PREFACE

The term craft refers to a set of activities that involve skill, and dedication
of the apprentice to produce a desired object.

Academic craft cluster initiative presentation module is an intrinsic part of

the Textiles Design curriculum at NIFT.

Craft documentation includes field study, researching the craft, material

culture of the interlinked craft societies, ethnographic study through
interviews, photographs, videos and sketches. It is a process of learning
wherein one has to go through various stages of field study, secondary
research, primary research, market study, photography and
documentation.

This document contains research on gota Patti n Rajasthan.This document

contains details information about the crafts and the various people from
artisans, designers to industrialists involved in the processes.
ACKNOWLEDGEMENT
Academic craft cluster initiative is a part of Fashion design curriculum at
NIFT. We would like to express our sincere gratitude NIFT, Gandhinagar for
providing us with the opportunity to conduct this research.

We heartily thank Mr. Sudhir Tripathi, director general, national institute of

fashion technology, ministry of textiles, and government of India, for
encouraging us towards craft initiative works.

We would like to thanks Mr. Arindam Das, director, NIFT, Gandhinagar for
his constant support and guidance.

We would like to acknowledge the guidance and support provided by Dr.

Kruti Dholakia, course coordinator and assistant professor, NIFT,
Gandhinagar.

Our acknowledgement to academic craft cluster initiative coordinators Dr.

Aditi mertia, associate professor, FD department NIFT Gandhinagar. They
provide us the opportunity to understand and document the craft of gota
Patti we thanks them for being our inspiring mentor throughout the
journey from research work and field study to compilation and
documentation.

At the end we would like to thanks nayla village people who helped us alot
in our craft.
ABOUT NIFT

National institute of fashion technology (NIFT) was set up by the ministry

of textiles, government of India, in technical collaboration with FIT, New
York. Since its inception in 1986, NIFT has played a pioneering role in
envisioning and evolving fashion business education in the country.

Academic inclusiveness has been a catalyst in the expansion of plans of

the institute. Today, NIFT has spread wings across the length and breadth
of the country. Through its 15 professionally managed centres, NIFT
provides a framework to ensure that prospective students from different
parts of the country achieve their highest potential through the different
programmes offered.

NIFT prime objectives has been to spawn a critical mass of highly

competent technical professionals in the area of fashion design,
technology and management capable of providing leadership to Indian
fashion industry, to enable it to compete better in the global economy.

Fostering a generation of creative thinkers, today the institute is

empowered to award degrees in undergraduate, post graduate and
doctoral studies. Articulating the ideology of world class learning
practices, the institute has entered into strategic alliances with leading
international schools.
ABSTRACT

The Nayla village at Jaipur district of Rajasthan is famous for Gota Patti
works on ethnic costume and fabrics. This study is carried out to
determine the internal factor evaluation (IFE) and external factor
evaluation (EFE) by SWOT analysis of Nayla cluster. IFE and EFE matrix
enable to select the influence of key external and internal factors resulting
in weighted factor values for each set of variables.

ABOUT JAIPUR

Jaipur, the largest city and the capital of Rajasthan, is also referred to as
Pink City. Built by Sawai Jai Singh, this place was India's first planned city.
With spectacular hilltops and stunning fortresses, Jaipur is major tourist
attraction among both national and international tourists. This royal city
captivates travellers as it is known for its rich culture and tradition,
magnificent art and artefacts, and brilliant past. The serene temples, the
long standing forts and palaces, and beautiful havelis with royal touch to
them; add on to the glory of Jaipur. Wonderful landscapes, marvellous
flora and fauna, picturesque views; all together create a mesmerising view
of this place. Only forts and monuments aren't the attractions of this pink
city, the intricate handicraft items and exquisite jewellery also catch the
eyeballs of tourists.
  This largest city of Rajasthan is also famous as the “Pink City”. It is
so because in 1876, the city was decorated with terracotta pink
colour in grand welcome of the Prince of Wales. Since then the name
has not only stuck, but has given the city a unique identity.

