster are treated as
summer wear garment as usually chikan
work is done on fine cloths.
2 Location of cluster and its
geographical contours
Within a city/ village/ linkage with
nearby cities/ villages (if executing
agency has a specific rural/ urban
mandate) Attach a geographical
map, if available
Rural & Urban Areas of Lucknow District.
Chowk, Thakurganj,
Kakori, Sarojini Nagar, Chinhat,
Malihabad etc. in rural area
Map of Lucknow District is attached
3 Replicability potential

Size of the total industry at the
national level, number of similar
clusters with a few names
Turnover of the cluster is approx Rs 800
crores.
There are so many other clusters within
the country which are involve in similar
activities but comparative data is not
available.

Linkage of the proposed cluster
with other clusters or sectors, if any
Raw Material of the cluster products is
procured from other clusters such as
Mumbai, Ahmedabad, Surat, Tanda etc.


4 Social and environmental conditions Given in the Diagnostic Study Report

Summary profile of typical owners/
managers and workers and their
economic status
The cluster actors of Lucknow Chikan
Cluster are artisans, Manufacturers, &
Traders.
Artisans belong to lower income group.
Manufactures and Traders are earning
enough to meet out their family
requirements.

Average yearly earnings (man/
woman) workers/ unit owners
Income of the artisan is Rs. 10/- to 40/-
per day depending upon the skills of the
artisans. Yearly income ranges from
Rs. 3,000/- to 15,000/-
Manufacturers earn more Rs. 2.00 Lakhs
to Rs. 5 Lakhs per year

Drudgery in activity, if any
The craft need concentration, skill and
dedication.

Pollution related issues in the
cluster
Washing of the products is done at Gomti
River and chemicals/ soap used for
washing are polluting the river.

Mandatory/ legal issues related to
product quality, if any
Nil, there is no quality marking system in
the cluster.
5. Viability

Prospects of upgrading production
technology/ investments/ financial
off take/ quality?
Upgradation of technology through
Common Facility Center

Does the product have a future in
current national/ global settings?
Yes, good scope in Domestic and Export
Market

Main markets of the future in
current national/ global settings?
All over India and export to UK, USA,
Europe & Gulf Countries

Main markets of the cluster
products (geographical, consumer
segments)
All over India and export to UK, USA,
Europe & Gulf Countries

Major threats/ challenges
Competition from other clusters
producing cheaper items such as screen
printing, machine embroidery etc.


Stage of product in the product life
cycle, if known
Final products usually ready to wear

Where do the cluster product(s) fit
into the global value currently?
Insignificant
6. Promotability It is an artisanal cluster and during the
project, design and product development
programmes will be implemented.

Have some firms undertaken
product upgrading or
diversification, explored new
markets, made technological
innovations, invested significantly
in or updated equipment etc. in the
recent past?
Although there are few manufacturers and
traders who have earned good money out
of this business but activities related with
product upgrading or diversification, new
markets, technological innovations,
updated equipment etc. are not very
common in the cluster.
Very few manufactures have established
their own Cutting & Stitching Units.

Does the birth rate of new firms
substantially exceed the closure
rate of existing ones?
Birth rate of new enterprise is fast. As the
manufacturing of Chikan Garments
doesnt need much infrastructure, people
enter in chikan manufacturing easily.

How sensitive are the firms to
major issues that are bothering
them?
Artisans & Manufacturers are not very
sensitive about the issues which are
bothering them. Lack of unity among
artisans & manufactures is also a cause of
this.

Local institutional capacities for
collective developmental action in
the private and public sector
Nil
7. Complementarily

Other development work either
already under way or likely to start
in the near future
Nil

Scope of the proposed project for
value addition to other
developmental work, as stated
above


EXECUTIVE SUMMERY
CHIKANKARI
Chikankari is a fine and intricate shadow-work
type of embroidery done by white yarn on colorless
muslins called tanzeb (tan meaning body and zeb
meaning decoration). The word 'Chikankari'
according to one school of thought appears to have
had its origin in Persia, being derivative of chakin
or chakeen. It may also be a distorted form of the
work chikeen or siquin, a coin valued at Rs. 4 for
which the embroidery was sold. Another
explanation ascribes its origin to East Bengal
where the word Chikankari meant 'fine'.
The earliest reference in literature to Chikankari dates back to the 3rd century B.C. In
his records Megasthenes, a Greek traveler, had mentioned the use of flowered
muslins by the Indians.
Folklore attributes the origin of Chikankari to various sources. It is believed by many
craftsmen that a traveler while passing through a village near Lucknow asked for
water from a poor peasant. Pleased with his hospitality, the traveler taught him the
art of Chikankari that would never allow him to go hungry. The craftsmen believe
that the traveller was a prophet. Another story imputes its origin to Queen Noor
Jehan, who inspired by Turkish embroidery, introduced this needlework. The origin
of this craft is also ascribed to the harem's of Avadh's Nawab where a seamstress
from Murshidabad embroidered a cap for the Nawab to please him. Jealous of the
attention she received from the king, other inmates of the harem followed her and
thus the art of Chikankari was evolved.
LUCKNOW
Lucknow, the capital of Uttar Pradesh is situated 123 Mts. above sea level. It is
situated on 26.30 & 27.10 North latitude and 80.30 & 81.13 East longitude. Lucknow
covers an area of 2528 sq. km. It is surrounded on the eastern side by District
Barabanki, on the western side by district Unnao, on the southern side by Raebareli
and on the northern side by Sitapur and Hardoi districts. Sai river flows from the
south of the city and in the east enters district Raebareli.


STRATEGY FOR INTERVENTION
Formation of Artisan guilds and Women SHG units in the villages. These units
will be empowered through awareness generation, training and exposure visits.
The capacity of the networks and institutions will be built through this process.
Other NGOs/ Institutions/ Cooperatives etc. working in this Sector within the
cluster will also be involved for networks and capacity building.
Result oriented activities like process up-gradation; setting up of CFC,
productivity improvement, training in new product preparations as per the
present trends and joint exposure to markets etc. can be promoted.
The networks will be promoted for long run activities such as SHGs and artisans
will be empowered through better technical knowledge, creation of jobs and
additional income through better productivity. The artisans will be empowered
through better access to credit facilities.
Simultaneously the research and studies will be conducted for various long run
activities like regular joint marketing, choice of new product range, infrastructure
provision etc. for sustained impact on the cluster with respect to growth and
development.
Common Facility Center (CFC) will be set up within the cluster for improvement
of processing capabilities. All the facilities will be availed for and processing of the
products in the cluster itself. This will help the cluster for sustainable
development.
Other interventions such as designing, technical up gradation, market promotion,
cluster information center, buyer sellers meet and the welfare activities including
health and education for artisans will be undertaken.
MAJOR INTERVENTIONS PLANNED
Soft Intervention
Awareness Camp for building awareness and SHG Formation
Formation of SHGs
Meeting of Cluster Actors/ SHG Members/ SPV Members
Skill Upgradation Training Center
Design & Product Development workshop
Seminar on Geographical Indication
Launching of Web Site
Hard Intervention
Design Center and Product Display Center


SCOPE AND METHODOLOGY OF DIAGNOSTIC STUDY
NEED FOR AN INTEGRATED APPROACH
The development of a country is an intricate process that advances human
capabilities, development and living levels of its people. Every industrial sector needs
to contribute to this process. Handicrafts industry is providing considerable
employment generation avenues, through its rich historical values, to the people of
rural Area of our country.
Presence and growth of handicrafts industry in a geographical region is strengthened
by the growth of various micro and small units involved in molding, designing,
trading, exporting, etc. They provide vital backward and forward linkages to the
units. These units support the growth of the handicraft industry.
Again, various support and technical organizations that provide training, business
directions, linkages to growth avenues, etc. like technical institutions, industry
associations, financial institutions, etc. are also a part of the same sub-sector. They
act as catalysts and have great potential to energize the growth phenomenon.
Together, they constitute what is referred to as a cluster in a generic sense.
The cluster approach has been developed to address knowledge fragmentation, lack
of coordination and joint action. It is based upon the realization that the lack of
communication among the various cluster actors and their skepticism towards joint
endeavors are deeply entrenched within traditional business practices and that the
latter cannot be replaced without the investment of significant resources.
In the context of Handicraft cluster the following actors play a major part:
Raw Material Providers
Artisan
Manufacturers/ Traders
Government and private financial and R&D institutions
Business Development Services (BDS) providers and Associations.
In order to look at the concerted effort of the program it is all the more necessary to
adopt an integrated approach CLUSTER DEVELOPMENT PROGRAM. The
implementation of cluster development program starts by gathering dispersed
knowledge through a participatory study not only about its constraints and potential
but also local linkages and support mechanisms through a diagnostic study. The


participatory process helps to build initial trust among the possible partners and
secure the positive involvement of diverse actors.
SCOPE
Understand and analyse the current scenario under which the units are operating
in the cluster; analysis of business operations, nature of production activity,
profiling of products, pattern of production and existing market potential for it
and possible market tie-ups.
SWOT analysis of the cluster in terms of finance, market, production and
product, which will help evolving intervention instruments for multiplying the
strengths of different components and at the same time improve upon the
weakness while taking into consideration the threats inherent in the cluster.
Value chain analysis to identify the gaps and constraints which will help to look at
the needs for each value activity and to access whether each activity will lead to an
addition to the value more than the cost incurred on that activity. This analysis
would also have significance for issues like resource allocation, cost efficiency of
products, controls over resources and effectiveness of firm and financial analysis
of the cluster.
Social/institutional analysis of the local organizations which will help in
identifying stakeholders involved in various levels in the promotion of the
entrepreneurship serving handloom producers; Feasibility analysis of institution
around credit and marketing, community acceptance and its role in strengthening
backward and forward linkages which will help evolve mechanisms to improve
upon the same and creation of suitable platform to address the concerns.
Recommendations in terms of action plan required for harnessing the potential of
the cluster vis--vis the market.
OBJECTIVE OF DIAGNOSTIC STUDY
To identify villages where artisans of Chikankari Embroidery are working in
Lucknow dist.
To evaluate the present socio economic status of the artisans in the cluster.
Identify the products being manufactured by the artisans.
Assess the technology being used in production.
Identify the sourcing for raw materials & semi finished products and their
method of use in the cluster.


Identify the problems being faced by the artisans in the cluster.
Identify the bottlenecks in development of the cluster and solutions there off.
Determine the necessary measures to be taken for development of the
cluster.
Analyzes the Strength Weakness Opportunity and Threat.
Prepare an action plan and Strategy for implementation.
METHODOLOGY
The Study is comprised of analysis of secondary data/information and primary data
collection in the field. Primary data has been collected through pre-designed
questionnaire and sample based responses. Interaction with local stakeholders and
their views and remarks have constituted in the part of the study. Unstructured
focused group discussion, structured questionnaire survey with a set of stake holders
have also been conducted to verify and cross check primary data collection.


INDUSTRY SCENARIO OF HANDICRAFTS IN INDIA
During recent years, the importance of handicrafts has been surged due to their
cultural and financial values. The small-scale industries - including handicrafts can
play a major role in the development of the economy of both developed and the
developing countries equally. The 90-95% of the total industrial products of the
world are produced in small workshops run by less than 100 people. For instance,
Japan, which is at the peak of the economic development, has considered 84% of its
industries as small and medium scale industries. In countries such as India and
China, handicrafts are as high as the mechanized products in quality and volume,
and are a major source of their foreign earnings. These countries are focusing on the
development of handicraft industry, in order to strengthen the economy.
CLASSIFICATION
Handicrafts industry comprises diversified products portfolio and there is large
variety available in market. Handicrafts products can be distinguished into following:
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.
The 6 million craft persons who are the backbone of Indian Handicraft Industry as
provided with inherent skill, technique, traditional craftsmanship but that is quite
sufficient for primary platform. However, in changing world market these craft
persons need an institutional support, at their places i.e. craft pockets for value
addition and for the edge with other competitors like China, Korea, Thailand etc.
In addition to the high potential for employment, the sector is economically
important from the point of low capital investment, high ratio of value addition, and
high potential for export and foreign exchange earnings for the country.
HANDICRAFT INDUSTRY IN INDIA
India has a great history of art and craft traditions. Each part of the country has its
own unique cultural ethos, which is manifested in the handicrafts of that particular
region. Indian crafts and handicraft traditions are influenced by local topography,
climate, and socio-religious factors. These craft traditions have withstood the ravages
of time and numerous foreign invasions and continue to flourish till date owing to
the assimilative nature of Indian culture and broadmindedness of the craftsmen to
accept and use new ideas.


