ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Designing of Footwear through Art of Chamba Rumal Sonal Chaudhary 1 1 Research
Scholar, Department of Design, Banasthali Vidyapith,
Rajasthan, India 2 Associate
Professor, Department of Clothing and Textile, Banasthali
Vidyapith, Rajasthan, India
1. INTRODUCTION Designing is one of the most important aspects of the fashion world. In fact, everything revolves around design. The word ‘DESIGN’ is often considered as an imagination and perception of the people which can vary from person to person Wilson (2001). Designing is the idea of selecting, organising, and putting thoughts in a particular sequence, as well as the material aspect of our own reality. Designing is the process of shifting from a state of randomness to a higher level of organisation in order to convey a key message or to make a desired impression. Designing is, at its ultimate degree, the meticulous and expert manipulation of an artistic element Sharma (2015). Once the human race began to cloth himself, this creative urge was so strong that it was not sufficient to make a protective covering for body. To satisfy this urge for decorative fabrics and clothing so as to break the monotony of design, various techniques of decoration were developed Shenai (1974). The Indian subcontinent has a very old history with embroidery. The earliest known Indian needles date to around 2000 BC and were discovered at Mohenjo Daro, which is now in Pakistan. Their very existence indicates an ancient tradition of sewing, which opens up the possibility to embroidery Crill (1999). The rumals were traditionally embroidered with untwisted silk thread coloured in natural colours on unbleached hand-spun muslin. The embroidery style known as do-rukha uses the double satin stitch the most commonly DCC. (2017). As the space on both sides of the fabric is filled up during stitching, the pattern on both sides seems equally effective and similar in content. This method is known as "dorukha," which means "two-faced " Dey (2017). But these coverlets were also embroidered using the single satin stitch, darn stitch, cross stitch, buttonhole stitch, and chain stitch Pathak (2010). The once-princely hill republics of Chamba, Kangra, Basholi, and neighbouring states, which are now a part of Himachal Pradesh, are where the chamba rumal embroidered art form developed and flourished Rai (2008). The Persian word "rumal" indicates handkerchief. However, Chamba Rumal refers to the needlework work done on a hand-spun khaddar or a beautiful muslin cloth that is cut into squares InDG. (2023). The earliest instances of this type of embroidery may be found in the 16th century, when Bibi Nanki, Guru Nanak's sister, is credited with creating them. These pieces are unique because of the importance of the subject matter, not because of their beauty. Dorukha, the double satin stitch used on the fabric is exquisite to the touch and to the eye on both sides Jaffer (2006). This embroidery is thought to have been influenced by Pahari (Hill) miniature paintings since it has a distinct shape Naik (2012). Traditional Chamba Rumal motifs includes two dancing women which are depicted encircling a plantain tree. The embroidery technique is said to be as a sort of painting on cloth that depicts various subjects using a needle and thread. Themes that are frequently shown include scenes from Indian mythology, the Ramayana, the Mahabharata, Ras Lila, Krishna Lila, Pahari paintings, hunting scenes, wedding scenes, and dice games. The Rumal's most well-known subject was Rasamandal, but other popular subjects include hunting, Nayika Bhed, the Shiva clan, and the Mahabharata. Like in the paintings, the "Krishna Lila" is a well-liked theme. Skillfully stitched designs on fabric include a wide range of geometric and floral patterns, as well as representations of battles, structures, and hunting experiences. Raslila in an old depiction in Chamba rumal. In the central section, deities are depicted, especially Lord Vishnu in all of his forms. There were other images of trees, birds, animals, and people. Bird themes include the parrot, peacock, duck, and swan, among others. Among the animal motifs are tigers and leaping horses. Among the tree motifs are the cypress and plantain trees, which are twisted and overflowing with blossoms and fruits to signify fertility Sharma (2022). The embroidery craft in Chamba was largely relied on one of the locals' social rituals. The evolution of the craft was kept in an absolutely beautiful shape and to a high level of perfection. In Chamba, people from all social groups contributed to the creation of these rumals Arora (2017). Traditonally, the