 Between 1727 and 1734, Maharaja Jai Singh II of Jaipur constructed

five astronomical observatories or Jantar Mantars. These structures
with their amazing combinations of geometric forms at large scale
have captivated artists, historians and architects. The largest out of
five Jantar Mantars is in Jaipur.

 Central Museum, located in the centre of the Ram Niwas Bagh, is

the oldest museum of Jaipur.

 Gaitore, based on the Jaipur Amber Road; about 15 km from Jaipur is

a royal cremation site of rulers of Jaipur.

 Sambhar, located at a distance of 60 km from Jaipur is famous for

being the largest saline lake in India.

GOTTA PATI
Gota Patti work also known as “Lappe Ka Kaam or Gota Kinari Work ", the
most famous work of “Rajasthan" and origin of this craft. Gotapatti
traditionally worked on temple idols, cloths on offering prayer, on royal
outfits (Mughal Era). These outfits especially worn on auspicious days,
weddings.

HISTORY OF GOTA PATTI

Gota work or Lappe ka kaam is a well known form of metal embroidery of
western India specially Rajasthan. The main city of Jaipur is widely
believed to be the birthplace of the craft. The embroiders of Jaipur,
Bikaner, Ajmer, Udaipur and Kota are acclaimed of their uniquely styled
Gota work.

The history dates back when the Mughal Emperor Humayun brought some
Persian craftsmen with him on his return to India between 1539 to 1554.
Since the Rajputs had healthy and diplomatic relations with the Mughals,
this resulted in the coalition of these two cultures which made a
remarkable transformation on the art and craft during that period. The
Rajputs patronised this new craft and invited royals from various parts of
the country to contribute in the new growing art that was developed. The
Gota work is believed to have originated as a result of the competition
between the royal households.

It is also believed that Gota might have originated as a low cost version of
the Danka work. Dankas are gold and silver sheets which are cut into
desired shapes and attached to the cloth using the stitches. Gota work is a
form of fabric ornamentation that is worn on religious or festive occasions
or during the wedding ceremonies. The colours used in Gota craft have its
own significance and connotation. Gold is associated with sun and
Goddess Laxmi and silver denotes moon and its light.

Be it the Royalty, rich merchants or poor everyone preferred vibrant

colours like red, yellow, green, pink, orange which was further
complemented with plentiful of Gota and zari work all over the garment.
Gota has become an intrinsic craft of Rajasthan along all segments of the
society. The two dominant communities of Jaipur the Marwari's and the
Rajputs vary in their costumes, but both use Gota extensively to adore
their garments. Traditionally done on dresses, dupattas, sarees, ghagras
and even turbans for festivals and occasions, Gota work is loved by all
because of the touch of royalty that it embraces on the garments.
Traditionally Gota was done using fabrics like heavy cottons, silk and
velvet as base fabrics. Now with the change in fashion, Gota is being used
upon sheer cotton tie-dye sarees, silk, satin, chiffons and crepes. Royal
odhnies or dupattas were heavy and grand embroidered elaborately with
different sizes of gota ribbons and were quite ornate.

Apart from its use in the wearables, outstanding Gota work was done on
the home accessories and the decor done in the houses in that era. Door
fringes, platter cover, animal saddles and even for the costumes of the
deities it was decorated and adorned with Gota to beautify and add
richness to the glory of god.

During marriages and other family occasions Gota was put on the groom's
garland and also used on many other gift artefacts that were used to offer
and exchange as a tradition of the customs followed.
NAYLA VILLAGE

Nayala is a village panchayat located in the Jaipur district of Rajasthan

state, India. The latitude 26.9361935 and longitude 75.9956672999999
are the geocoordinate of the Nayala. Jaipur is the state capital for Nayala
village. It is located around 19.5 kilometers away from Nayla. The other
nearest state capital from Nayala is Delhi and its distance is 203.5 KM.
The other surrounding state capitals are Raipur 219.9 KM., Delhi 226.7 KM.
Dehradun 413.2 KM.