The Indian handicrafts industry is highly labour intensive, cottage based and
decentralized industry. The industry is spread all over the country mainly in rural
and urban areas. Most of the manufacturing units are located in rural and small
towns, and there is huge market potential in all Indian cities and abroad. Handicraft
industry is a major source of income for rural communities employing over six
million artisans including a large number of women and people belonging to the
weaker sections of the society.
The Handicraft sector is highly creative sector and produces large variety of crafts
products. This industry is localized segment of the domestic and international
market. In India the production of craft products are done on both large and small
scale. Because of low capital investment people can start their business on small
scale. Through this flexibility the demand and supply can be managed.
Though Indian Handicraft industry is considered a cottage industry, but it has
evolved as one of the major revenue generator over the years. There has been
consistent growth of 15% over few years and the industry has evolved as one of the
major contributor for export and foreign revenue generation. There is huge demand
for the Indian Handicraft products in both national and international market. To
match the demand and supply with quality, there is need to have greater
technological support and innovativeness with the uniqueness in industry.
Indias rich cultural diversity and heritage provides a unique and huge resource for
developing craft products. The Indian Handicraft Industry is showing continuous
growth rate of 20% every year. Handicrafts industry is one of the important segments
of decentralized sector in India.
Major parts of industry operates in rural and semi urban areas throughout the
country and has potential Indian and International market with around 67000
exporters to tap the market. According to the national census of handicrafts,
undertaken by the National Council for Applied Economic Research the value of
handicrafts produced last year were of Rs.26,213 Crore.
This Industry provides huge employment opportunities to artisans that include
women and people belonging to backward and weaker society. This is one of the
major source of income there. The Indian Handicraft Industry is a $100 billion
industry worldwide. Indias contribution in world market is 1.2% The total exports of
crafts items: - Rs. 13412.92 Crore. Industrys share in India's exports is 1.51%. Inspite
of having diversified products, some part of Indian market are still untapped and
market is price sensitive.


Products are high priced in big and metro cities, which are beyond, reach of people
belonging middle and lower middle class. Craft producers have to compete on price,
quality and delivery for different segments.
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.
Handicraft Industry has evolved as one of the major contributors for Export and
foreign earnings. Exports of handicrafts including hand knitted carpets during 2005-
06 were Rs.13412.92 Crore. Export items- Art Metal wares, Wood wares, Hand
printed textiles, Embroidered and Crocheted goods, Shawls as art wares, Zari goods,
Imitation jewelry, Carpets, Leather products, Jute products, Paintings, Bamboo
products, Earthen ware, Marble Sculpture, Bronze Sculpture etc. India's major
export markets are USA, Germany, UK, France and Japan, Saudi Arabia, Canada,
and Italy etc.
MAJOR DESTINATIONS FOR INDIAN HANDICRAFTS


GLOBAL SCENARIO OF HANDICRAFTS
In the changing world scenario, craft products exported to various countries form a
part of lifestyle products in international market. The impact is due to the changing
consumer taste and trends. In view of this it is high time that the Indian handicraft
industry went into the details of changing designs, patterns, product development,
requisite change in production facilities for a variety of materials, production
techniques, related expertise to achieve a leadership position in the fast growing
competitiveness with other countries.
India is one of the important suppliers of handicrafts to the world market. The
Indian handicrafts industry is highly labour intensive cottage based industry and
decentralized, 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 over six million artisans (including those in carpet trade), which
include a large number of women and people belonging to the weaker sections of the
society.
In addition to the high potential for employment, the sector is economically
important from the point of low capital investment, high ratio of value addition, and
high potential for export and foreign exchange earnings for the country. The export
earnings from Indian handicrafts industry for the period 1998-99 amounted to US$
1.2 billion.
MAJOR DISTRIBUTION CHANNELS
In the world handicrafts are generally distributed through five major channels:
Wholesalers
Importers/distributors
Commission agents/sales representatives
Department stores
Mail-order
Internet sales
Tele-shopping


EMBROIDERY TRADITIONS IN INDIA
Indians craftsmen were engaged in the process of beautifying and embellishing
multiple fabrics since very long time. Embroidery is the name of one such craft that
glorifies the cloth when worked upon. There are several embroidery traditions in
India that have been the major factor behind the beautiful clothing of the royalty and
the common people. Some important embroidery crafts are phulkari, Chikankari,
kantha, karchobi, kathi, kimkhab, aribharat, appliqu, sujuni, zardozi etc.
APPLIQU
Applique is the art practiced in Orissa and Rajasthan. It is a decorative work in which
one piece of cloth is sewn or fixed onto another, or the activity of decorating a cloth
using glass pieces, metals, wood or metal wires
APPLIQU WORK IN ORISSA
Orissa's appliqu work is one of the most fascinating handicrafts of India. The Pipli
village in Puri district of Orissa is the main center of appliqu work. Rows of shops in
Pipli flaunt appliqud handbags, bed sheets, wall hangings, purses, cushion covers,
letter cases, pillow covers, canopies and garden umbrellas.
Patronized by kings and nobility of Orissa, appliqu work at one time had reached
the artistic heights of excellence. The kings of Puri engaged craftsmen in the service
of Lord Jagannath and set up village Pipli for them to live in.
Though the art became popular after the construction of the Lord Jagannath temple
in Puri, its origins go far beyond.
In the old days, Pipli craftsmen used to make canopies, banners, umbrellas and
trashas (fans) for festivals held in Puri's famous temple. But as the craft's popularity
spread far and wide through the pilgrims of Puri, the craftsmen started making other
decorative and utility items also.
APPLIQU WORK IN OTHER STATES
The traditional appliqu from Punjab is called phulkari. The meaning of the word
phulkari is flowering as the surface of the cloth begins to resemble flowering petals.
Phulkari is generally made on shawls using the darn stitch to attach pieces of cloth
onto the surface of the shawl. Apart from flowers, stylized figures of animals and
plants are also made. Silk thread is generally used in creating phulkari, though
occasionally cotton thread is also put in use.
In Andhra Pradesh, the blouses and headscarves worn by the Banjara tribal women
are not only embroidered but also decorated with appliqu and mirror work.


Rajasthan is also known for its unique appliqu or gota, which is created by sewing
edges of zari ribbon onto fabric, to create elaborate patterns. It is commonly used for
making costumes for women. Khandela in Shekhawati is best known for producing
these items.
Appliqu work these days can be seen on utilitarian items such as bags, lampshades,
tablemats etc. Appliqu embroidery can also be seen on blouses, petticoats, gowns
and other garments.
ARIBHARAT
Aribharat is the highly ornamental form of embroidery, which is produced in the
Kutch region of Gujarat. This craft is named after ari, a hook that is plied from the
top and fed with silk thread from the bottom. The cloth to be embroidered is spread
out and stretched on a frame. Stitches are applied using the hook, to make loops,
which are similar to the chain stitch.
As cobblers (mochi) create this type of embroidery, it is also known as mochibharat.
CHIKANKARI
Chikankari is a fine and intricate shadow-work type of embroidery done by white
yarn on colorless muslins called tanzeb (tan meaning body and zeb meaning
decoration). The word 'Chikankari' according to one school of thought appears to
have had its origin in Persia, being derivative of chakin or chakeen. It may also be a
distorted form of the work chikeen or siquin, a coin valued at Rs. 4 for which the
embroidery was sold. Another explanation ascribes its origin to East Bengal where
the word Chikankari meant 'fine'.
The earliest reference in literature to Chikankari dates back to the 3rd century B.C. In
his records Megasthenes, a Greek traveler, had mentioned the use of flowered
muslins by the Indians.
Folklore attributes the origin of Chikankari to various sources. It is believed by many
craftsmen that a traveler while passing through a village near Lucknow asked for
water from a poor peasant. Pleased with his hospitality, the traveler taught him the
art of Chikankari that would never allow him to go hungry. The craftsmen believe
that the traveller was a prophet. Another story imputes its origin to Queen Noor
Jehan, who inspired by Turkish embroidery, introduced this needlework. The origin
of this craft is also ascribed to the harem's of Avadh's Nawab where a seamstress
from Murshidabad embroidered a cap for the Nawab to please him. Jealous of the
attention she received from the king, other inmates of the harem followed her and
thus the art of Chikankari was evolved.


CREWELWORK
A garment is liked by the people when it is undergone some elegant craftwork on it.
Embroidery is the finest craft that makes a cloth beautiful and attractive. India has
had a very old tradition of embroidery with varying styles in different nooks of
country. Crewelwork is one of such embroidery styles. It is said to be a thousand
years old technique of beautifying the wear ables.
Crewelwork is mainly a work of wool over the surface of cotton or linen. Craftsmen
need special crewel needles to carry out crewel embroidery. Besides, to create a
textual and colorful effect on the surface of the garment many different kinds of
embroidery stitches are used like couching stitch, split stitch, chain stitch and stem
stitch. An embroidery hoop or frame is required for the ultimate finish of
crewelwork.
Stylized flowers are the main motif used in crewelwork. The entire surface is not
covered and the background is left untouched. Woolen threads are used in
crewelwork. Crewelwork is not as colorful as chain stitch as only three or four colors
are used. Many home furnishing items like curtains, cushions, woolen floorings,
bedspreads and wall hangings look stunning after the crewelwork. Crewelwork is
popular craft form of Kashmir.
KANTHA
Kantha is the local Bengali tradition of embroidery, practiced by Bengali women in
their homes. The ground of the Kantha is made up of old cotton saris and old threads
are used. Small stitches are applied to create a series of dotted lines. On the reverse
of the cloth long, decorative floats are stitched, which are used for filling in motifs
and figures.
The surface is then profusely covered with needlework so that the old sari acquires a
new look as well as a new lease of life.
KARCHOBI
Rajasthan is also known for deft needlework. Karchobi, a form of raised zari metallic
thread embroidery is popular in here. It is created by applying flat stitches on cotton
padding. Karchobi work can be seen on bridal and formal costumes. It is also done
on velvet coverings, curtains, tent hangings and the coverings of animal carts and
temple chariots.
KATHI WORK
The nomadic (Rabari) tribes of Gujarat are known for their Kathi work, a type of
embroidery, which combines chain stitch along with appliqu work embellished with


small mirrors. As Kathi work is done on fabrics that are dyed in bright colours, the
garments and items made out are unique and display the folk flavour of rural
Gujarat. The womenfolk practice this craft.
KIMKHAB
The pattern in kimkhab looks as though embroidered on top of an already rich silk.
The silk fabrics have colored silk or gold threads interwoven to form the most
attractive designs. The gold thread is called kalabattu. It is a specially prepared
thread of silk with a metallic mounting of gilded silver. A thin bar of silver is beaten
and drawn through a succession of holes in an iron plate. Each hole is smaller than
the preceding one. This process is followed until a very fine wire is obtained. This
wire is slightly flattened and twisted spirally around the silk thread.
Kimkhabs were earlier made entirely from fine gold or silver threads. During the
17th, 18th and 19th centuries, some were set with precious stones, and were used in
making canopies and trappings as seen in the late Mughal paintings.
There are various grades for kimkhabs which are determined by the number of
kalabattu threads repeated in a given space. For example ekpara represents ten
kalabattu threads in a running inch. Similarly, there is dopara, tinpara, chaupara and
even chhapra.
PHULKARI
Sitting on the charpoys (beds woven with jute strings) pulled into the protective
shade of a tree, or ensconced against a wall, women in villages and small towns all
over Punjab are often busy creating spectacular flower-embroidery on dupattas,
shawls or other garments. Called phulkari in local parlance, the origin of this
beautiful art can be traced back to the 15th century AD.
The word phulkari literally means flowering. It is a form of craft in which embroidery
is done in a simple and sparse design over shawls and dupattas. In some cases where
the design is worked over very closely, covering the material entirely, it is called bagh
(a garden of flowers). A phulkari is sanctified to be used as the canopy over the holy
book of the Sikhs, the 'Guru Granth Sahib'.
For each different occasion, for each different setting, the versatile fingers and fertile
imagination of the women of Punjab designed an impressive selection of phulkaris.
SHEESHEDAR: MIRROR WORK OF GUJARAT
It has been truly remarked, "For the peasant women of Gujarat, a needle is her pen
with which she gives expression to her creativity and reiterates her relationship with
religion and nature."


