CRAFT CLUSTER

METAL CRAFT AND JEWELLERY

(CHAMBA)

FASHION AND LIFESTYLE ACCESSORIES DESIGN

(2017-2021)
Study and survey of Craft Documentation

Conducted by:

Aditi Chaudhary
Dimple Sebastian
Hemangini Mandaliya
Reetu Verma
Riya yadav
Shubhanshi Agarwal
Vanisha

Centre Name: Kangra

Copyright @National institute of fashion technology Year 2018 All rights reserved:
no part of this book may be reproduced, stores in retrieval system or transmitted in
any form by any means of electronic, mechanical, photocopying, recording or
otherwise without prior permission from NIFT, except by a review/reader who
wishes to quote brief passage in connection with a paper review/essay written for
inclusion in a periodical, newspaper or broadcast.

Faculty Guide: Shilp Guru Badshah Miyan

METAL CRAFT AND JEWELLERY
CRAFT OF CHAMBA
ACKNOWLEDGEMENT

This project of craft research consumed huge amount of

work, research and dedication. Still, implementation would
not have been possible if we did not have the support of
many individuals and organizations. Therefore, we would
like to extend our gratitude towards all of them.

First of all, we would like to thank National Institute of

Fashion Technology and its administration for their
financial and logistical support and for providing necessary
guidance concerning project’s implementation.

We are also grateful to-

Shilp Guru Badshah Miyan (EMPANELLED DESIGNER- DC

HANDICRAFT)
Mr. Sandeep Sachan ( ASSOCIATE PROFESSOR AND COURSE
CORDINATOR)
Mr. Surender Thakur (MUSEUM CURATOR)
Padma-Shri Shri Vijay Sharma
Mr. Anil Kumar (LEATHER ARTISIAN)
Mr. Ankit Verma ( METAL ARTISIAN)

for provision of expertise, and technical support in the

implementation. Without their superior knowledge and
experience, the Project would lack in quality of outcomes,
and thus their support has been essential.

We would like to express our sincere thanks towards the

artisans and craftsmen who devoted their time and
knowledge in the implementation of this project.

Nevertheless, we express our gratitude toward our families

and colleagues for their kind cooperation and
encouragement which helped us in the completion of this
project.
 PREFACE
The idea of craft cluster initiative by textile ministry is
appreciable approach towards the revival of traditional
Indian Crafts. The craft cluster allows students to gain
knowledge about selected crafts in depth.

Our group visited Chamba and it is a must visit place.

Spending five days over there was a very good experience
and it will be always in our good memories. Staying with
the craftsman, observing their lifestyle, talking to them,
sharing experiences was the peak. We will be discussing
various crafts in Chamba. While focusing on Chamba
Rumal, the embroidered paintings. Such experiences are
kind of life lessons. And devoting five days with the
craftsman, you can imagine their hustle. A true sense of
emotions and respect is generated in the whole team.

As now, the government is also promoting these crafts

(handmade crafts) to keep the Indian traditional alive. But
more deep research by government should be done to
reach the hardworking craftsman and help them
financially. So, through NIFT and Craft Cluster initiative,
reaching the craftsman and keeping the craft alive is a
good platform for everyone to explore.
Contents
6

About the place

7 Glimpse of Chamba
10 History
11 Geography
12 Location/Climate
13 Traditional Costume
14 Traditional Jewellery
15 Tourism In Chamba
25 Art and Craft in Chamba

31 41

Metal Craft and Process and Technique

Jewellery of Chamba
42 42.1 Cutting of Stock
33 History 42.2 Cutting with shears
35 Raw Material 43 43.1 Cutting with Hack Saw
37 Tools 43.2 Cutting with Jewellery Saw
44 Annealing and Heating
45 45.1 Annealing with a Torch
45.2 Softening of Pewter
46 Shallow Hollowing
48 Raising
50 Planishing
52 Bending and Shaping Metal
54 Levelling and Truing Up
56 Wiring and Clamping
58 Tinning and Cleaning a Soldering
Bit
60 Soft Soldering Copper and Brass
63 68

Motif and Designs Product Range

74 78

Metal Jewellery Artisan’s Profile

81 106

Proposed Product Product Sketches/

Design Ideation
82 Candle Stand
82.1 Process
96 Making the Base

109 115

Finished Proposed Market Channels

Product
116 Order Based Buyers
117 Supply Chain
118 Value Chain
119 Credit
120 Trend
121 126