It is a cluster of Gota Patti and Zardozi artisans, which has developed

naturally due to easy availability of raw materials and human resources.

The work of Gota Patti started in Nayla in 1981. This work is a prime
source of employment in Nayla. 80% of the majority population is entirely
dependent on this work. People of all castes and religions reside here but
the majority of Hindus are engaged in the Gota Patti work. And the other
20% either work or own general store or are vegetable sellers, chai wala,
etc.

Aari-tari handmade work has been practiced for long in the village. Nayla
and its neighbouring villages are renowned for the Aari-tari work, they
work mainly on sarees.

The estimated number of artisans in the cluster is around 3500,

performing the art of Gota patti directly under the supervision of a master
trainer.

The Gota patti and Zardozi cluster is predominantly spread within the
geographical yards including three other villages namely - Ranjipura
,Meenokabad and Harikishanpura. Many of the clusters are not included in
these villages but instead form a group of 5-6 family, also called Dhandi.
The human resources involved in the art are unskilled, semi-skilled and
skilled type.

Nayla artisans
1. Artisan- Bansi Dhar Yogi
Age- 40 years

Contact number- 9950553934

His father was a haldari and his brother had his own general store in
nayla. He is married and have 2 daughters.

Bansi ji did his schooling till 10’th standard, and started working
during 1990s. Material cost of 1 saree takes ₹300 which is then sold
for ₹3000. His monthly income is around ₹15000 – ₹20000.

2. Artisan- Prahlad
Age-
Contact number- 774287558

At the age of sixteen he started working on gota patti, his working

time is morning 5am to 5pm and it takes 5-6 days just to complete
one saree

His father does construction work and his brother does gota patti
work.

Material cost of one saree takes ₹500 and it sells for ₹5000

MATERIALS

1. Weaving

In Weaving, there are three types of yarn and these are:-

a. Resham
It is a shinny looking thread which is extracted from cocoon which is
known as Resham. These are colourful pure Reshamthreads which are
used in weaving Gota
.

b. Polyester

It is Resham mixed with plastic. It has more strength and it is long lasting
than Resham

c. Zari (Badla)

It is a metallic thread which has replaced pure Silver and Gold threads. It
is cheaper than pure Silver and Gold thread and it is morecolourful.

2. Gota Work

a. Gota Ribbon

GotaRibbon is available in different lengths and breadths and colours.

Used to separate the designs and as borders.

b. Laces

These come in different designs, colours and sizes. It is mainly used for
the borders. To make the laces,ribbons are given the shape as per design
required and then stitched.

c. Gota Patti
In earlier days they were cut by the hands but now the punching
machines are available in different designs and sizes.

d. Zari Thread

These are available in Lachhiyanand it is used for embroidery on the

edges of Gota Patti which is pasted.

e. Paste (Mixture of chalk powder and kerosene oil)

The paste chalk powder and kerosene oil is used for tracing the designs or
motifs on the fabric.
f. maxobond: It’s a fabric glue used sticking the gota Patti on the fabric
before the embroidery is done on it.

TOOLS

1. Adda(wooden frame)

Craftsmen tuck the fabric on Adda (which is a wooden frame) for doing the
work.

2. Peetan(wooden block and hammer)

Peetan is a type of hammer which is used to beat the work to set it.

3. Fatelah(wooden block to rap thread)

Fatelah is a wooden block on which a Zari Thread is rolled to work easily.