One of the well- known crafts associated with embroidery is Sheeshedar or mirror
work, It is a highly intricate form of sewing mirror discs onto the fabric The art
supposed to have originated in Persia, dates back to the early 13th century. But not
much is known about it. Marco Polo, who came to India in the same century,
commented that the gold and silver embroidery in this region was more skillfully
done than anywhere else in the world.
The art of putting mirrors into the garments is usually combined with other forms of
embroidery. The communities who were already familiar with art of embroidery
incorporated this craft so as to add more effects to their designs.
The finest embroidery was brought to northern Kutch by the Jats of the Banni who
had immigrated from Baluchistan generations ago. Their work still retains the
Baluchi techniques and the same preference for small, intricate patterns, which are
fundamentally geometric in conception. Mirror discs are cut in the shape of petals
and leaves, and blended in designs of shimmering delicacy.
Bhuj, the capital of a small prosperous kingdom in the central provinces of Kutch,
was inhabited by mochis-cobblers or leather workers, by trade. It is not known when
they began practicing silk embroidery, but their work shows a maturity of style and
technique, indicating a well-established craft.
Their designs comprised the traditional floral motifs and were executed in two
alternating patterns on the hem of the ghaghrapat (skirt-cloth). Though the craft
centered primarily around Bhuj, some mochis moved to Kathiawar (Saurashtra), in
the 14th century and were employed by the Kathis, a land owning class.
SOZNI & CHAIN STITCH
Shawls from Kashmir are popular because of the embroidery done on them. The
craftsmen of Kashmir, to beautify shawls use different stitches. Sozni or fine
needlework is generally done on the side of the shawls. The value of the shawl is
determined by the amount and quality of the embroidery. The traditional Kashmiri
dress; Phiran is also endowed with rich embroidery. The finest embroidery from
Kashmir can be found on Pashmina shawls. Sometimes the entire surface of these
shawls is covered with fine embroidery.
Chain stitch is popular in Kashmir and is done using wool, cotton or silk thread. A
hook is used instead of a needle, as it covers more area than a needle. Embroidery is
done on a piece of plain white cloth and small stitches are used to create figures and
motifs in bright colours. The background is also made up of a series of embroidered
coin shaped circles, which add dynamism to the entire structure of the work. Chain
stitch is used to create chain stitch rugs or Gabbas.


SUJUNI
Sujuni is the traditional form of embroidery from Bihar. Embroidery is done on a
fabric that is enforced with fine muslin. The base fabric is generally red or white. The
outlines of the main motifs are highlighted with thick chain stitch and the inner
spaces are filled with different coloured threads. Other motifs are filled with red
colour or the colour of the base fabric.
ZARDOZI
From the medieval times the art of Zardozi has flourished, reaching its zenith under
the patronage of Emperor Akbar. This gorgeous embroidery reveals artistic use of
laid stitch with golden thread. It can be seen in wall hangings, chain stitch on saris,
caps and other articles with heavy embroidery. As the embroidery is densely
performed, designs done are extremely intricate.
The gold wire known as zari is the thread used for zardozi embroidery. The making of
zari thread is a very tedious job involving winding, twisting, wire drawing and gold
plating of thread. The embroidery of zari zardozi is performed in a very interesting
manner. Gold wire is carefully revolved around a silver bar tapered at one end. Then
they are heated in furnace till gold and silver alloy is formed. The gilt wire, when
drawn through a series of holes made on steel plates, comes out glittering as gold.
The gold-coated silver wire is then flattened and twisted around silk thread to obtain
zari.
KATHI EMBROIDERY
Kathi embroidery, however, shows an entirely separate style from that of Bhuj. While
the floral patterns remained, the fillings were often in herringbone stitch (being
quicker than the chain stitch). The designs were figures and animal motifs adopted
from kathi art. Dominant motifs of flowers or peacocks were used and the
intervening spaces were filled with leaves and buds. Mirrors were used for
emphasizing the center of flowers, eyes of birds and animals.
OTHER STYLES
The commercial communities, of the southern and western districts of Kathiawar,
known as Mahajans, also produced a unique style of austere geometric embroidery. It
was worked in a monochrome of red or violet, in long darning stitches, which covered
the entire cloth. The sheen of silk was enhanced by mirrors at the intersection of the
motifs and on the main borders. White and cream threads emphasized the velvet-like
surface that created a double-tone effect. Because of the reflection of light by the
mirrors, the effect was enriching.


Bright yellow and orange decoration of the Kanbi community is another well-known
style. The difference lay in the size of mirrors. They used large mirrors, almost one
inch in diameter, framed in metal, for a bold effect.
The work of Ahirs, though not so popular, is finer and more elaborate. The motifs are
edged with running stitch-tanka in white thread. This not only highlights the motif,
but also gives it a sense of movement. The flowers surrounded in a circular fashion,
by mirrors, are reminiscent of many styles in Kutch.
Incredibly miniscule mirror embroidery was done on heavily encrusted yoke with
white thread, mingled with red, orange, blue and green, by the Garari Jat
community.
The Tharparkar district was renowned for its bold style. The entire pattern was
worked in open chain stitch and richly encrusted with discs of mirror glass, on coarse
cotton. It was also worked on printed and tie-dye cloth, forming patterned field.
Mirror work, however, was not just confined to Gujarat but also seeped into the
neighboring state of Rajasthan. In Rajasthan, the Harijans, originally weavers, use a
combination of cross stitch, satin stitch and buttonhole stitch, along with mirrors.
The cut and placing of embroidery and mirrors in a kanjri (a backless upper
garment), significantly identifies the wearer as married, betrothed or widowed. It is
not only popular in the local market, but also forms a bulk of the export to European
countries.
An interesting school of belief maintains that earlier mica was used instead of
mirrors. Later ornamental mirror shapes were cut out of an urn, blown out by a
mouth pipe. With the advent of modern machines, this ancient technique was soon
replaced by the manufacture of mirror sheets, which facilitated the craft to a great
extent. Most of the workers have now resorted to machine embroidery. Though hand
work is still done, it is increasingly difficult to produce commodities at prices
compatible with work done in modern conditions.


INTRODUCTION OF CHIKANKARI
The city of Lucknow has a prominent place in the history of India particularly for its
art, historical monuments and rich cultural heritage. The rulers of Awadh,
particularly the Moguls were very fond of art and cultural activities such as music,
poetry, architecture and handicrafts. Besides being famous for its hot summers and a
glorious past, Lucknow is also known the world over for its many fine Handicrafts.
Some of the most popular names in this list are Chikankari, Hand Block Textile
Printing, Zari Zardozi, Ivory or Bone Carving, Terracotta and many others that are
practiced by various artisans of Lucknow. Chikankari is considered to be the most
popular amongst these and is recognized worldwide.
HISTORY OF CHIKANKARI
Chikankari is a fine and intricate shadow-work type of embroidery done by white
yarn on colorless muslins. The word 'Chikankari' according to one school of thought
appears to have had its origin in Persia, being derivative of chakin or chakeen. It may
also be a distorted form of the work chikeen or siquin, a coin valued at Rs. 4 for
which the embroidery was sold. Another explanation ascribes its origin to East
Bengal where the word Chikankari meant 'fine'.
The Chikankari embroidery in India is
about 400 years old. It is believed that
this is a Persian Craft came to India with
Noorjahan, the queen of Jahangeer the
Mughal Emperor. At that time she and
other 'Begams' (wives) of mogul dynasty
practiced it for themselves and their
husbands.
The earliest reference in literature to
Chikankari dates back to the 3rd century
B.C. In his records Megasthenes, a Greek
traveler, had mentioned the use of
flowered muslins by the Indians.
ORIGIN OF CHIKANKARI
Folklore attributes the origin of
Chikankari to various sources. It is
believed by many craftsmen that a
traveler while passing through a village


near Lucknow asked for water from a poor peasant. Pleased with his hospitality, the
traveler taught him the art of Chikankari that would never allow him to go hungry.
The craftsmen believe that the traveller was a prophet. Another story imputes its
origin to Queen Noor Jehan, who inspired by Turkish embroidery, introduced this
needlework. The origin of this craft is also ascribed to the harem's of Avadh's Nawab
where a seamstress from Murshidabad embroidered a cap for the Nawab to please
him. Jealous of the attention she received from the king, other inmates of the harem
followed her and thus the art of Chikankari was evolved.
Chikankari flourished under the patronage of the rulers of Awadh. Later when the
capital of Awadh shifted to Lucknow from Faizabad, in the year 1722, the knowledge
of the craft came to Lucknow. It is informed that here the Mughals found the Hand
Block Printing skills that made it easier for them to practice this embroidery, as
earlier the tracing of design was very difficult. This availability of easy process of
drawing of base design encouraged them to teach this fine embroidery-work to their
Kaniz (servants), who in turn taught it to their other family members and gradually
this embroidery become a part time earning source of many women of rural areas.
TRADITION OF CHIKANKARI
The craft of Chikankari is quite distinctive and forms an integral part of life in
Lucknow. The fine needlework adorned the garments made from gossamer silk
fabrics and muslin for the ruling elite. The love and hard work of the artisans created
delicate designs on fabrics that was reminiscent of sheer grace. They captured the
beauty of intricate patterns of marble 'jaali' and inlay work of the Mogul period
monuments and developed this indigenous form of artistic embroidery called
Chikankari.
The tradition of Chikankari has come down from families who served the ruling elite.
The craftsmen with love and devotion worked on topi-palla or angarkha, for their
masters, creating designs that were unmatched in beauty. With the decline in
patronage, economic compulsions forced the men to look out for more lucrative
employment and the craft passed on to the womenfolk of the community, as a source
of subsidiary earning for the family. Gradually, it became the main source of earning
for the family.
In the beginning, the Mughals and Persians who settled in Awadh practiced &
patronized the craft but later on its touch and style were continued in Dhaka and
Bengal, mainly Calcutta where Navab Wazid Ali Shah of Lucknow remain in captivity
of British Rulers. Bengali work was mainly for the European market but no trace of it
remains today, either in Calcutta or in Dhaka.


In Lucknow, embroiderers used to work under the patronage of the local courts.
When these declined in the mid nineteenth century Chikankari-work changed from
professional activity of men to a cottage industry for women. Today, it is mainly in
the hands of rural Muslim women and is still a significant Industry in Lucknow.