SWOT Analysis Our Reflection to

this Journey
122 Strengths
123 Weakness
124 Opportunity
125 Threats

130

Overview
ABOUT THE PLACE
 GLIMPSE OF CHAMBA
The town of Chamba is situated in western
Himalayas, between north latitudes 32” 12’ and
33” 13’ and east longitudes 75”45’ and 77” 33’.
The town stands on a plateau right bank of Ravi
river valley between Dhauladhar and Zanskar
ranges, south of the inner Himalayas.
This town was founded by Raja Sahil Varma, when
he conquered the lower Ravi valley from the petty
chiefs called Ramas and Thakurs in the beginning
of the tenth century. The original name of the
town was Champa, named after the king’s
daughter Champawati.
District Chamba : General Information

Physical feature :-

Altitude :varies from 610 meters to 6,400 m e t e r s .

Headquarter :Chamba (altitude 1006 m e t r e s )
Location :
Chamba is situated in the western Himalayas
Major rivers :District is lulled by the music of turbulent waters of ravi and chenab
Flora :olive , pomegranate , peepal , shisham , lantanas (inspiration of
chamba chappal)
Fauna : musk deer , brown bear , snow leopards , boars , patridges , wild
fowl , ghoral , thar , ibex
Population : 19933
Language : chambiali , gaddiali Community – Gaddis, Gujjars, Bhattyals, Churahis,
Pangwals
Fairs and Festivals : Minjar Mela , Sui Fair
Folk Dances : Dandaras , Gaddi or bharmouru Nati , nat , nachan , ghurehi ,
chhinjhoti shain, shal-kukdi, nachan , dhamal , til-chauli , jatar , mask
dances , dance of gujjars , dance of gurkhas , dance of parachanar.
Cuisine : Rajma Madra
Access by Air :
Nearest airport is Gaggal ( Kangra ) 135 k m . and Amritsar 220 km.

Access by Rail :
The nearest broad gauge railway station is at Pathankot 120 km.

Access by Road :
Almost each and every part of the state is linked by roads. The Himachal Road Transport

Corporation is running its buses covering the whole state. There is huge network of HRTC to
cater the needs of the people .

Distances :
Shimla 378 km., Mandi 334 km., Manali 470 km., Kangra 180 km., Delhi 640 km., Jammu 245
km., Amritsar 245 km., and Haridwar 610 km., Manimahesh Lake 100 km., Bharmour 65 km
 HISTORY

Though historical records date, the history of the Chamba region to the Kolian tribes in the
2nd century BC, the area was formally ruled by the Maru dynasty, starting with the Raju
Maru from around 500 AD, ruling from the ancient capital of Bharmour, which is located 65
kilometres (40 mi) from the town of Chamba.

In 920, Raja Sahil Varman, King of Bharmour, shifted his capital from Bharmour to a more
centrally located plateau in the lower Ravi valley, and named the city Champavati, after his
daughter.
 GEOGRAPHY

Chamba is the headquarters of the Chamba district, bordered by Jammu and Kashmir to
the north-west and west, the Ladakh area of Jammu and Kashmir and Lahaul and Bara
Banghal to the north-east and east, Kangra to the south-east and Pathankot District of
Punjab to the south.
LOCATION/CLIMATE

The temperatures in summer

vary between 38 °C (100 °F)
and 15 °C (59 °F) and in
winter: 15 °C (59 °F) and 0 °C
(32 °F).The maximum
temperature recorded in
summer is 39 °C (102 °F) and
the minimum temperature in
winter is −1 °C (30 °F).
Climatically March to June is
said to be the best period to
visit Chamba, which is a well
known hill station. The
average annual rainfall in the
town is 785.84 millimetres
(30.939 in).
 TRADITIONAL COSTUME

Chamba is very rich in traditional costume. In

ancient times , men wore fine woolen chaddars(
blankets) known as pattu around their waist ,
which they tied with a patka. The women too
wore full length dresses made of wool known as
Nuachdi. However the gaddi men used to wear
a loose fitting woolen garments known as chola

white in colour and was girdled with a black

woolen rope. This was generally accompanied
by a white embroidered cap. Gujjars on the
other hand preferred blue and black caps.
 TRADITIONAL JEWELRY