two types of unbleached cotton cloth that were employed as the base fabric were the first being the transparent, light-weight, fine-grained, cambric-like fabric made in Sialkot, Amritsar, and Ludhiana. The second type of khadder is coarser, somewhat heavier, and hand-spun and hand-woven Naik (2012). Footwear design is the study of applying design aesthesis and appealing production to footwear in day-by-day life. Footwear is an essential part of clothing. Footwear design as a whole means a particular study regarding the presentation of building footwear in a more attracted manner. The U.S. state of Oregon's Fort Rock Cave is where archaeologists found the oldest pair of shoes ever found. These sandals, which were made from sagebrush bark, have been radio carbon dated to at least 10,000 B.C. These are evidence which show that the history of the shoes in 10, 000 B.C. that is at the end of the Paleolithic from the wild to protect their feet from the harsh environment Jeremy (2004). Anatomical
changes that may have been brought on by wearing shoes serve as the foundation
for earlier shoe use evidence. According to Erik Trinkaus, wearing shoes causes
physical changes in the toes, and these changes can be seen in human feet as
early as the Middle Paleolithic. In essence, Trinkaus contends that "localised mechanical insulation from ground response
stresses during heel-off and toe-off" is implied by small, gracile middle
proximal phalanges (toes) compared with more robust lower limbs Hirst (2019). The historical setting reveals how footwear
evolved from being a simple commodity to signifying an identity, attitude, and
way of life. India, a country of artisans, is well known for its ancient skill
in making footwear. Traditional footwear manufactured by regional artisans
includes leather chappals in Kohlapur, embroidered Juttis in Jodhpur, Indo-Tibetan felt boots in Sikkim, and
vegetable fibre shoes in Ladakhor,
to name just a few. In recent years, the traditional shoe and boot industries
have clearly embraced technology, which has greatly benefited both shoemakers
and shoe wearers. India is a nation that is incredibly diversified, India is a
very diverse country, and this diversity is reflected in the variety of
traditional footwear styles that can be found there. Through maintaining and
increasing their export contribution in relation to the development of
clustering and many other similar activities, small and medium-sized businesses
in India can significantly contribute to the growth and progress of the
footwear sector. In the
context of fashion industry, the footwear development provides a significant
role in promoting business. It is responsibility of footwear designer to
develop original and artistic footwear ideas. Footwear is not simply need; but
it is a fashion statement. In order
to promote the industry and boost capacity, MSME have developed as the
nurseries of entrepreneurship by establishing incentives for drawing
international investments through footwear units. The emergence of Footwear
Park complexes has changed the current situation by establishing new,
modernized production centers in addition to the already established production
centers in Uttar Pradesh, Tamilnadu and Andhra
Pradesh. Moreover, the Ministry of MSME is implementing
many programmes to enhance industry capacity and
provide capital subsidies. Because footwear has always played a crucial role in
completing any fashion trend that comes by, whether it is professional,
semi-formal, or casual, the main advantage of a career in the footwear industry
is that it is non-seasonal and always changing Sahoo
(2019). A major factor in the
development of the leather and footwear industries and the creation of
opportunities for their growth and promotion on a global scale has been the
"Indian Footwear, Leather & Accessory Development Plan," a
central government programme. Anything from flats, sandals, and stilettos to
boots and athletic wear rule the roost as beautiful fashion statements in
today's ultra-fashion-conscious culture. The Department for Promotion of Industry and
Internal Trade (DPIIT) and the Footwear Design & Development Institute
(FDDI) are working together to carry out the Primary Skill Development Programme (PSDP) as part of the XIIIth
Five Year Plan of the Government of India. The
training sessions were held in a number of operators training facilities around
the nation, including those in Agra, Kanpur, Bareilly, Delhi/NCR, Kolkata, Ranipet, Chandigarh, Maharashtra, Bihar, and other
locations. More than 180 centers/sub-centers were also constructed in outlying
areas to give the training program at the doorstep of unemployed youngsters.