STITCHES OF CHIKANKARI
Chikankari embroiders claim a repertoire of about thirty-two stitches, to which they
give delightfully fanciful names: Double-Star Earring, Peacock Feathers Eye. Some
of the names in their local language are; Sidhual, Makra, Mandarzi, Bulbulchashm,
Tajmahal, Phooljali, Phanda, Dhoom, Gol murri, Janjeera, Keel, Kangan, Bakhia,
Dhania Patti, lambi Murri, Kapkapi, Karan Phool, Bijli, Ghaspatti, Rozan, Meharki,
Kaj, Chameli, Chane ki Patti, Balda, Jora, Pachni, Tapchim Kauri, Hathkati & Daraj
of various types. Closer analysis reveals that many of these are different
combinations of the same few basic stitches.
Stitches employed in Chikankari are unique and can be divided into three categories:
Flat stitches, which are delicate and subtle and lie close to the surface of the fabric
giving it a distinctive textural appearance; Embossed stitches which are highlighted
from the fabric surface lending it a characteristic grainy texture and Jali work which
is the most striking feature of Chikankari embroidery and which creates a delicate
net effect. The fabric is broken into holes by 'teasing' the warp and weft yarns and
holding them in position by small stitches.
Chikan embroiders claim a repertoire of about forty stitches, to which they give
delightfully fanciful names : double-star earring, peocock feather's eye . Closer
analysis reveals that many of these are different combinations of the same few basic
stitches.
BASIC STITCHES
The Basic Stitches are 6 in number & all except one are common to other forms of
embroidery. They are tepchi, bakhia, shadow, hool, zanzeera, rahet, banarsi which
has no European equivalent.
TEPCHI : Running Stitch. Outlines are worked with it.
BUKHIA : Herringbone stitch done on wrong side, giving a shadow effect.
PECHANI : Its a variation of running stitch.
KHATAO : Flat style of chikankari. Very minute applique .
MURRI : Knotted style of chikankari. It is a rice shaped stitch produced by satin
stitch.
PHANDA : Resembles millet and gives a raised effect . It is a French knot.
JALI WORK : Gives an effect of open mesh or net like appearance . Produced by
pushing hard the warp and weft threads that are held by button hole stitch.


DHOOM : Its a flat style of chikankari.Very similar to Sidhi Bhakia except that it is
much closer packed and there is more criss-crossing of individual threads.
Some other stitches are Ghasphool, Katbalda, Channa ki Patti, Kangan, Bijli, Gitti,
Janjira, Kamdani, Back stitch etc.
Derivatives :
These are 5 in number four based on tepchi & one on rahet. They are known as tepchi
pechni, pashni, cutting or cutwork, balda & dohra bakhia.
Murri Work
A major feature of chikan is the use of a specific formation of stitchery which in itself
creates a small embossed leaf or petal. There are 7 such stitches known as phunda,
mundi murri, Nukili murri ,mur mora, kauri, boot patti,chikan ki ghans.
Pulled work (Jali)
The pulled work stitches of chikan are all worked from the back of the fabric with a
fine string thread able to withstand tension . This is usually drawn from the selvedge
of the fabric.
Applique (Khatao)
A rare & very difficult technique of chikan is the applique work known as khatao.
Two pieces of line cotton are superimposed & the edges of the minute design are held
by tiny hem stitches . The top layer is then cut away , leaving the pattern in double
fabric . This is used as the sole technique in some work or when combined with
stitchery for seams


PROCESS OF CHIKANKARI
The Chikankari industry has five main processes namely cutting, stitching, printing,
embroidery, washing, and finishing. Cutting is carried out in
the lots of 20-50 garments. The layouts are done to minimize
wastage of materials. Stitching, often done by the same person,
may be 'civil', done exclusively for higher priced export orders
or 'commercial', which is done for cheaper goods. Printing is
carried out by the use of wooden blocks dipped in dyes like
neel and safeda. After this, the fabric is embroidered by
women. The last process, which is washing and finishing, takes
about 10-12 days. This includes bleaching, acid treatment, stiffening, and ironing.
The most common motif used is that of a creeper. Individual floral motifs may
embellish the entire garment or just one corner. Among the floral motifs
embroidered, the jasmine, rose, flowering stems, lotus and the paisley motif are the
most popular.
In recent years, the beautiful and wide variety of stitches and designs that were on
the decline, have been revived. Concerted efforts by government and various private
organizations have paid off and today the art of Chikankari is flourishing, enriching
both the domestic and export market.
CHIKANKARI is an art, which results in the transformation of the plainest cotton
and organdie into flowing yards of magic. The word Chikan steps from a Persian
word derived from Chic, which referred to the 'jali' work done on marble or wood. It
is also famous as shadow work or white embroidery work, traditionally practiced
in the city of Lucknow and its environs.
Traditional Chikankari was embroidered on Muslin with a white thread. Gradually
the work was started being done on other fabrics like Organdie, Malmal, Tanzeeb,
Cotton and Silk. Presently all types of fabrics, namely Voil, Chiffon, Lenin, Rubia,
Khadi, Handloom cloth, Terry Cotton, Polyester, Georgette, Terry voil etc are used in
Chikankari Embroidery. The pattern is Block Printed on de-starched fabric using
temporary (not fast) dyes. Chikankari is something like unity in diversity i.e. it
includes some simple and complex stitches giving it an effect which is simple, gentle
and delicate. These days Chikankari work is done on variety of items such as Saris,
Suits, Kurtas, Home Furnishing items etc.


PROCESS FLOW CHART
FOR STITCH ITEMS FOR UNSTITCH ITEMS
CLOTH CLOTH

CUTTING CUTTING

STITCHING

PRINTING PRINTING

EMBROIDERY EMBROIDERY

JALI WORK JALI WORK

FINAL STITCHING PICO

WASHING WASHING

PRESSING PRESSING

FINISHING FINISHING

FINAL PRODUCT FOR SALE FINAL PRODUCT FOR SALE


CRAFT MAP OF INDIA


MAP OF UTTAR PRADESH


MAP OF LUCKNOW DISTRICT


ABOUT LUCKNOW DISTRICT
EVOLUTION OF NAME
Avadh is claimed to be among the most ancient of Hindu states. According to popular
legend, Ramchandra of Ayodhya, the hero of the Ramayana, gifted the territory of
Lucknow to his devoted brother Lakshman after he had conquered Sri Lanka and
completed his term of exile in the jungle. Therefore, people say that the original
name of Lucknow was Lakshmanpur, popularly known as Lakhanpur or
Lachmanpur.
GEOGRAPHY
Lucknow, the capital of Uttar Pradesh is situated 123 Mts. above sea level. It is
situated on 26.30 & 27.10 North latitude and 80.30 & 81.13 East longitude. Lucknow
covers an area of 2528 sq. km. It is surrounded on the eastern side by District
Barabanki, on the western side by district Unnao, on the southern side by Raebareli
and on the northern side by Sitapur and Hardoi districts. Sai river flows from the
south of the city and in the east enters district Raebareli. Lucknow is accessible from
every part of India through Air, Rail and Road. It is directly connected with New
Delhi, Patna, Calcutta, Mumbai, Varanasi and other major cities by Amausi airport.
Similarly city is linked to north, east, south and west through rail and road links.
Infect rail link joins Lucknow to Pakistan via Amritsar in the west and to Bangladesh
railways in the east. The population of district Lucknow as per census 1991 is
27,62,801 lacs.
CLIMATE, FLORA FAUNA
District Lucknow has almost uniformed tropical climate. The temperature varies
from 45 celcius maximum in summer to 5 celcius minimum in winter season.
Rainfall is 100 cm. per annum. The forest area is negligible in the district. Shisham,
Dhak, Mahua, Babul, Neem, Peepal, Ashok, Khajur, Mango and Gular trees are
grown here. In fact different varieties of mangoes specially Dashari are grown in
Malihabad block of the district and exported to other countries too. The main crops
are wheat, paddy, sugarcane, mustard, potatos and vegetables such as cauliflower,
cabbage, tomato, brinjals are grown here. Similarly sunflowers, roses, and marigold
are cultivated on quite a large area of the land. Apart from this many medicinal and
herbal plants are also grown here.
CRAFTS CULTURE & CUISINE OF LUCKNOW
Lucknow, the golden city of the east' retains an old world charm that fascinates one
and all. Regarded as one of the finest cities of India, Lucknow emanates a culture


that combines emotional warmth, a high degree of sophistication, courtesy and a love
for gracious living. This sublime cultural richness famous as 'Lucknowi Tehzeeb'
blends the cultures of two communities living side by side for centuries, sharing
similar interests, speaking a common language -Urdu. Many of the cultural traits and
customs peculiar to Lucknow have become living legends today. The credit for this
goes to the Nawabs of Awadh, who took keen interest in every walk of life and
encouraged them to attain a rare degree of perfection
CRAFTS OF LUCKNOW
For centuries Lucknow has been famous for its various handicraft works. The
Nawabs of Awadh were great patrons of fine arts of which the most well known is the
exquisite Chikankari work. In Lucknow the main concentration of Chikankari work is
to be found in the chowk locality and Daliganj. Besides Chikankari work the Zardozi
and Kamdani works of Lucknow are also appreciated far and wide.
These hand embroidery works with gold and silver thread are done on sarees,
dupattas, lehengas, cholis, caps, shoes etc. From time immemorial Lucknow is
known for its jewellery and enamelling work.
Exquisite silverwares like bowls, tea-sets, salt cellars with patterns of hunting scenes,
snakes and roses are very popular. The Bidri and Zarbuland silver works of Lucknow
find expression on excellent pieces of huqqa farshi, jewel boxes, trays, bowls, cuff-
Iinks, cigarette holders, etc. Life-like ivory and bone carvings from Lucknow with
motifs of flowers, leaves, creepers, trees, birds and animals are widely appreciated.
The master craftsmen create intricate items like knives, lamp shades, shirt pins and
small toys. In fact the ivory works from this city continue to find a place at museums
and private collections of connoisseurs Fine pottery from Lucknow is yet another
work of art that has captured the imagination of the consumers. The long necked
water pitchers and huqqa farshi are very popular. 'Attar' (Itr) or perfumes which
were introduced in India by the Muslims, reached a new height in Lucknow. From
the 19th century the Lucknow perfumers experimented and succeeded in making
attar with delicate and lasting fragrances Created from various aromatic herbs,
spices, sandal oil, musk essence of flowers, and leaves the famous Lucknowi
fragrances are khus, keora, chameli, zafran and agar. Apart from perfumes, Lucknowi
Paan, Zarda and Khamira produced by the local tobacconists are hot favorites among
consumers. Another craft that has reached a high level of artistry in Lucknow is Kite
making. Although Kite making is popular throughout India, this activity has attained
perfection only in Lucknow. Under Nawabi patronage this form of art flourished in
Lucknow and different types of Kites and flying strings were developed. Besides these
well known craft works, mention must be made to some other flourishing crafts like


gota weaving, dyeing and calico printing, silver varq making, woodworks and tazia
making. Beautiful tazias of zari, gold and silver paper are made by master craftsmen
to mark the solemn occasion of Moharrum. All in all, with these multifarious craft
specialties Lucknow promises to be a shoppers' delight that's hard to resist. In their
own distinctive wav these crafts have provided employment to thousands, delighted
many more and continues to keep alive the invaluable traditions of a magnificent
city.
CULTURAL RICHNESS OF LUCKNOW
'Lucknow', this name is synonymous with architectural beauties of 'Lakhauri' bricks,
the fragrance of 'itra', musical notes, the sound of dancers' trinklets, the sweetness
of 'dussheri' mangoes, 'malai' and 'gulab revadis', and of course its 'Mehman Nawazi'.
Known for its refinement in speech, entertainment, dresses and manners, Lucknow
is also called the 'City of Adab'. Infact, it is here that one can experience hospitality in
the true sense of the term. Various cultural ingredients have contributed to the
richness of this unique city. Mention must be made of the Urdu language. Gazals,
Shairi, expressive dance forms, colourful festivals, buzzing chowks and various
exciting games like Patangbazi, Baterbazi & Kabutarbazi
Lucknow became the focal point of a cultural renaissance with the shifting of capital
from Faizabad to Lucknow in 1776. Under royal patronage Kathak, Thumri, Khayal,
Dadra, Gazals, Qawalies and Sher-o-Shairi reached their zenith point. As a centre of
Islamic learning Lucknow witnessed the formation of Lucknow school of poetry
under renowned poets like Anes, Dabeer, Imam-Buksh 'Nasika', Mirza Mohd. Raza
Khan Burq, Atish, Mirza Shauq Asar, Josh and others. Apart from Gazals, another
form of long narrative poem for which Lucknow is famous is Masnavi. Elegy writing
in Urdu also reached a new height through the three forms-'marsiyas'*. 'salams'* and
'nauhas'*. Urdu as a language attained a rare degree of perfection in Lucknow and
slowly Lucknow emerged as a cradle of unforgettable gazals, masnavi, elegy, hazal*
and dramas.
Nawab Wajid Ali Shah, himself composed a number of songs and dramas under the
pen name of, 'Akhtari Pia'. Of the famous Indian dance styles kathak is closely
associated with Lucknow.
This devotional dance stvle of pre-Mughal days was transformed into a highly
eclectic dance form under the patronage of the Nawabs of Awadh. Pandit Iswari
Prasad Mishra of Handia is said to be the founder of the Lucknow gharana of Kathak.
The Kathak school founded by him was perfected by his sons Thakur Prasad, Durga
Parsad. Bindadin. Kalka Prasad and the three sons of Kalka -Achchhan Maharaj,


