India's handloom business has a long history of exceptional craftsmanship that embodies and protects the vibrant Indian culture. The distinctive hand spinning, weaving, and printing techniques of India's loom weavers are renowned across the world. They have their headquarters in rural towns and villages where knowledge is passed down from one generation to the next. With 23.77 lakh looms, the handloom industry is the largest cottage sector in the nation. With almost 3 million people employed in related and direct operations, it is also the second-largest employer in the rural area. (Photo credit: Unsplash)

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The real, signature Kanjeevaram saree, made of pure mulberry silk and bordered with Gujarati copper, silver, or gold-plated yarn zari, is nothing less than a valuable masterpiece that keeps looking excellent and shining new even after decades. These sarees stand out among the sea of other drapes because of their vivid colours, distinctive designs, which range from recognisable checks to sparkling broad borders, and stunning woven motifs like peacocks, kalash, leaves, etc. (Photo credit: saridhoti.com)

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Ikat, also known as Ikkat, is one of the oldest methods of dying fabric. These yarns are bound in various ways, which causes various patterns to appear on the fabric. This technique can be repeated numerous times to produce complex designs in a variety of colours. Ikat fabric has the same appearance on both sides because the surface pattern is formed on both sides of the cloth and is bound with yarn. Ikat patterns are not created by printing or by weaving many threads together into intricate webs. Warp and weft yarns are dyed before being woven to create the ikat patterns. (Photo credit: dsource.in)

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The double ikat or patola saree is famous for its geometrical patterns and vibrant colours with motifs of flowers, jewels, birds, elephants, parrots, and dancing figures, along with plain, dark, and bright borders on the pallu and body of the saree. One of the most challenging weaving techniques in the world, patola weaving uses to warp and weft yarns that are coloured beforehand using pre-designed patterns in the double ikat (tie and dye) method. As one of the places where few weavers still perform their trade, Patan in Gujarat, India. Patolas are distinguished by their detailed, bold designs that contrast with figurative themes that are tied and dyed until the desired patterns are produced. (Photo credit: dsource.in, patan.nic.in, milaap.org)

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The many weaving techniques used in Varanasi to produce the designs known as brocade are well known. The fundamental method entails weaving an additional weft across the warp and weft of the woven fabric. The base weave is visible when the unpatterned portion is skipped. The design appears in low relief and can be completed with silk, gold, or silver thread. It has a textured appearance that resembles embroidery. When the weavers begin to weave a shimmering "tissue" sari, as the metallic gold sari is known in Varanasi, the zari threads are stretched along the warp. (Photo credit: artandculture.google.com)

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The Zari and Zardozi embroidery, which has been around since the late 16th century, is India's most valuable embroidery. The Mughal invaders brought this art form to India. An embroidered style called zari zardozi originated in Persia and was brought to India. Various objects are stitched with zari zardozi embroidery utilising metallic-bound threads. The embroidery techniques used by early artisans have been passed down through families and local communities. India's Lucknow, in Uttar Pradesh, Gujarat, Ujjain, in Madhya Pradesh, and other states participate in the production of zardozi works. There are several micro-businesses that focus on Zardozi today. (Photo credit: dsource.in)

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Indian painters often employ textiles as a canvas, and they also serve as a home for textiles. Since it was first practised over 3,000 years ago, there have been many trials and errors with kalamkari. Kalam refers to a pen used in painting, while "Kari" in Urdu alludes to the skill involved. It may be traced back to the early time of alliance during the trade of Indian and Persian trade merchants who recognised any textile paintings. Kalamkari is an amazing kind of ancient textile painting with a long history. Through time and fashion, artists have developed from their ancient art of painting stories. In Srikalahasti, kalamkari has existed for almost 200 years. (Photo credit: dsource.in)

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The term Bhagapluri Silk comes from the Bihar city of Bhagalpur. The Bhagalpuri saree is often made of Bhagalpuri silk. Bhagalpuri silk is produced from the cocoons of the Antheraea paphia silkworm. This species is indigenous to India, thus it shares your commitment to the "Make in India" movement. These yarns are made from Tassar cocoon-derived multicoloured silk strands (Antheraea paphia silkworm cocoons). Bhagalpuri silk sarees have a vivid and dazzling texture and feel because they are woven into distinctive and meaningful designs and motifs. Tassar silk is another term for Bhagalpuri silk, hence the sarees are also known as Bhagalpuri Tassar silk sarees. (Photo credit: patnabeats.com, fashinza.com)

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The most refined form of cashmere, pashmina is one of the highest grade wools on Earth. The Pashmina fibres have a diametre of 12 to 15 microns. Every spring, Pashmina wool is gathered, and it is spun by hand. On a spinning wheel locally known as a "Charkha," the yarn is spun. The raw material is processed before spinning by being stretched, cleaned to remove any impurities, and soaked for a few days in a solution of rice and water to make it softer. Hand spinning takes a long time and is very laborious. It is a remarkable process to observe, but it calls for a great deal of patience and attention. Because pashmina yarn is too delicate to withstand the vibration created by power looms, handlooms are employed to weave the traditional, 100 percent pashmina shawls. (Photo credit: angadcreations.com)

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The bandhani procedure requires a high level of ability. The method entails dyeing a fabric that has been firmly knotted with thread at various spots, producing a variety of patterns depending on how the cloth is tied, such as Chandrakala, Bavan Baug, Shikari, etc. Yellow, red, blue, green, and black are the primary colours used in bandhana. A metre of fabric may have hundreds of small knots called "Bheendi" in the local dialect (Gujarati). After being dyed in vivid colours, the knots are opened to reveal a pattern. Traditional classifications for the finished goods include "khombhi", "Ghar Chola", "Chandrakhani", "Shikari", "Chowkidaar" and "Ambadaal". (Photo credit: dsource.in)

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