The training programme were also conducted at venues
provided by factory owners, shoe groups, and other on-site locations FDDI. (2017). Chamba rumal implies a peculiar visual art form that represents
unique and charming embroidery done on a hand spun cloth with untwisted silken
thread which is greatly inspired by Pahari paintings. So, this inspiration was
used as a tool to give a contemporize look to field of footwear designing. The
linguistic craft of the chamba rumal
have fascinated the world. The present work of craft of chamba
rumal through footwear development will reflect the
immense creativity of ordinary people and their quest for self-expression. It
is an initiative towards overall progress of craft. The reason for focusing on
this is that these artisans of chamba rumal churn their masterpieces with their hands but fail to
find visibility they deserve. A large number of artisans have moved over the
years to urban centers seeking low paying and unskilled employment. Therefore,
this work was done to promote the skills and knowledge of traditional craft of chamba rumal through footwear
designing. A contemporized effort for bringing something new in fashion
industry. The
development of footwear design can also give opportunity of branding project
which can be used to give visibility to this beautiful community. It will also
bridge gap between makers and buyers. The motifs of chamba
rumal will make a new path for consumer on this
beautiful journey of crafts and craftsmen. One of the most important components
of fashion is footwear. Without a pair of contemporary shoes, clothing and
fashions are incomplete. The development of footwear design will fulfill the
need of new product in market for consumer.
Thenceforth the present study was planned with following objectives: 1.1. Objectives 1) To survey the market to get an insight for the present trend of footwears 2) To assess the consumer preferences for designing footwear 3) To collect and select motifs of Chamba Rumal embroidery 4) To develop and select design sheets with most preferred motifs 5) To develop prototypes with selected design sheets 6) To check the acceptability and marketability of the footwears 1.2. Delimitations · The study was de-limited to 100 respondents · The study was de- limited to development of 5 footwears · Only cotton fabric was used 2. Methodology The methodological approach to carry out this study was broadly classified under the following subheads: 1) Locale of the study 2) Selection of the respondents 3) Tools and procedure for data collection 4) Analysis of data The study's methodology has been divided into 5 phases in order attain its specific objectives: Phase 1 · The place of the study is the place where the study was carried out. The study was conducted out in Banasthali Vidyapith, Rajasthan. ·
For the study, 100 respondents were selected for
taking consumer preferences for the footwears to be developed. Phase II Various data and Chamba Rumal motifs were collected from different sources like published journal, articles, books, magazine and e- sources. The motifs were scrutinized for designing of sheets. 25 design sheets were sketched with the most preferred motifs. Phase III In the third phase, the respondents selected 5 design sheets for the creation of footwear design on a 5-point rating scale. They included five faculty members of clothing and textile department and 25 postgraduate students. The rating system was set up so that the design with the greatest score was considered to be the best or most preferred. Phase IV In 4th phase, the design of footwear through Chama Rumal embroidery were developed using selected designs. Phase V In 5th phase, development of prototypes was done. Then assessment was done by 100 respondents based on criteria i.e design, colour, overall aesthetic appeal was done, fineness of work. Five-point rating scale was used for assessment of prototypes. Then consumer’s acceptability and market value of the designed footwear were determined. 3. Results and Discussion The results of the study were divided into following subsection: · Consumer preferences and market survey. · Assessment of consumer acceptability for design sheets · Assessment of consumer acceptability and marketability for the developed product 3.1. Consumer preferences and market survey The market survey reveals that 95% people were aware of traditional embroidery and 65% respondents also know about the Chamba Rumal motifs. 52% preferred the cotton fabric for the development of footwear. The 58% respondents preferred cotton thread embroidery with 2 colour threads. 67% people liked to wear the Chamba Rumal footwear for casual wear. 3.2. Assessment of consumer acceptability for design sheets On the basis of respondent preferences, 25 Chamba Rumal design were developed. Chamba Rumal embroidery was used for surface enrichment. In this study, subjective analysis was used as a tool to analyze the designs. 100 respondents were chosen to judge the design visually and ranks were given on the basis of different parameters, design, aesthetic appeal, color combination. Finally, best 5 design sheets 4, 7,10,12,23 were selected on the basis of highest weighted mean score. Table 1
Figure 1
Table 2
Figure 2
3.3. Assessment of consumer acceptability and marketability for developed product Table 3
The Table 3 shows that the majority of the respondents graded all designs from average to excellent for the selected design. In case of design no. 10,7,12 and 23 100% respondents rated it from good to excellent. And for design no. 5 (100%) respondents rated it from average to excellent. Table 4
The Table 4 depicts that majority of the respondents graded the designs from average to excellent. In case of uniqueness for design no. 10 ,7,12 and 23 100% respondents rated it from good to excellent. And for design no. 4 (100%) respondents rated it from
average to excellent.