Lachchu Maharaj and Shambhu Maharaj. Today Pandit Birju Maharaj is the living
doyen of this glorious house of Lucknow
Turning to the festivals that make, Lucknow one-of-a-kind, mention must be made to
the Moharrum festival. Commemorating the death of Imam Hussain, Moharrum
witnesses emotional processions of tazias (models of Imam Hussain's mausoleum at
Karbala, Iraq) & Alam's.
Not only festivals, the people of this beautiful city 'indulge in various exciting
contests that have come down from the time of the Nawabs. Kite flying is one such
sport. Kites of different shapes, sizes, colours take to the skies leading to all round
excitement and enjoyment. The art of training pigeons which was perfected by the
nobility of yesteryears is prevalent even today. The pigeon flying event is yet another
exciting game that is eagerly awaited. No account of Lucknowi culture is complete
without a mention of the famous 'Chowk' of Lucknow.
The term 'Chowk' has become synonymous with Lucknow. 'Chowk' has played a vital
role in the development of the Lucknowi culture. It is the pivotal point around which
the traders, engravers, painters. artisans, weavers, singers and nautch girls
flourished and grew. This main bazar of yester years has not changed much. but
transformation is there. Its humming and lively characteristics represent Lucknowi
culture in its modern day context.


DETAILS OF LUCKNOW DISTRICT
PARAMETERS PERIOD DESCRIPTION
Geographical Area 1990-2000 2528 Sq. Km.
Population 1991 2762801 Lakhs
Literacy Rate 1991 57.5 %
Sex Ratio (No. per 1000 Male) 1991 827
Population Density 1991 331 Per Sq. Km.
Tehsils 1991 4
Community Blocks 8
Township 10
Ward 1999 110
Villages 823
Gram Sabha 658
Nyay Panchayats 97
Electrified Villages & Hutments 1408
Educational Institutions
Junior Basic School 1999 1520
Senior Basic School 1999 375
Higher Secondary School 1999 121
Degree Colleges 1999 20
Govt. Degree Colleges 1999 2
Universities 1999 2
Polytechnic 5
Industrial Training Institute 2
DIET Sanik Vidyapith 1999 2
Literacy Rate
Male 66.5
Female 46.9
Rural
Male 48.6
Female 19.05
Urban
Male 76.8
Female 62.4
School Complexes 991
Non formal Education Centres 600


IMPORTANT FEATURES OF THE CLUSTER
BIGGEST ARTISAN BASED CLUSTER
Chikankari embroidery in Lucknow is the biggest artisan cluster of India. There are
about 2.5 lacs artisans of hand embroidery associated with this cluster. These
artisans reside in District Lucknow and adjoining 7 districts.
Apart from this, the artisans from other fields such as Cutting, Stitching, Hand Block
Textile Printing, Jali work and Washer men are also a part of this cluster. The total
number of artisans associated with Chikankari Embroidery Cluster, other than
Chikankari artisans, is about 5000.
GEOGRAPHICAL COVERAGE
The artisans of Chikankari Embroidery are scattered in the villages of Lucknow and
other near by districts in a radius of about 125 K.M. The districts covered are Unnao,
Barabanki, Lakhimpur, and Hardoi etc. Some other villages where one can find few
artisans of Chikankari are RaiLucknow, Sultanpur and Faizabad.
RURAL WOMEN BASED ARTISAN CLUSTER
The embroidery artisans of this cluster are mainly from rural areas. They are mostly
housewives doing this work as their part time job. In most cases it is also their only
source of their personal income.
PROVIDING EMPLOYMENT TO MANY NON ARTISANS
This Chikankari Embroidery is not only providing employment to about 2.5 lacs
artisans of different crafts but people from non-craft base are also earning their
livelihood by associating
themselves with this craft.
Expected number of non-artisan
persons getting their bread and
butter from this craft is about
10000. They may be contractors,
manufacturers, retailers, raw
material providers or employee
with manufacturers.

A lady doing Chikankari


KEY MILESTONES & PERFORMANCE OF THE
LUCKNOWI CHIKANKARI EMBROIDERY CLUSTER
TILL 1860
Till 1860 this artistic embroidery was the craftsmanship of the ladies of royal mogul
families. The products were in use by royal family members only.
FROM 1860 TO 1947 (Till the time of India-Pakistan partition)
After 1860 till 1947, the only commercial product was TOPI PALLA. The main buyers
were of Muslim Community and main markets were Dhaka (now in Bangladesh) and
some areas that are now in Pakistan, Hyderabad and Lucknow. In this decade the
business was in good condition. Few manufacturers were catering to the entire
market.
After 1947 till 1970
After partition the main markets of Topi Palla of Chikankari Embroidery were not
easily accessible because they became foreign markets for Indians. It forced the
manufacturers to develop new products and they started producing Gents Kurta and
after that Saris.
From 1970 to 1990
Some manufacturers started manufacturing Ladies Suits (with or without dupattas)
and even Luncheon sets. But this period is also seen as the worst period of
Chikankari embroidery. Because of producing only lower value products, consumers
started using the products as night wear.
1990 to 1999
This period can be referred to as the Golden Period of this cluster. New products,
such as Suit lengths were developed and manufacturers started producing high value
products. In this era new entrepreneurs with high ambitions entered the field and
started manufacturing good quality products. Some reputed fashion designers also
included Chikankari Embroidery in their samples and catalogues which highlighted
the Chikankari at national and international levels.
1999 to Till Date
Introduction of work on Georgette has kept the manufacturers in business. An
overall general business slump in the economy has been affecting this cluster also
and a decline in turnover has been observed. Sudden changes in fashion also
adversely affect the performance of this industry, as the manufacturers are not able


to cope with the changes. But nevertheless this era gave Chikankari products a good
advertisement through media especially T.V serials and films.
07-12-2007
Lucknow Chikan Craft get the protection under Geographical Indication of Goods
(Registration and Protection) Act 1999 and Registration under Geographical
Indication has been awarded for Lucknow Chikan Craft (GI No. 119) by the Registrar,
Geographical Indication Registry, Chennai. With due course of time this protection
will help the artisans & manufacturers of the cluster to present their products as a
brand in the domestic and foreign market. Also it will restrict the persons to imitate
the art or sell any other products with the name of Lucknow Chikan.
There are four registered proprietors of this patent registration


SUPPORT ENVIRONMENT
SUPPORT INSTITUTIONS
NON GOVERNMENT ORGANISATIONS
There are many NGOs working for welfare of artisans in the cluster. They are
implementing various schemes of Central or State Government Departments. These
NGOs have established Craft Development Centers in the area, which directly helps
the artisans. One very prominent NGO who has done significant work in field of
Chikankari Embroidery in the nineties decade was SEWA (Self Employed Women's
Association). Other NGOs are also working in the cluster with help of O/o the
Development Commissioner (Handicrafts).
TRANSPORTERS AND CARGO SERVICE PROVIDERS
There are many transporters and Cargo Management Service providers. Usually
manufacturers of the cluster prefer to send their parcels (Domestic) by Gati or SEF
Express cargo management services. International Airport at Lucknow has cargo
dispatch facility, which can be very useful for exports. Container depot for exporting
goods is also there in Kanpur just 80 KM from Lucknow. For sending samples and
materials to abroad International Courier Services such as DHL is also available in
Lucknow.
CENTRAL GOVERNMENT INSTITUTIONS
HANDICRAFTS MARKETING AND SERVICE EXTENSION CENTER,
BARABANKI, O/o the Development Commissioner (Handicrafts)
This is the grass root office of the Development Commissioner (Handicrafts) under
Ministry of Textiles, Government of India. The main aim of the Office of
Development Commissioner (Handicrafts) is to uplift the economic & social
conditions of the handicraft artisans. It provides assistance directly to artisans for
conducting training and also provides direct marketing outlets through various Craft
Bazaars, National Craft Fairs and other small exhibitions. They also run many
schemes through various NGOs.
In the Chikankari Embroidery Cluster, there are three Craft Development Centers
that are established by NGOs under sponsorship of the DC (Handicrafts). For
publicity of Chikankari Embroidery, this office has also sponsored two-three
catalogues.
Despite the scope of direct marketing of products through this office, very few
artisans of Chikankari Embroidery have got themselves registered as artisans with


this office. Only 8000 artisans of different places are registered with this office out of
which only 6000 have received Identity Cards.
SMALL INDUSTRIES DEVELOPMENT BANK OF INDIA (SIDBI)
SIDBI has its head office at Lucknow and provides credit under Micro Finance Credit
Scheme to NGOs who then sublet it to artisans for working capital. They also have
some other schemes for artisans and manufacturers.
NATIONAL COOPERATIVE DEVELOPMENT CORPORATION, LUCKNOW
NCDC has the main agenda of providing support to cooperatives in India.
EXPORT PROMOTION COUNCIL FOR HANDICRAFTS (EPCH), New Delhi
The Ministry of Textiles, Government of India, sponsors the EPCH council. Their
main aim is to promote export of handicrafts from India. They undertake many
activities for export promotion of handicrafts like participation in national and
international fairs, organising buyer sellers meet, trade delegations, seminars &
workshops and publications etc.
APPAREL EXPORT PROMOTION COUNCIL (AEPC)
The prime objective of the Council is to promote and regulate the growth of export of
readymade garments from India and to project Indias image as a reliable supplier of
high quality readymade garments and services.
HANDLOOM & HANDICRAFT EXPORT PROMOTION CORPORATION, New
Delhi
A Central Government body that works for promotion of Handicrafts & Handlooms
through promoting participation of artisans and manufacturers in national and
international trade fairs.
INDIAN TRADE PROMOTION ORGANISATION (ITPO), New Delhi
This is the nodal agency under the central Government that works to develop and
promote Indian exports in general. They also assist in upgradation of technology
through participation in fairs held in India and abroad. They undertake publicity of
Indian products through print & electronic media. ITPO is also running a Trade
Information Center, which is engaged in procuring, processing and disseminating
trade related information on all aspects of international trade for all commodities.