4. Needle
It is used in embroidery work and also while tucking the fabric on Adda.

GOTA

Gota has harnessed within its weave the actual dream in occasions.
Venturing in the markets of Surat, Ajmer and Jaipur (in very small scale)
where these are produced. Gota has become the actual ubiquitous accent
of any royal dress. During Mughal and Rajput era gota were made of real
gold and silver. In routine the base metal is copper coated by silver or
gold. Presently, copper has been replaced by polyester film which is
metalized and coated as per requirements. This has result in better quality
at lower cost.

Yarn is then hanged on stand and drawn up to the machine by manual

process

Weaving machine is run by electricity and woven fabric comes out in a

ribbon form.

The ribbons are cut into desired lengths as per the need of the customers
and roll is made and tied.

Later on it is supplied to the people to make laces, for making different

designs on it or for the punching process with which the different shapes
comes out. And then finally supplied to the artisans for the creative work.
THE FOLDING GOTA OF PAST
I

MANUFACTURING PROCESS
The first step in preparing the loom is warping, where the zari is warped
on a
wheel like structure, locally called charkha. Nowadays, the charkha is
power
operated and requires the supervision of just one person whose only task
is to
switch the machine on and off or to fix the yarn if it breaks due to tension.
Once the korns is ready the next step is to pass the
threads through the phanni, rollers and dropper(needle).
Korns are arranged in window frame in numbers according to width i.e. 32
korns of zari for ½ width of gota ribbon.
The yarns from korns go through Phanni. Phanni are similar to combs in
that they have dents or slits, through which the thread is passed to
overcome the overlapping of yarns.
Basically there are two rollers, first is 5cm in diameter and second roller is
11cm.
Once this is done, the threads are passed through the Dropper. Dropper
are thin strips of metal with an eye in the center. The process of threading
the dropper is similar to the process of threading the needles. Every
individual thread must pass through the eye of the
dropper. The dropper drops down when the zari breaks at any stage which
rings a bell in machine so that the weaver can fix it again. Then through a
bigger, v- shaped phanni and a roller again before folding around final
charkha.
Once this process is complete, the loom is ready for weaving.

WEAVE

However, this process is not very time consuming as the widest gota
braid is not more than 3.5 inches. Since the looms are power operated, a
pencil shuttle, which has the resham weft, automatically moves on the
zari warp and the gota braid gets woven. Due to this, one weaver can
simultaneously operate two power-looms, since there is no manual
shuttling
involved. His main job is to keep a check on whether the machine is
functioning
properly or not. These machines are advanced, 6 different patterns of gota
can be weaved at same time. The charkhas are attached to another
window frame in the weaving machine. Each threads from charkha
(maybe it’s a set of 32 zari or its multiple) are adjusted through hands to
pass through a phanni, two sets of droppers and finally through Phawadi
which controls the warp yarns. And the resham (weft yarn) also called lock
threads which are arranged below, passes through chumbak and raj and
finally to the weave. Raj is controlled through a mechanism of wheels and
springs.

Usually the weave patterns are controlled by chain settings connected

below weaving machine. Gota can have two types of weave: -

 Plain Weave is a simple construction of all weave groups. It is the

strongest of all weave structures. In plain weave the warp and weft
are aligned so that they form a simple crisscross pattern. Each weft
thread crosses the warp threads by going over one, then under the
next, and so on. Plain weave is the most frequently used weave
structure
 Even-sided Twill- Weave like other twill weaves forms a diagonal line.
In this
weave structure the weft thread is passed over two warp threads and then
under
two warp threads and so on. The twill order of interlacing causes diagonal
lines to
be formed on both sides of the gota braid and the direction of the lines
may be
either to the right or to the left, but the direction on one side is always
opposite to
that on the other side when it is turned over.
History of gota
Gota embroidery in the past was usually done by
folding the braid in different ways in order to create a variety of motifs
and
patterns and a range of different shapes such as triangles, diamonds,
hexagons etc.
were formed. This is still most popular form of gota embroidery.