The Table 5 revealed that majority of the respondents graded all
the designs from average to excellent. In case of fineness, design
no. 10,7,12 (100%) respondents rated it for good to excellent and in case of
design no. 23, 4 100% respondents rated it from average to excellent. Table 6
The Table 6 depicts that majority of the respondents graded all
the designs from average to excellent. In case of overall appeal of design no.
10 (100%) respondents rated it very good to excellent and in case of design no. 7,12 (100%) respondents
rated it good to excellent and in case of design no. 23, 4 (100%) rated it from
average to excellent. Table 7
The Table 7 shows that majority of the respondents graded all the designs from average to excellent. In case of colour combination for design no. 10, 7, 12
(100%) respondents rated it from good to excellent and in case of design no.
23,4 (100%) respondents rated it from average to excellent. Table 8
It was revealed that
maximum no of respondents were ready to pay the estimated cost for the
prototypes. 4. Conclusion It was concluded that all the novel designs of footwears were accepted by all the respondents. They rated the designs from average to excellent. Thus, by making small changes in our traditional crafts of Chamba Rumal, something new can be created which will break the monotony in field of footwear designing. At the same time, it will give recognition and employability to craftsmens by keeping our feet on traditional grounds. CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Arora., R. (2017). Metal Threads in Embroidered Coverlets of Chamba. Textiles and Clothing Research Centre e-Journal, 1(2), 7-12. Crill, R. (1999). Indian Embroidery. V&A Publications. DCC. (2017). CHAMBA RUMAL: Life to a Dying art Delhi Craft Council. Dey, S. (2017). The Little-Known Story of Himachal Pradesh’s Unique Handkerchiefs That Were Embroidered by Queens. FDDI. (2017). Primary Skill Development Programme (PSDP). Ministry of Commerce & Industry, Government of India. Hirst, K. K. (2019). History of Shoes. ThoughtCO. History of Information (2023). InDG. (2023). Chamba Rumal. Himachal Pradesh Council for Science, Technology & Environment. Jaffer, K.H. (2006). Indian Embroidery Ethnic and Beyond. Super Book House. Jeremy, M. N. (2004). Fort Rock Sandals: The Oldest Surviving Shoes, Historyofinformation.com. Exploring the History of Information and Media through Timelines. Naik, S.D. (2012). Traditional Embroideries of India. A P H Publishing Corporation. Pathak., A. (2010). Chamba Rumal: Embroideries of the Himalayan Region. Annals of the Naprstek Museum, 89-110. Rai., I. (2008). Indian Embroideries and Textiles. Books Treasure. Sahoo, S. (2019). India’s Footwear Industry-Big Shoo-In to the Fancy Footwear. Ministry of Micro, Small & Medium Enterprises, Government of India. Sharma, M. and S. (2015). Designing Women Wear and Accessories by Using Split Ply Technique with Different Ornamentation. Journal of Humanities and Social Science (IOSR-JHSS), 20(2), 58-63. Sharma., P. (2022). The Poetry Created by- Chamba Rumal. International Journal of Creative Research Thoughts (IJRT),10(9), 653-657. Shenai., V.A. (1974). History of Textile Design. (1st ed.). Sevak, Bombay [India]. Wilson, J. (2001). Handbook of Textile Design. Principles, Process and Practice. Woodhead Publishing Ltd.
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