STATE GOVERNMENT INSTITUTIONS
DISTRICT INDUSTRIES CENTER (DIC), LUCKNOW
This centre functions under the Director & Commissioner Industries, Government of
Uttar Pradesh, Kanpur. It is the main coordinator between other Government offices
and artisans. It recommends names of enterprises for various exhibitions, bank-
financing, State /National Awards for master craftsmen. It also implements the
Prime Minister Rozgar Yojana for benefit of unemployed persons. The centre also
provides Small Scale Handicraft Industry registration to Manufacturers of the area.
Besides, a Central Design Center (CDC) & Craft Museum was also setup under the
DIC of Lucknow. CDC is closed and in Craft Museum articles are getting dust because
of no proper attention taken by state govt.
EXPORT PROMOTION BUREAU, U. P., LUCKNOW
In 1999 the Export Promotion Bureau was formed under the Ministry of Small Scale
Industries in U.P. The main functions of the bureau are monitoring and
policymaking of export. It also provides Marketing Development Assistance to small
exporters in form of grants under different schemes. There are very few
manufacturers/ Traders of Chikankari Embroidery products in the total list of
members of Export Promotion Bureau. Out of these only four are actual exporters.
Others are not even having any proper manufacturing or trading units.
U. P. TRADE PROMOTION AUTHORITIES, KANPUR
The basic aim of this office of the Government of Uttar Pradesh is to promote
tourism of state but it also gives an exposure to the craft and culture of state through
organising festivals, publicity catalogues and website.
U P TRADE PROMOTION AUTHORITIES, KANPUR
Established under Commissioner Director of Industries, Government of Uttar
Pradesh (UP), the organisation is making efforts for promotion of trade from UP. It
organises fairs and exhibitions of different product groups. It is also responsible for
setting up the U.P. Pavilion of Pragati Maidan, New Delhi for advertisement and
marketing of products manufactured in the state. It also participates in international
fairs.
FINANCIAL INSTITUTIONS
There are many banks in the area but very negligible amount has been given as
finance to the manufacturers of Chikankari Embroidery goods. A total Rs.5 Crores
has been financed till now to about 300 manufacturers and that too mainly as a
working capital loan.


PRODUCTS OF THE CLUSTER
The entrepreneurs of the Cluster produce various items to fulfill the need of the
market
SAREE DRESS MATERIAL

LADIES SUIT LADIES TOP


GENTS KURTA GENTS SHORT TOP

KIDA WEAR GENTS SHIRT


FURNISHINGS


VALUE CHAIN ANALYSIS
As we can see in the production process chart, chikankari embroidery has many steps
of production. Every step is performed by separate artisans who have expertise in
that art. Here we will first elaborate the value chain of some chikankari products in
accordance with the steps of production then we will analyse the value chain.
Ladies Suit Length
Length 7.50 Mt. Terry Rubbia

Raw Material
Terry Rubbia Shirting
7.50 mt. @ Rs. 38.00 per mt.

Printing Cost
22.00 per pcs.

Cost of Thread
5 Lachchi @ Rs. 45 per Lachchi

Job Work Charges for Embroidery
Rs. 650.00 per pcs.

Jali Making Charges
Approx Rs. 1.00 per Jali
Average 18-20 Jali on 1 Pcs.

Cost of finishing
Including Ironing

Over Head Expenses Rs. 25.00
Total Cost Rs. 1262.00

Sale Price Rs. 1525.00

Manufacturers margin Rs. 263.00
Raw Material
Rs. 285.00

Printing
Rs. 22.00

Cost of Thread
Rs. 225.00

Embroidery Charges
Rs. 650.00
Jali Making Charges
Rs. 20.00

Finishing Cost
Rs. 35.00

Sale Price
Rs. 1125.00


Ladies Suit Length
Length 7.50 Mt. Terry Rubbia

Item Qty. Rate
(in Rs.)
Amount
(in Rs.)
Percentage
Raw Material, Terry
Rubbia Shirting
7.50 mt. 38.00 per mt. 285.00
22.58%
Printing Cost 22.00 per pcs. 22.00
1.74%
Cost of Thread 5 Lachchi 45 per Lachchi 225.00
17.83%
Job Work Charges
for Embroidery
650.00 per pcs. 650.00
51.51%
Jali Making Charges Average
18-20 Jali
on 1 Pc.
1.00 per Jali 20.00
1.58%
Cost of finishing 35.00 per pcs. 35.00
2.77%
Over Head Exp. 25.00
1.98%
Cost of product 1262.00

Manufacturers Sale Price 1525.00
20.84%
Retailers Sale Price 2050.00
34.43%


ANALYSIS OF BUSINESS OPERATIONS IN THE CLUSTER
AVAILABILITY OF RAW MATERIAL
The basic raw material for manufacturing of Chikankari Embroidery products is
cloth, which is easily available in India. Terry Rubia, Cotton, Georgette, Silk, Jute
Cotton, Cot-silk are various varieties of cloth which are used in chikan garments.
Availability of various varieties of clothes in the market provides manufacturers
opportunities to produce many varieties of products.
SUBCONTRACTING OF PRODUCTION PROCESS
In manufacturing of Chikankari Embroidery goods, the usual procedure followed is
of subcontracting the work of different process.
Contractors are hired on per piece basis to complete the different process who
usually distributes the items to artisans. Embroidery artisans usually work from their
own place and for other process of production such as cutting, stitching, printing
these contractors, who are master of these works hire some other people to get the
work complete at their place.
Some manufacturers, especially who are involve in direct or indirect exports, have
also started in-house process of manufacturing to ensure the quality control.
NO DESIGNER INPUT
Initially Chikankari garments were not having any place in fashion industry but as
the time changed Chikankari Embroidery dresses are now treated as fashion
garments. But still manufacturers do not prefer to take services of designers for
product designing or for development of new products.
All the designing work is carried out by the manufacturer himself, either by copying
designs from fashion catalogues or by ideas imparted by buyers.
LENGTHY PRODUCTION TIME
As Chikan Embroidery itself is a art which need skill and devotion of time, normally
about 3-5 months time is required for production of Chikankari Embroidery
products.
Sometimes for products having heavy intricate embroidery designs the production
time extends up to 7-8 months.


NO REGULAR WORK TO ARTISANS
The Embroidery artisans are not directly related to the Manufacturers for work. One
contractor of the area procures the work from the manufacturers and distributes it to
the artisans. Artisans are totally dependent on the contractor who usually exploits
them. Artisans do not get regular work and payment from the contractor as well as a
good share of the jobwork charges are being kept by these contractors as their profits.
VERY LESS WAGES TO ARTISANS
Due to the job distribution by the contractor, the artisans who are the actual masters
of the art do not get their due wages. The normal earning of an artisan is just Rs. 15/-
to 40/- per day. Very few artisans of high skills get Rs. 60/- to Rs. 80/- per day.
BED WORKPLACE CONDITIONS OF ARTISANS
The condition of workplace of the artisans is very bed. Usually they do work at their
home during their regular household work. The Kachaa Mud House give mud stains
to the piece. The unhygienic condition of the workplace adversely affects the health
of the artisan.
ABUNDANCE OF ARTISANS OF ONLY 4-5 STYLES OF STITCHES
Most of the artisans in the cluster are specialized in only 4-5 stitching styles of
Chikankari. It is easy to find products with embroidery forms of Bhakiya, Funda,
Tepchi and Sidouli Zali but very difficult to get the other styles such as Murri, Keel-
kangan, Hathkati.
SPECIALIZATION IN PRODUCT MANUFACTURING
In this cluster usually manufacturer has a specialization in manufacturing one or two
products. Some are only manufacturing Ladies suits while some only produce saris.
Even specialize manufacturing of value wise products is also clearly visible in the
cluster.
Manufacturers of the cluster can also be differentiated as producers of Low range,
Medium range or High range products.
ESTABLISHMENT OF EMBROIDERY CENTERS BY
MANUFACTURERS
Some manufacturers have established their embroidery centers in villages where they
provide work to a group of artisans and make them payment on monthly basis
instead of the regular job work pattern. Here they have a good control on the quality
of embroidery.


UNDERCUTTING PRACTICE AMONG MANUFACTURERS
A majority of manufacturers are involved in producing low priced products, so that
they make quick profits. As a result they compromise on quality of Chikankari work
and indulge in unhealthy practice of undercutting.
NO AWARENESS ABOUT GEOGRAPHICAL INDICATION
REGISTRATION OF LUCKNOW CHIKAN CRAFT
Registration under Geographical Indication has been awarded for Lucknow Chikan
Craft (GI No. 119) by the Registrar, Geographical Indication Registry, Chennai under
Geographical Indication of Goods (Registration and Protection) Act 1999. A logo of
GI of Lucknow Chikan Craft has to be designed and registered which will be used as
trade mark by all the Authorised Users.
For implementation of this Intellectual Property Right Registration there is a vast
need for generating awareness among all other cluster actors and stake holders
regarding this Geographical Indication Registration of Lucknow Chikan Craft and
motivate the manufacturers of Lucknow Chikan Craft to get themselves registered as
Authorised User of GI of Lucknow Chikan Craft.
Manufacturers and artisans of Lucknow Chikan Cluster are not aware about the
Geographical Indication Registration of Lucknow Chikan Craft and advantage of
becoming its Authorised User.


ASSESSMENT OF ORGANISATIONAL LINKAGES IN THE
CLUSTER
NO ASSOCIATION OR FORUM OF SMEs IN THE CLUSTER
Although there are so many manufacturers in the Chowk Area, the main market of
producers of Lucknow, yet they have not formed any association or forum. Years
back some manufacturers had tried to form an association but it was not successful.
Very recently it has been reactive due to the excise problem. At that time two
associations of manufacturers got registered under Societies Registration Act. One is
Lucknowi Chikankari Handicrafts Manufacturers Association and second is
Lucknow Chikankari Manufacturers Association. But due to some management
issues the first one has not been renewed and not in existence at present.
NO PROPER LINKAGE AMONG MANUFACTURERS
There is no proper coordination or linkage among manufacturers for any process of
business. Because of fear of duplication of product design, they avoid discussing their
ideas with each other. No consortium or network type activity is in practice in the
cluster.
NO DIRECT RELATION BETWEEN ARTISANS AND
MANUFACTURERS
As the artisans of Chikankari Embroidery are mostly residing in rural areas and are
unorganised therefore they are not directly related to the manufacturers. The
contractors of the area come to Lucknow and contact the manufacturer for work.
Afterwards he sublets the work to the rural artisans. Manufacturers feel ease in this
process, as they have to deal only with one person i.e. the contractor and not with a
group of artisans.
MANY NGOs REPRESENTING ARTISANS OF THE CLUSTER
In the cluster there are many NGOs working for welfare of Handicraft Artisans. Some
of them are formed by artisans of Chikan Craft.
WEEK ASSOCIATION BETWEEN REGISTERED PROPRIETORS OF GI
It is almost 3 and half year now but due to very week association between registered
proprietor of GI of Lucknow Chikan Craft, they have not made any joint efforts for
implementation of GI in the cluster.


CLUSTER MAP (Pre Intervention)

M
A
N
U
F
A
C
T
U
R
E
R

A
T

L
U
C
K
N
O
W

Printers

Washer
man
Jail artisans

Raw Material
Traders
Exhibitions/
Craft Bazaars
of O/o the
DCH
Retailers in
different cities
Exporters

Banks/SIDBI/
NABARD
Office of the DC (Handicrafts)
Apparel Export
Promotion Council
NGO
EMBROIDERY
ARTISANS
Fashion Designers
Export Promotion
Council for Handicrafts
Marketing Consultants
Chartered Accountant
/Tax Consultant
Thread
Suppliers
DIC
DRDA
Note : Lines Between Boxes represents the linkage between the cluster actors & stockholders,
the dotted lines tells that the linkage is very week. The boxes in dotted lines represents that
the stockholders has no involvement in the cluster.