PROCESS

a). Chhapayi - in hindi, Chhapayi means transferring the pattern on to

fabric. This process is more or less similar to the image transfer process
in hand or machine embroidery or textile printing procedure. Washable
chalk, carbon paper or indigo is used to make the pattern over the fabric.
If fabric is being prepared for clothe making, demarcation for margins and
seam is done in advance without cutting the fabric. The fabrics that are
used for this embroidery are mostly Tussar silk, chiffons and georgette.
Before transferring the pattern over the fabric, the piece of cloth is tightly
tied to a two sides khat, this process is called framing the cloth. It
becomes much easier to transfer the pattern on a framed piece of cloth.
Gota ribbon or lace is bulk produced by machines in factories. Plain gota is
mostly Silver, Gold or copper in color. This gota ribbon is folded and cut in
shape of required pattern before gluing it at the decided place (over the
transferred pattern). Once the gota shapes are properly set over the
tightened fabric piece, it is ready for Takaayi.

b). Takaayi- in hindi Takaayi means tucking or stitching. This stage

involves tucking or stitching the cut gota pieces on the fabric piece. This
work is done using very specific kind of needles, made for Lappe ka kaam.
From very easy to very critical patterns such as paisley, flowers, peacock,
elephants and other animals are formed using these cut shapes of gota.
c). Silaayi- Silaayi or stitching is done using two-three main embroidery
stitches such as -- chain and blanket stitch. Blanket stitch is used around
mirrors or round shapes mostly. One or more wooden pieces are used to
roll the zari (metallic thread) and silk threads in order to avoid them from
entangling.

Visiting the Local market (Johari

bazar)
Roop laxmi
Owner- Rameshwar lal goyal

This shop has completed its sixty years and have a range of ethnic and
indo-western garments, the price may range from ₹5000 to lakhs
depending upon the design. They have even worked with film industry
and designed a garment for the actor Parineeti chopra in the movie shudh
desi romance.

New silk palace

Owner- Devender singh

This is a sixty years old shop and make ethnic garments, they even take
orders for customization, price ranges from ₹1200 to ₹20000 depending
upon the design.

Mahalaxmi Emporium
Owner- Subhash Chandra Agarwal

This shop has a lot of variation in gota patti and the price ranges from
₹2000 to lakhs depending upon the design, they usually have clients from
the royal families. Their sale is maximum in wedding season, they do not
export their garments as they already have high sales specially in metro
cities, and they have worked with Bollywood too.
Aari Tari
Since 1996

Director- Ranu Jindal

Owner- Rajiv Jindal

Aari tari is quite popular when it comes to gota patti work, unlike other
shops aari tari have designers working under them which makes the brand
unique, they even have fashion shows to promote their designs. The price
ranges from ₹2000 to ₹250000(increase in border increase in price).
They have both heavy and light work garments with complete hand
embroidery, and the most used motifs are floral motifs. They do not use
geometrical motifs.

They export their garments, keep experimenting with their fabrics and
they customise the garments too as per customer needs.

GOTA
Owner- Anubhav arora

Price ranges from ₹500(lightweight kurta) to lakhs (heavyweight

lehangas)

They do not have designers as they believe in market experience which

according to him is more in artisans. They also keep swatches of designs
to show for customization.

They have more than 300 artisans working under them, they believe in
middle class customers as they visit again and again and show respect.

They used to have stores in San Francisco, South Africa and UK but had to
close them because of increase in export taxes.
MARKETTING
There isapproximate 3500 of people at Nayla cluster in which 2000
of them are men and rest are women. About 57% of the artisans
are male and rest 43% of them are female
Type of Job:
Permanent: 60 %,
Temporary: 40 % 5.
Skill Oriented Training:
Yes: 95 %, No: 5%

VARIATIONS IN THE CRAFT

The variation is inevitable in system; the two major types of
variations are common which is inherent in a system and other
which is caused by environment, thus creating a variety of textured
patterns in the design over the time. Pure gold and silver wires have
been substituted by the multi coloured polyester ribbon done cost
competitiveness has good resistance to moisture and does not
tarnish as compared to metal-based Gota. Gota is also used as motif
or Kinari (edging) that are attach as emblem onto garments,
turbans, baskets, platter covers, and hookahs etc. The basic design
involves the folding of tapes into basic rhomboid units, referred as
leaves (Patti). The crafts also used for products like salwar kurta,
lehenga, short kurta, topper, skirts, cholis, ghagras, odhnis, saris,
turbans, torans, cushion cover, mobile cover and jooties.