Women in chamba wear different types of ornaments made out of silver and gold.
Shangli is a long silver chain worn round the head Chudamoni are worn at the
parting of the hair and comes in the shape of the lotus Chiri Tikka is another
awesome jewellery , chiri means bird Chirka Chamkui is mainly used by the gujjar
women and worn in pair at the two sides of the head. Chak is mainly used by gaddi
women and come in different varieties.
TOURISM IN CHAMBA

Tourism in Chamba offers

everlasting memories of a place
that is so beautiful yet so easily
accessible. If you stay here for a
few days, you feel like you have
spent a whole year and this is the
key quality of Chamba as far as
tourism in Chamba is concerned.
Tourism in Chamba is most suitable
to those who are religious minded
because of uncountable number of
temples.
 LAXMI NARAYAN TEMPLE
Laxmi Narayan Temple is situated in Chamba of Himachal Pradesh. Lakshmi
Narayan Temple was built by Sahil Verma in the 10th century. Laxmi Narayan
Temple is the largest and oldest temple in Chamba. There is a group of six
stone Shikhara temples. The three Shikhara temples are dedicated to Vishnu
and other three are dedicated to Shiva. Wooden umbrella are built to keep the
snowfall off the roofs. Lakshmi Narayan Temple is open between 6 am to
12.30 pm and 2.30 pm to 8.30 pm.
 CHAMUNDA DEVI TEMPLE

Perched on top of the Shah Madar Range and overlooking a spectacular view of
the tiny township of Chamba, Chamunda Devi Temple was built by Raja Umed
Singh in the year 1762. Situated on the banks of river Baner, the temple is
dedicated to Goddess Kali, also known as the Goddess of War. It is easily
accessible through a 3 kms long concrete road from Chamba. In addition to this,
the temple complex also houses a handicrafts shop which sells pretty souvenirs
to take back home.
 BANSI GOPAL TEMPLE

An interesting temple is Bansi Gopal Temple (also called

Radha Krishna), dedicated to Lord Krishna where you can
view a number of stone panels from excavations
conducted in and around Chamba. The temple is situated
in close vicinity to Chamba Palace.
 CHAMBA CHAUGAN

A public promenade - a grassy maidan less than 1 km. in length and about 75 metres wide.
It is a busy local trading centre for villagers from the surrounding hills. Each year Chaugan is
the site for the Minjar procession ( Minjar Mela ). The fair lasts for a week and people
attend the fair in the Minjar procession. The fair lasts for a week and people attend the fair
in the local customs and colorful dresses, in a gay mood walking in the Chaugan where a
large number of sports and cultural activities take place to commemoratethis occasion. On
the conclusion of fair the "Minjars" are immersed into the Ravi river. It is also an
establishment base for various exciting treks into the valley around.
 BHURI SINGH MUSEUM

Bhuri Singh Museumis one of the oldest

museums in India. It was set up in
September 1908 by the Raja Bhuri Singh
under the guidance and inspiration of
venerable historian of Indian Art
Professor John Philip Vogel. It is on the
world art map because of its finest
collection of Pahari miniature paiting
chieflu Chamba and guler Kangra styles.
Apart from the paintings, the museum
houses a large collection of epigraphs,
copper plates, historical documents,
manuscripts, sculptures in stone, metal
and wood, Chamba rumals, coins,
murals, wood carvings, armour and
other decorative arts. Opens daily from
10:00 A.M. to 5:00 P.M. except on
Monday and gazetted/local holidays.
Lunch time is 1:30 P.M. to 2:00 P.M. It is
also open on Sunday.
 CHAMBA LIBRARY

Inside the Government College of

Chamba is the old Chamba library. You
can find books on almost every topic
of Himachal Pradesh here, i.e.
Himachal history, geography, states,
books explaining ancient art and
culture along with photographs of
ancient coins, armour etc. If you are
interested in the monuments,
manuscripts, ornaments, wooden
articles of utilities etc., found in the
Bhuri Singh Museum, then you must
visit Chamba Library. Here you can
find truck loads of books on these
topics. There is also an office situated
near the library and you can find
various books on other topics here.
And not to mantion, you can also find
mystery-thriller and adventurous
novels of various writers here.
 AKHAND CHANDI PALACE

