Banaras Brocade silk Traditional concept vs

modern outlook with special reference to

consumer behaviour
Abstract
In Present day Marketing situation, the Study of Consumer
Behavior has become necessary as Consumers are the kings of
markets. Without consumers business association cannot run. As
all organizations work to earn profit and that can only be
achieved if one provides products which will satisfy the consumer.
Consumer behavior study is based on five distinct roles of
initiator, influencer, decider, buyer and user. Consumer buying
behavior has become an integral part of strategic market
planning as people have wide assortment of products to choose
from in the market. One of the products which are always
preferred by women segment is a sari. A sari is one of the
traditional clothing of India. A sari is said to emphasize the beauty
of a women. There are various styles and types of saris available
in the market. One of the nationalized heritages of this nation is
Banaras Sari. It has been much prevalent amongst Indian women,
that when they think of some occasion they definitely take notice
of Banaras sari as one of the choice to wear.
The study here aims to understand the traditional patterns and
motifs used in Banaras brocade with regards to modern trends.
Secondly to understand the consumer preferences regarding
Banaras brocade sari.
Introduction
Banarasi saris are made in the holy city of Varanasi, a city which
is also called Benares or Banaras. The saris are among the
premium saris in India and are known for their gold and
silver brocade or zari, fine silk and opulent embroidery. These are
made of finely woven silk and are decorated with intricate design,
and, because of these engravings, are relatively heavy in the vast
heritage of Indian fabrics Banaras brocade has attained a name of
dream fabrics. With the mlange of colored silks and gold or
silver threads to form the most multicolored patterns, the
brocades of Banaras are the most beautiful and attractive items
among silk fabrics with a unique royal splendor.

The word Brocade is derived from the Latin word 'Brochus'

denoting ' to stab' or 'to transfix'. The Banaras Brocade is known
as Kimkhab but often misspell by the Europeans as Kin cob. The
word Kim Khawab, factually imply 'little dream' originated from
the fact that the scratching of the gold and silver thread against
the skin prevents proper sleep. According to others it is derived
from the Arabic word Kim meaning Flower and Khab meaning
to weave denoting woven flower. Hoffman suggests that the
word originates from the Chinese words Kin or Gold and Hoa or
Flower. Japan used the term Kinran for Gold embroidered fabric
that came from China.
Historical perspectiveRalph Fitch (158391) described Banaras as a thriving sector of
the cotton textile industry. The earliest mention of the brocade
and Zari textiles of Banaras is found in the 19th century.
With the migration of silk weavers from Gujarat during the famine
of 1603, it is likely that silk brocade weaving started in Banaras in
the seventeenth century and developed in excellence during the
18th and 19th century.
During the Mughal period, around 14th century, weaving
of brocades with intricate designs using gold and silver threads
became the specialty of Banaras.
The sari making is a cottage industry for about 12 lakh (1 lakh is
100,000) people associated directly or indirectly with the
handloom silk industry of the region around Varanasi
encompassing Gorakhpur, Chandauli, Bhadohi, Jaunpur and Azam
garh districts.

This is a reproduction of one of the

ancient fabrics preserved in the Shoso-in Repository, Nara, a
rare example of warp-patterned brocade. The original fabric
is known to have been employed in banners used for the
first anniversary of Emperor Shomu's death in 757 (the
original pieces are now owned by the National Museums in
Tokyo and Kyoto).
Pre Mogul Period:
Banaras is famous for its socio-economic and religious importance
all over the world. The city is equally important as a brocadeweaving centre throughout the country. The weaving industry,
which flourished during the Vedic period and touched its peak at
the time of mogul period, explains how the act of weaving was a
part and parcel of the life of the Banaras people.
Whether it is the religious activity or earning of livelihood for the
population, the weaving activity surpassed all other occupations.
From the historical perspectives, the textile industry has found
place from rig Vedic literature to post independent India. Since
the Rig Vedic times, we hear about several kinds of textiles

among which figures out the cloth of gold1 (the Hiranya) as a

distinguished type, the god in their resplendent grandeur wear it,
as they drive in their stately chariots. The Hiranya cloth has been
usually interpreted as the earliest equivalent for the present day
zari work or the kimkhab (brocades). We also find specific
reference to the embroidery in the Vedic literature.
Mogul Period:
The historical evidence depicts that the Banaras weaving industry
reached its peak during the mogul period due to the patronage of
mogul emperor like Akbar. From the Akbar period onwards, we
begin to get an uninterrupted account of the zari work and
brocades through the Mughal and Rajasthani painting. It is
significant to note that in the sixteenth century the old designs
abruptly came to an end; we find from the contemporary
paintings that wholesale-personalized motifs were introduced
although modified to the Indian taste. More emphasis was given
to floral designs. For example, Persian motifs due to the influence
and importance of Persian masters in the court of Emperor Akbar;
Ghias Naqshaband being the greatest Persian master among
them to the royal atelier of Akbar.
Post-Mogul Period:
However the ancient and mogul period description about the
Banaras silk industry is not complete and hence creates a doubt
about the silk industry of the city. With regards to the Banaras
zari and brocades, the first time well recorded description was
made by several British travelers to Banaras during British rule in
India. George viscount Valentia, in his travel-account furnished
some interesting information about Banaras textiles in early 19th
century. Valentia held a Durbar in Banaras; some textile traders
also attended the Durbar and displayed some very good
examples of zari and brocades. Valentia remarks that the
brocades showed close patterns and were quite expensive, so

that they were worn only on important occasions. Valentia rightly

observed that the prosperity of the Banaras people mainly rested
on its brocades and zari manufacture and trade as these textiles
were popular items of export to Europe. The description of
Valentia not only provided the historical existence of the silk
industry of Banaras but also explained how the socio-economic
aspect of the people is influenced by textiles industry during that
period (Voyage and travels of Lord Valentia Part I, London
1811).
The historical evidence of the post Mogul period clearly proves
the existence and importance of the Banaras silk industry in the
contemporary history.