DESIGN AND DEVELOPMENT

The artisan acquired a formal training in 2007 from Maharana Pratap
adhyanavam Jan Kalayan Sansthan, Jaipur. The objective of this
training was cluster formation, skill development with marketing
assistance. Though artisans themselves perfected the ability with
time and practice only. Mostly family members do this work, while
in some cases, the women do gota patti and their husbands do
leather work or run petty small business like taxi drivers, general
stores, selling vegetables, etc. Children attend school and helps in
household work along with practicing gota patti with their parents or
relatives.
The payment depends upon the type of work and design. They
follow piece rate system. The price per piece range starts from Rs.
200/- to Rs. 2000/- as per design and amount of work. The wages
are not dependent upon experience.

CHALLENGES:
Gotta Patti / Aari Tari cluster development project at Nayala, Jaipur
have Low wages ranging from Rs. 300 per day for 10 to 12 hours of
work. Gota Work is seasonal, and demand keeps changing from
season to season. The zardozi work has lower demand due to high
price and Design Limitations. The artisans produce garment with
obsolete design and no link to seasonal forecasts. Lack of
investment to set up their own business. Artisans face health
problems in the form of weak eyesight due to prolonged working
hours and increasing age. Weak eyesight limits the work tenure of
artisans up to 35 years only.

SWOT ANALYSIS
The SWOT matrix is a starting point of the stage two, which
confronts environmental threats and opportunities with internal
strength and weakness of a cluster. It’s one of the most useful tool
for defining company strategic action by analyzing company internal
capabilities and external environment for recognize opportunities
and threats (Comen&Romen 2000).

STRENGTHS

The Gota Patti ribbons are machine made, easily available due to
high demand in domestic market. These demands are met to need
through fully trained artisans who are easily available. Moreover
minimum electricity is consumed in this process. Flexibility in
working hours and work from home provisions to motivate
employees, its gender specific. Easily availability of raw materials
and other inputs.
WEAKNESSES

1. Low wages for the artisans.

2. Government schemes and benefits are not reaching the grass
root artisans.
3. Less technical modernization and upgradation.
4.Irregular sales during the off-season are a negative factor in this
market.
5. No geographical indication
6. Intermittent work due to seasonal demands.
7. Inadequate working capital with artisans.
8. Limited access to markets.

OPPORTUNITIES

1. Availability of traditional & national promising markets.

2. Participation in trade fairs and training programme organised by
government.
3. To enhance knowledge of new design, colour combination and mix
of Aari Tari, zardozi and Gota Patti work.
4. To orient artisans in product designing and task completion.
5. Banking Credit facilities. Government sponsored activities and
schemes.

THREATS

1. Raw-material price varies, Increasing cost of transportation and

raw material cost.

2. Increasing popularity of non-loom techniques and other applique

techniques.