Chamba Palace or Akhand Chandi Palace is the stately white building in Chamba. Lording over
the tinsel town, the palace overlooks Chaughan, Lakshmi Narayan Temple, Sui Mata Temple,
Rang Mahal, Hari Rai Temple and Bansi Gopal Temple. The extravagant architecture boasts of
well-decorated arc styled windows and intricate wood and glass work in the interior walls.
Surrounded by plush gardens and fancy fountains, the palace was handed over to the
Himachal government in 1958 and has now been converted into a government college and a
district library.
ART AND CRAFT OF CHAMBA
 CHAMBA CHAPPAL
Chamba has its own unique traditional system of
men's and women's footwear. It is one of the
indigenous crafts of this region, there is an
interesting story behind it. It is said that, long ago,
chappals were mostly made of grass. Leather
footwear was not in vogue then. Things changed
when a princess from Kangra was married into the
royal family of Chamba. She was not happy with the
grass slippers made by the local craftsmen and so a
cobbler family was sent to Chamba from her native
land to make shoes for her and this is how leather
chappals began to be made in Chamba.

Today however, both leather and grass slippers are

being made here. Grass slippers are used where
leather footwear is not allowed. Earlier, only locally
available goat or sheep leather was used for making
the leather chappals. With time different types of
leather began to be imported for making different
types of footwear. Some of these chappals are plain.
They are mostly made by men. Another variant is
elaborately embroidered with silken threads of
various colors. These chappals are also made by
men, but the embroidery is done by women artisans.
 CHAMBA RUMAL
Chamba rumals refer to a visual art form done on
handspun cloth using untwisted silken thread known
as ‘pat’. Such pictorial embroideries, which are unique
to Chamba, originated in royal quarters somewhere in
17th and 18th century. In those days, the walls of the
palaces were decorated with murals and miniature
paintings done in Chamba style. The ladies of the royal
household recreated those motifs on unbleached
khaddar, muslins and silk cloths, maybe just to pass
some leisure hours. Today this art has become a
hallmark of Chamba.

Before commencing the work, the ladies has the

outlines drawn with soft brush. In most cases, female
miniature painters were hired to do this job.
Sometimes of course, the ladies themselves did this
job. Those done by the royal ladies were
comparatively cruder and bolder.

Today, the craft is no longer confined to royal quarters.

Commoners have taken it up in a big way. The initial
sketch is drawn with charcoal. Do Rukha or double
satin stitch is mainly used to fill up this sketch. Darn
stitch or Du Rukha Tanka is also used where
appropriate. The stitching is done in a way that the
fabric looks similar on both sides and enables a photo
like finish. The most popular colors used are Persian
blue, ultramarine, carmine, deep red, pink, brilliant
pink and purple, parrot green, lemon, deep yellow,
brown and black.
 STONE CARVING AND WOOD
CARVINGS

Stone sculptures on the outside walls of the temples

are the best examples of stone carvings in Chamba,
Himachal Pradesh. These are dedicated to Lord Vishnu
and Lord Shiva mainly. The temples are carved in stone
with shell roofs and wooden umbrellas to protect
them from rain and the occasional snow. These
carvings are extremely exquisite in nature.
 METAL CRAFT
Metal work is an ancient craft of Chamba. It is
believed that the people of this region have been
making brass objects long before King Maru set his
foot here. A copper mine located in the district
provided the raw materials for making the brass. Later,
Bronze items began to be made under influence of
Kashmiri artisans. The images of many gods and
goddesses in the district have been made with bronze
in the later period.

To make these images, artisans first made the mould

with wax and then applied a thin layer of earth on it
leaving a hole on the top. The mould was then burned
and finally the melted bronze was poured through the
hole. Once cool, the image was taken out and finer
details were chiselled.

Apart from such cast metal work, artisans also made

different objects with sheet metal. The art is very
much in vogue today. Modern artisans make small and
medium art objects in their studio.
 MINIATURE PAINTING
The art of miniature painting in chamba probably
started in the 18th century after the death of
Aurangzeb. As there was no strong ruler after him, the
influence of the Mughal Court began to decline and
the artisans began to disperse due to lack of
patronage. Raja Umed Singh of Chamba invited some
of the painters to Chamba and provided state
patronage.