CLUSTER MAP (Post Intervention)

M
A
N
U
F
A
C
T
U
R
E
R

A
T

L
U
C
K
N
O
W

Printers

Washer
man
Jail artisans

Raw Material
Traders
Exhibitions/
Craft Bazaars
of O/o the
DCH
Retailers in
different cities
Exporters

Banks/SIDBI/
NABARD
Office of the DC (Handicrafts)
Apparel Export
Promotion Council
NGO
EMBROIDERY
ARTISANS
Fashion Designers
Export Promotion
Council for Handicrafts
Marketing Consultants
Chartered Accountant
/Tax Consultant
Thread
Suppliers
DIC
DRDA
Note : Lines Between Boxes represents the linkage between the cluster actors & stockholders,
the dotted lines tells that the linkage is very week. The boxes in dotted lines represents that
the stockholders has no involvement in the cluster.


INTER-FIRM MATRIX (Pre Intervention)

Note: L - Low, M - Medium, H High

A
r
t
i
s
a
n
s

K
V
I
C

D
I
C

O
f
f
i
c
e

o
f

t
h
e

D
C
(
H
)

D
R
D
A

B
a
n
k
s

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Artisans - L L L L L L L L L L
KVIC L - L L L L L L L L L
DIC L L - L L L L L L L L
Office of the DC(H) L L L - L L L L L L L
DRDA L L L L - L L L L L L
Banks / Financial Institutions L L L L L - L L L L L
NABARD L L L L L L - L L L L
Technical Institutions L L L L L L L - L L L
Designers L L L L L L L L - L L
Machinery suppliers L L L L L L L L L - L
Raw material Suppliers L L L L L L L L L L -


INTER FIRM MATRIX (Post Intervention)

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Artisans - H H H M M M H H L M
KVIC H - M M M M M M M M M
DIC H M - M M M M M M M M
Office of the DC(H) H M M - M M M L M M M
DRDA M M M M - M M M M L M
Banks / Financial Institutions M M M M M - M M M L L
NABARD M M M M M M - M L L L
Technical Institutions H M M M M M M - H M L
Designers H M M M M M M M - M L
Machinery suppliers M M M M M M L M L - L
Raw material Suppliers M M M M L L L L L L -
Note: L - Low, M - Medium, H - High


SURVEY ANALYSIS
We did a brief survey of the artisans and manufacturers of the cluster for
implementation of Small Industries Cluster Development Programme (SICDP) of the
office of the Development Commissioner MSME, Ministry of MSME, New Delhi in
Lucknow District for development of Chikankari Cluster.
SURVEY ANALYSIS OF ARTISANS
Gender
All the respondents are female. As briefed earlier also that Chikankari is a women based
craft and embroidery work is done by women. In District Lucknow also, only women are
engaged in Chikankari embroidery work.
Cast
Most of the respondents, 325 out of 500 (65.00%) are from minority community. 89
respondents (17.80%) are from Schedule Caste and 81 respondents (16.20%) belongs to
Backward Class. Only 5 respondents (1.00%) belongs to General Caste.
CASTE NO. OF RESPONDENTS PERCENTAGE
Minority 325 65.00%
Schedule Caste 89 17.80%
Backward Class 81 16.20%
General 5 1.00%
Total 500 100.00%
Age Group of artisans
AGE GROUP NO. OF RESPONDENTS PERCENTAGE
Up to 20 144 28.80%
21-30 137 27.40%
31-40 127 25.40%
41-50 44 8.80%
Above 5O 48 14.4o%
Total 500 100.00

Mostly respondents are between age group of 18 to 40 years (total 408 respondents
belongs to this age group). 144 (28.80%) respondents are between age group of 18 to 20
years, 137 respondents (27.40%) are between 21 to 30 years of age and 127 respondents


(25.40%) are between age group of 31 to 40 years. 44 respondents (14.40%) are between
41 to 50 years of age and 48 respondents are above 50 years of age.
Literacy Rate
Literacy rate of the respondents is very low. Out of 500 respondents only 119 (22.6%)
have some level of education. 381 respondents (87.4%) have never gone to school. Here
community problem also seen in presence to effect the literacy level.
Family Size
Average family size is 6-7 members. 52 respondents (10.40%) have family size of 0 to 5
members. 409 respondents (81.80%) have 5 t0 10 members in their family while 39
respondents (7.80%) have largest family size more then 10 members in their family.
Family Size No. of
respondents
Percentage
0-5 52 10.40%
5-10 409 81.80%
above 10 39 7.80%
Total 500 100.00

Condition of House
Condition of houses of respondents is very bad. 83 respondents (16.60%) out of 500
respondents have Pakka (Brick) house. Mostly, 417 respondents (83.40%) live in
Kachcha (Mud) house.
Source of Earnings/ Occupation
Although mostly respondents are job workers and their main source of earning is
handicrafts work but family of 48 out of 500 respondents (9.60%) have some
agriculture land also. Their family members do agriculture work on these family lands to
earn some more money for their family. Some respondents or their family members has
got labour job in their villages for few days in a year under Rashtriya Grameen Rojgar
Guarantee Yojana.
Yearly income
Very high number of respondents have income between 15001 to 20000. 433
respondents (86.60%) have yearly income in this range. Only 3 respondents (0.60%)
have yearly income above Rs. 20000. 28 respondents (5.60%) have yearly income
between Rs. 5001 to 10000 and 36 respondents (7.20%) have yearly income between Rs.
10001 to 15000.


Yearly income No. of
respondents
Percentage
Up to 5000 0 0.00%
5001-10000 28 5.60%
10001-15000 36 7.20%
15001-20000 433 86.60%
above 20000 3 0.60%
Total 500 100.00

Working Days in a year
Mostly respondents have regular work of job work of Chikankari embroidery. 336
respondents (67.20%) have between 151 to 200 working days in a year. Only 18
respondents (3.60%) have working days of less then 100 days in last year. 98
respondents (19.60%) have working days between 101 to 150 days in a year and 48
respondents (9.60%) have more then 200 working days in a year.
Working days
in a year
No. of
respondents
Percentage
Up to 100 18 3.60%
101-150 98 19.60%
151-200 336 67.20%
Above 200 48 9.60%
Total 500 100.00

Electricity in house
Mostly respondents dont have electricity in their houses. 373 respondents (74.60%)
dont have electricity in their houses and 127 respondents (25.40%) have electricity in
their houses.
Electricity in
house
No. of
respondents
Percentage
Have 127 25.40%
Dont Have 373 74.60%
Total 500 100.00


Water & Sanitation Facility
Sanitation
Facility in
house
No. of
respondents
Percentage
Have 74 14.80%
Dont Have 426 85.20%
Total 500 100.00

Although all of the respondents have drinking water facility through hand pumps in the
villages, mostly respondents dont have sanitation facility in their houses. 426
respondents (85.20%) dont have sanitation facility in their houses and very less number
of respondents only 74 respondents (14.80%) has sanitation facility in their houses.


COPY OF SURVEY DOCUMENTS
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SWOT ANALYSIS
STRENGTHS
Traditional Artistic Handicraft
Huge Artisans base (estimated 2.50 Lakhs Artisans)
Large domestic market
Can be done on variety of cloths
Availability of skilled artisans
High competition among manufacturers
Cheapest available garment with embellishment
Available in all price range
Customised Products can be made
Exemption of Excise Duty, Trade Tax
A Brand Name in itself
Easy availability of Raw Material
Availability of Transport Facilities

WEAKNESSES
Highly un-organised Artisans Cluster
No technological upgradation
Lengthy production time
No designer input
Over production of low quality goods
Manufacturers are not having technical qualifications
Very less export (both direct & indirect) in comparison of turnover of the
cluster
No association among manufacturers
No fixed time for return of goods from embroidery
Very less fund flow from financial institutions
Very less advertisement in Foreign markets
Very less use of modern facilities such as Computer, Internet, and Email etc.
Products mainly treated as seasonal summer garments
Undercutting practiced among manufacturers


OPPORTUNITIES
Big scope in domestic market
Big scope in foreign market
Scope for product diversification
Scope for selling low price goods in Latin America (e.g.
Beach wear in Brazil, Chile)
Protection of Intellectual Property Rights of Lucknow Chikan
Craft by Implementation of Geographical Indication
Registration of Lucknow Chikan Craft.
Various Central and State Government Schemes for benefit
of Artisans.
Implementation of different schemes of State & Central
Govt. departments.

THREATS
Competition with Printed & Machine embroidered items
Globalisation might bring Pakistani embroidery or other similar products in
India
Change in Government Policies such as imposition of Excise Duty and Trade
Tax


COMMON PROBLEMS AND NEED OF THE CLUSTER
Based on the detailed survey done of the artisans of the Chikan craft of Lucknow and
detailed study of the cluster common problems identified are as under
1. There is no cooperation between the artisans of the cluster.
2. There is no use of latest technology in production.
3. The production process involves many steps which are to be done one after
another which takes time and manpower.
4. Products of the cluster are traditional and designed by the artisans/
manufacturers themselves. There is no designer input in the cluster.
5. Artisans/ Manufacturers/ Entrepreneurs are not having any technical
qualification related to production of the products.
6. The artisans have learnt the craft by practicing it since childhood from elders of
their family.
7. As the products are made usually on fine clothes it is treated as summer
garments.
8. Export of the products of the cluster is very low.
9. No proper association among manufacturers.
10. Very less fund flow from financial institutions.
11. Very less advertisement in Foreign markets.
12. Very less use of modernised facilities such as Computer, Internet, and Email etc.
13. Inflow of similar products (hand embroided or machine embroided from other
clusters/ countries.


VISION FOR THE CLUSTER

VISION STATEMENT

To increase the turnover of the cluster by 30% within 5 years by
development of high quality fashion products and entering in
export market and enhancement in earnings of artisans by regular
work and wage increase.

The Vision of the Cluster has three major components. First of all it aims at
organizing the artisans and other Stakeholders such as raw material suppliers,
marketing personnel, financial institutions and related other organizations of the
Area. After that they will be trained with better knowledge and Skills, better
technologies on production and marketing etc. Exposure visits to the successful
clusters of the other parts of the country will be helpful in gaining new ideas from
others. New technological intervention and machineries will help in raising the level
of production of the cluster. New marketing techniques will also be adopted to
compete with the market.

STRATEGIC GOALS
To develop High Fashion Garment Products.
To develop a single brand for the cluster
To convert the seasonal summer industry to all weather industry by
development of products for other season.
To enter into new markets within the country.
To increase direct export from the cluster.
To establish a Design Resource Center


STRATEGY FOR INTERVENTION
1. Formation of Artisan guilds and Women SHG units in the villages. These units
will be empowered through awareness generation, training and exposure visits.
The capacity of the networks and institutions will be built through this process.
2. Other NGOs/ Institutions/ Cooperatives etc. working in this Sector within the
cluster will also be involved for networks and capacity building.
3. Result oriented activities like process up-gradation; setting up of CFC,
productivity improvement, training in new product preparations as per the
present trends and joint exposure to markets etc. can be promoted.
4. The networks will be promoted for long run activities such as SHGs and artisans
will be empowered through better technical knowledge, creation of jobs and
additional income through better productivity. The artisans will be empowered
through better access to credit facilities.
5. Simultaneously the research and studies will be conducted for various long run
activities like regular joint marketing, choice of new product range, infrastructure
provision etc. for sustained impact on the cluster with respect to growth and
development.
6. Other interventions such as designing, technical up gradation, market promotion,
cluster information center, buyer sellers meet and the welfare activities including
health and education for artisans will be undertaken.