3. High cost of supply chain for National fairs and exhibitions in the
absence of retail outlets for direct selling.
 DIFFERENCE BETWEEN LOCAL MARKET AND
DESIGNER

GOTA PATTI IN LOCAL GOTA PATTI BY DESIGNERS

MARKET

Minimum price for a saree in local Minimum price of a designer work

market is 1200 and heavy embroidery is approximately 2 lakhs and can
lehangas can go up to 2-3 lakhs. go up according to design.
Mix and match combination of very Designers use very subtle colour
bright colours are used. combinations.
There is not much variation in local Designers experiment with gota
market. patti work. In the way of placement
of gota in a particular garment.
Only ethnic wear is available in local Despite of ethnic, designers also
market. make indo-western and western
garments with minimal gota patti
work.
Gota patti work is mixed with Designers also mix and match
applique, zari, and stone work. different techniques in a subtle
way.
Most of the local markets depend on First design is made then gota patti
artisans for new designs as they do work is done.
not hire designers.
 CHANGES OF USES OF GOTA PATTI
THEN
Earlier Gota Patti work was only used by
royalty as original gold and silver
threads were used.
Gota Patti was not mixed with any other
technique.
Lower class people could not afford gota
Patti so they wore block prints which
looked like gota work.
Gota was hand weaved.
NOW
Gota Patti is available for everyone
as copper coated with silver or
polyester thread is used.
Gota Patti now is mixed with
applique, zari, stone work and
different prints.
Gota Patti is cheaper so anyone can
afford it.
Gota is weaved by machines.

GARMENT USE
Earlier gota Patti work was worn by royalty, both men and women on
a daily basis but now it is worn only on special occasions.
Now it is usually worn by women as compared to males, while male
do wear gota work but very rarely (for example on their wedding
day).
Gota work is modified as per current demand and is used in a very
minimal way, now days it is even used in western garments and is
popular in international market too.

OUR VISION IN GOTA PATTI

 Our vision is to use minimal gota Patti work and in a way that it
doesn’t lose its essence and design for young generation.

Anita Dongre’s Summer Bride 2015

New Collection of Anita Dongre for the Bride of summer 2015. Fresh
pastels, light blues and her signature gota Patti work – she continues to
delight her core fan base.
 Sophisticated blouses with a touch of gota embroidery caught my eye,
along with some regal jewellery.

Bridal look not about going over-the-top anymore:

Anita Dongre

Designers are getting more lavish with Indian craftsmanship, the

traditional weaves, gota Patti, zardozi and heirloom crafts, -says Anita
Dongre.

Designer Anita Dongre says that bridal make-up is not “over-the-top”

look any more. Dongre says nowadays women like to wear traditional
outfits with a “casual edge”. “Today, young Indian girls like to wear
traditional outfits with a casual edge. We do a lot of printed lehengas with
pockets

India Couture Week 2016:

Actress Yami Gautam will be walking the ramp as the showstopper for the event.
The three-day long Vogue Wedding Show will start from August 5 at the Taj
Palace Hotel in the national Capital. Talking about the the Vogue Wedding
Show 2016, Dongre said: “The Vogue Wedding show is on our annual
calendar to start the wedding season. It is the only time that prospective
brides can personally meet me. I look forward to interacting them.” And
according to her, in India, “couture is basically bridal couture”.
“Designers are getting more lavish with Indian craftsmanship, the
traditional weaves, gota Patti, zardozi and heirloom crafts,” she said.
Dongre feels “lehenga and sari are here to stay”, as designers keep
reinventing them.
Esha Gupta in Anita Dongre Saree

Esha Gupta attended Baba Siddique’s Iftar party wearing a yellow chiffon
saree that featured gota Patti border paired with an ivory gota Patti work
boat neck blouse by Anita Dongre. Wavy hair and jewelry by Anita Dongre
Pink City finished off her look. She looked nice!

Anita Dongre at India Couture Week 2016

Anita Dongre’s bridal collection “Epic Love” at the India Couture Week 2016
was no less than love at first sight. Sleek silhouettes with gota Patti
embellishments looked extremely graceful. And adding to it the silver antique
accessories which perfectly blended with the contemporary feel.

Take a look at her stunning collection here:

TARUN TALIHIYANI BRIDE
COLLECTION
A model walks down the runway in a gorgeous lehenga with a net veil.
The brightly hued lehenga has very detailed “gota Patti” embroidery,
creating a luxe bridal look.