In Chamba, those painters began to paint pictures

based on different mythological tales and their work
began to be known as Chamba paintings. However,
from the end of 18th century, the Sikh influence in the
facial features and color schemes became clear in
these paintings. The influence of other school of
paintings prevalent in the hills is also very apparent in
them and so they began to be considered a branch of
Pahari Paintings. This branch of visual art continued to
flourish in Chamba into the 19th century after which it
began to decline. However, it did not die.

Chamba paintings are still alive in some traditional

form, required in different socio-religious occasions.
For instance, such paintings can be observed on both
sides of the door during wedding ceremonies. In
addition, there are quite a few well known painters in
Chamba who continue to practice this even to these
days.
METAL CRAFT AND JEWELLERY
CRAFT OF CHAMBA
Some crafts persons still, are practicing the art of metal craft in Chamba. Metal works is the
centuries old craft which is still popular in Himachal Pradesh with the name Mohra. The metal
work called mohras represents deities like—Lord Shiva and others which are most commonly
found in Kullu and Chamba.
The metal craft or metal work made in Himachal Pradesh usually signifies the unique jewelries
prepared by the expert metal-work designers, to preserve the tradition of the Himachal
Pradesh. Many of the doors of the temples in this region are crafted with the metal, especially
the Buddhists are very fond to use the metal crafts, and thus they use them in their
monasteries.

The metal work of the state also includes the tradition of creating beautiful metal jewelries that
are artistically created, few namely bangles, bracelets and so on...as per the state’s tradition.
Every town of this state has its own unique metal-craft- mohra which is as old as the 14th
century A.D.

The metal crafts of Himachal Pradesh are not just supplied to the temples, monasteries etc. but,
they are served to every person in common.
HISTORY OF METAL CRAFT
As per the history, the metal
craft in Himachal Pradesh is
developed because of the
region’s law court of the kings,
who were experts in metalwork
during the period of 600 AD.
Since then, the metal craftsmen
have been practicing the art and
have become experts in this
unique craft making.

The tradition of bronze casting

was introduced by the Kashmiri
artisans who found patronage at
the courts of Pahari Kings.
Kashmiri influence on these
Chamba bronzes is cleanly
discernible. Metal works is the
centuries old craft which is still
popular in Himachal Pradesh
with the name Mohar. Mohars
have been available since last
1,400 years ago till now.

A canopy made of gold at the

Jwalamukhi temple is one of the
most admired examples of the
metal craft of Himachal
Pradesh, which is believed to
have been gifted by the Mughal
emperor Akbar.
RAW MATERIAL
 OFFICE
GLUE

HEATED
WAX

BRASS
METAL
SHEET

LEAD

REETHA

COAL
TOOLS
TOOLS:

Metal burner, metal cutter, metal bender, metal roller, drill presses, lathes, and pipe
products.

Some of the common tools used by the metalworkers. Hammers and stakes are the most
important tools and demand more attention and care than all others. The hammers must be
of steel; the faces should be free from blemishes. The board hammers should have a mirror
finish.
TOOLS SHOWN IN ILLUSTRATIONS-
1. Ball-pen hammer.
2. Sinking or disk hammer.
3. Lifting hammer.
4. Planishing hammer.
5. Chasing hammer.
6. Raw-hide mallet.
7. Ball or mushroom stake.
8. Raising stake.
9. Iron Pin.
10. Loose cylinder head.
11. Bottom stake.
12. Jewellery saw.
13. Hack saw.
14. Shears or snips.
15. Try square.
16. Cutting pliers.
17. Flat nose pliers.
18. Hand drill.
19. Bunsen burner.
20. Dividers.
21. Bench vice.
SOLDERING
IRON

SMALL
SUMBA

DIVIDER

SUMBA

SHAPING
BAR

CHISEL
 ANVIL

LADLE

BURNER SHAPING BASE

PLIER

SANNI
PROCESS & TECHNIQUES
CUTTING OF STOCK
The cutting of stock for the execution of a job sometimes requires a good deal of
preparatory work, such as the making of patterns or templates, the selecting of materials
and gauges of metal to be used, and figuring out the length of wire. This preparation is
made in order to have the least possible waste of material.
Sometimes the stock must be cut with a slight allowance for cleaning off. This waste
margin, of course, should not be too wide. Just sufficient metal should be left so that the
raw cutting edge can be filed smooth.