ACTIVITY CHART FOR DEVELOPMENT OF LUCKNOW
CHIKAN CLUSTER

Sl.
No.
Activity
Total
No.
SOFT INTERVENTIONS
1 Awareness Camp for building awareness and SHG Formation 5
2 Formation of SHGs 40
3 Meeting of Cluster Actors/ SHG Members/ SPV Members 4
4 Skill Upgradation Training Center 1
5 Design & Product Development workshop 2
6 Seminar on Geographical Indication 1
7 Exposure Visits 2
8 Participation in India International Trade Fair 1
9 Launching of Web Site 1
HARD INTERVENTIONS
1 Design & Product Development Center 1
2 Product Display Centre 1

DSR_Lucknowi Chikankari Shilp Sadhana

71

Proposed Annual Action Plan
Soft Interventions

(Amt. in Lacs)
Sl.
No.
Activity
TOTAL
No. Amount
1 Meeting of Cluster Actors/ SHG Members/ SPV Members 4 0.50
2 Awareness Camps in association with various other
departments
5 0.50
3 Formation of SHGs 40 0.20
4 Skill Upgradation Training Center 1 1.00
5 Design & Product Development workshop 2 3.30
6 Seminar for Geographical Indication 1 0.95
7 Launching of Web Site 1 1.00
8 Participation in India International Trade Fair 1 1.00
9 Exposure Visit 2 1.00
TOTAL 9.45


72

Proposed Budget and Means of Finance for Soft
Interventions
(Intervention proposed will be completed in 18 months)
(Amount in lakhs)
Sr.
No.
Description Max
Estimated
Expenditu
re
Means of Finance
GoI
assista
nce
State
Govt. &/
or PSU,
Instituti
ons
SPV/
Private
Partner
s
1. Trust building 0.70 0.63 0.00 0.07
i. Meeting of cluster actors/ SHG members/ SPV Members 4 @ Rs. 0.125 Lakhs per
meeting Total Rs. 0.50 Lakhs
ii. Formation of SHGs (total 40 SHGs) Rs. 0.20 Lakhs
2.

Building awareness of various
schemes of Ministry of MSME, other
Ministries and Departments of State &
Central Govt, other developmental
agencies, Financial institutions etc
0.50

0.45 0.00 0.05
1 Awareness Workshops 5 @ Rs. 0.10 Lakhs per workshop Total Rs. 0.50 Lakhs
3. Organizing training programmes/
seminars/ workshops/ study tours to
other clusters/ demonstration of
technology/ equipment, including
expert fees, travel, lodging, boarding,
etc.
6.00 4.80 0.00 1.20
1 4 months Skill Upgradation Training Program 1 Nos. @ Rs. 1.00 Lakhs Per
Program - Total Rs. 1.00 Lakhs
2 15 days Design & Product Development Workshop 2 Nos. @ Rs. 1.65 Lakhs per
workshop Total Rs. 3.30 Lakhs
3 1 days Seminar on Geographical Indication of Lucknow Chikan Craft 1 Nos. @ Rs.
1.65 Lakhs per seminar Total Rs. 0.70 Lakhs
4 Study Tour 2 Nos. @ Rs. 0.50 Lakhs Total Rs. 1.00 Lakhs
4. Capacity building (exposure visits,
benchmarking, brochure preparation,
web-site launching, initial recruitment
cost, etc.)
1.00

0.60 0.00 0.40
Launching of Common Cluster Website 1 Nos. @ Rs. 1.00 Lakhs Total Rs. 1.00
Lakhs


73

5. Services of BDS providers,) 0.60 0.54 0.00 0.06
20 person-days @ Rs 2,000/- per day Total Rs. 0.40 Lakhs
boarding/lodging charges as per Group A officers entitlement Rs. 0.20 Lakhs
6. Participation in one foreign fair 1.00 0.50 0.00 0.50
Participation in India International Trade Fair, Pragati Maidan, New Delhi
7. Miscellaneous developmental costs 0.50 0.40 0.00 0.10

8 In-house institutional Staff: 0.00 0.00 0.00 0.00
a. CDA (if required) - 0.00 0.00 0.00 0.00
b. Local Organizer/NDA- 18 month
@ Rs. 15,000/- pm
2.70 1.35 0.00 1.35
9 Local travel in the cluster of the in
house staff and Telecommunications
expenses
0.75 0.75 0.00 0.00
(to be paid on actual)
10 Local purchases (computer,
telephone, fax-lump sum, year-wise)
0.75 0.75 0.00 0.00

11 Participation of CDE/ CDA/ cluster
official along with entrepreneurs of
the cluster.
1.00 1.00 0.00 0.00

TOTAL 15.50 11.77 0.00 3.73


74

ACTIVITY WISE BREAK UP OF THE EXPENDITURE OF THE
ACTIVITIES OF SOFT INTERVENTION
FORMATION OF SHG
Cost of formation of SHG including Forms/ Photocopy,
Honorarium to coordinator, Stationery to SHG etc.
Rs. 500 Per SHG
TOTAL FOR 50 SHG Rs. 0.25 Lakhs
SKILL UPGRADATION TRAINING PROGRAM
Some artisans need further training so that they may be able to produce high quality
product.
a. Training Period- 3 month
b. No. of Trainees- 20 per batch

FINANCIAL IMPLICATION
1. Compensation for raw material 10,000.00
2. Honorarium to Instructor/ expert @ Rs. 5000/- 15,000.00
3. Stipend @ Rs. 1000/- each artisan (1000 x 20 x 3) 60,000.00
g. Contingencies 15,000.00
Total 1,00,000.00

ORGANIZING DESIGN & PRODUCT DEVELOPMENT WORKSHOP
a. No. of workshop : 2
b. Objective of the Design workshop : To produce new designs as
per demand of market
c. Duration of the workshop : 15 days
d. No. of prototype to be developed during the
workshop
: 15 prototype (2 sets)
e. No. of Crafts persons to be benefited : 30 Artisans per workshop


75

FINANCIAL IMPLICATIONS
i Designer's Fee TA/DA etc. : Rs. 50,000.00
ii Cost of Raw Material for development of two sets of
prototypes.
: Rs. 30,000.00
iii Cost of documentation report : Rs. 10,000.00
iv Wages compensation for Trainees @ Rs. 150/- per day for
30 Trainees for 15 days. (150 x 30 x15)
: Rs. 67,500.00
v Misc. Exp. towards Rent of venue, Light, Refreshment/ Tea
etc for the participants of the workshop
: Rs. 7,500.00
Total cost of 1 workshop : Rs. 1.65 Lakhs

SEMINAR ON GEOGRAPHICAL INDICATION
A 1 day seminar will be organized to impart the knowledge of Geographical
Indication, to generate awareness about the benefits of becoming Authorised User
and to train the manufacturers and artisans about the process of filing of application
for Authorised User.
Sr.
No.
Particular Amount
(in Rupees)
1 Hire charges of Hall for organizing the Seminar for 1 days 10,000.00
2 TA and DA (for Experts) during journey period 10,000.00
3 Honorarium for experts 5,000.00
4 Cost of Tea (2 Time) & Lunch during workshop for 1 days 30,000.00
5 Reading Material, Stationery, Folders etc. 5,000.00
6 Documentation and Printing of report of the workshop 5,000.00
7 Hire of conveyance for 2 days (Approx) 3,000.00
8 Misc. expenses including postage and preparation of
material for discussions, secretarial assistance.
2,000.00
TOTAL 70,000.00

Exposure Visit
Entrepreneurs of the cluster will visit Bangalore, Chennai, New Delhi to explore the
market for knowing the latest market trends, marketing linkages etc.


76

Expected Expenditure on 2 Exposures Visits - Rs. 1.00 Lakhs
LAUNCHING OF WEB SITE
A Web Site will be launched on the Lucknow Chikan Craft
Estimated Cost of launching of web site will be approximately 1.00 lakhs

No. of persons to be trained/ benefited in each program
Sl.
No.
Name of the training program No. of
participants
in each
program
No. of
program
to be
organised
Total no.
of
persons
to be
trained
1 Design & Product Development
Workshop
20 2 40
2 Skill Upgradation Training
Program
20 1 20
3 Seminar on GI 150 1 150
4 Exposure Visit 12 2 24
5 Participation in IITF 6 1 6


77

Details of outcome envisaged in the cluster through Soft Interventions
Sl.
No.
Activity Current Status Outcome envisaged
(Qualitative)
Tangible benefits to
artisans
Intangible benefits to
artisans
1 Awareness Camp for
building awareness
and SHG Formation
Cluster actors are not aware
about the cluster scheme of
Ministry of MSME and also no
efforts is made ever with
collective approach by the
cluster actors.
Generation of awareness in
the cluster about the MSE-
CDP and about the benefits
of collective efforts.
Generation of
awareness in the
cluster actors about
the MSE-CDP and
about the benefits of
collective efforts.
2 Formation of SHGs Artisans of Chikankari are
working in pockets but as an
individual enterprise. No SHG
or any other form of association
is in existence in the cluster.
It will bring the artisans
together so that the habit of
collectiveness develops in
them and also bring in the
habit of thrift & credit in the
artisans.
Through SHG
artisans will have
some monthly
savings.
Artisans will be
organised and
collective power of
artisans will increase.
3 Meeting of Cluster
Actors/ SHG
Members/ SPV
Members
The level of interaction among
the cluster actors is very low.
Due to regular meetings
artisans and cluster actors
will have better interaction
and trust building process
will start among the cluster
actors.
Trust among cluster
actors will increase.
4 Skill Upgradation
Training Center
Skill of most of the artisans is
very low. The products of the
cluster have designs in practice
since long and artisans do not
make efforts to put in their skill
to produce new designs.
Skill of artisans will be
increased which will yield to
increase in the income of the
artisans as they will be
producing quality products.
Earnings of the
artisans will increase
Quality of products
from the cluster will
increase.
5 Study Tour/ Exposure
Visit
The exposure of artisans of the
cluster is limited to the area
where they are working only.
They have never visited any
other cluster.
The artisans will be able to
learn about the best practices
adopted in other clusters.
Experience sharing
and learning will
motivate artisans to
do something new &
creative.


78

6 Design & Product
Development
workshop
The products produced in the
cluster have old traditional
designs and thus the
marketability of the product is
very low. Products with new
designs are imported in the
cluster from other places.
New products of Modern
Fashion and designs will be
developed which will
enhance the scope of
marketability of products of
the cluster. efforts will be
made to provide better value
addition in the products of
the cluster.
New marketable
products will fetch
attraction of
customers and buyers
and thus increase the
turnover of the
cluster.
Earnings of artisans
will also increase.

7 Participation in IITF,
Pragati Maidan, New
Delhi
Artisans of the cluster sell their
products in the city only which
force them to sell their
products on lower margin due
to competition with other
artisans producing similar
products within the cluster.
The artisans of the cluster
will get direct sales avenue
and it will increase the profit
margin of the artisans.
Exposure to the new
market will increase
the sales of the
cluster.
New marketing
linkages will be
developed.

8 Seminar on GI Manufacturers & Artisans are
not aware about the
Geographical Indication
Registration of Lucknow
Chikan Craft and advantage of
becoming its Authorised User

9 Launching of Web Site The cluster has very less
advertisement of its products in
other parts of the country and
in abroad market.
Very few manufacturers of the
cluster have launched their
websites but it serves to their
own specific purpose.
Common Web site of the
cluster will popularize the
products of the cluster and
will increase the market base
of the products of the cluster.
Increase popularity
will attract buyers.
People around the
world will know about
the craftsmanship and
products of the
cluster.


79

DETAILS OF QUANTITIES OUTCOME
Sr.
No.
Particular Before intervention After Intervention
1 Turnover of the cluster Approx 600 Crores Approx 700 Crores
2 Employment Direct
(Artisans)
135000 150000
3 Employment Indirect 10000 12000
4 Export (Direct) 5-8 Crores 15 crores
5 Export (Indirect) 12 Crores 20 Crores
6 No. of Micro Units 1800 2000
7 Authorized User
Registration of
Geographical Indication
1 100
8 ISO Certification 5 10
9 Cluster Common Website 0 1
10 Personal Website of
entrepreneurs
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Diagnostic Study Report Lucknow Chikan Cluster

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Diagnostic Study Report Lucknow Chikan Cluster

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DIAGNOSTIC STUDY REPORT

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