CUTTING WITH SHEARS

For general work a pair of straight shears 12 inches long is most useful. For cutting heavier
gauge metal, the shears can be fastened in the vise. The metal is cut with greater ease
when the shears are held at a slight marring. Most hack saws are made angle.
CUTTING WITH HACK SAW
The hack saw is used for cutting wire rods or tubing. The blade is made of hard
steel and breaks easily when given a sudden jerk or twist. A saw blade with 32
teeth per inch is best suited for craftwork and should be replaced whenever it
becomes dull. A pair of false jaws for the vise should be used to protect the
material from unnecessary so that the blade can be swivelled at right angles or
upside down.

CUTTING WITH JEWELLERY SAW

This is one of the most useful tools of the craftworker. Although it is made in many depths, a
5-inch saw is recommended. The blades are purchased in bundles, by the gross, or by the
dozen lot; for general work a No 2 blade is best. The blade is placed in the frame with the
teeth pointing toward the handle; it works on the down stroke . Other methods of cutting
heavy gauge metal are with a chisel, hammer, and saw.
ANNEALING AND HEATING
Annealing is the name given to the process of softening metal by means of heating. During
the working and shaping, metal becomes hard, either by compression or by tension, and
annealing has to be resorted to before any further shaping can be done. Annealing reduces
the hardness and removes the strains that have been induced in the material by some
previous treatment. Without annealing, it would be impossible for the craftsman to fashion
some pieces of work; therefore, heating becomes a matter of extreme importance.
ANNEALING WITH A TORCH
Adjust the air and the gas until a blue flame appears. Move the flame slowly over the entire
metal surface until it is uniformly red.
Annealing Small Pieces over a Bunsen Burner.
Hold the metal at a corner with a pair of pliers. The point of the inner air cone of the flame
is the hottest.

SOFTENING OF PEWTER
Move a soft flame (no air) over the metal surface; moisten a finger and touch the metal at
different spots, listening for a sizzling of the moisture.

PRECAUTIONS
Overheating may cause the metal to melt.
Spotty heating should he avoided.
Alloyed metals should not be picked up while they are red hot.
Small size wire cannot be annealed safely in single strands.
SHALLOW HOLLOWING
Several methods may be employed in hammering up a shallow piece of work. It is best to
be guided by the shape of the design in choosing the method of execution and also by the
available equipment. The most elementary way of making a small bowl is shown in
successive steps on the opposite page. A ball-peen or hollowing hammer is used; also, a
block of wood having a hollow depression on the end grain side. The metal disk is
hammered along the outer edge first and continuing inward toward the centre, the metal
being stretched down into the hollow depression in the wood. The consequent thinning of
the metal naturally limits the depth.
Procedure to Be Followed in Making
1. Cut the circular metal disk.
2. Draw a few concentric circles for guide lines.
3. Begin hammering along the outer edge, continuing in circular fashion until the centre is
reached. Avoid striking the edge of the metal.
4. Anneal the metal. Pickle, if necessary.
5. Repeat the hammering until the desired depth has been reached. Anneal between each
beating .
6. Place the bowl on a mushroom stake and smooth the surface with a mallet.
7. Anneal and clean the metal; then planish the entire surface, starting in the centre .
8. Trim the edge with a pair of shears .
9. Flatten the bottom .
10. True the bottom, making a slight cove .
11. Finish the edge to any desired design .
In estimating, the diameter of the metal disk needed for hollowing is approximately the
largest diameter of the design, plus the height. This, however, varies with the material used
and how the individual works. Folds in the metal will lead to subsequent cracking. A wavy
top edge should be corrected as the work proceeds.
RAISING
Raising is the process of shaping a hollow vessel from a flat disk of sheet metal by using
hammers and mallets and stakes.
The craftsmen of old were masters of the art of raising and it may still be regarded as a
basic process. Great height can be attained by careful and systematic hammering and
annealing. The process differs from hollow and shallow raising in that the metal is
worked almost entirely on the outside like a contracting operation.
Procedure to Be Followed in Raising
1.Cut a metal disk, the diameter of which should be approximately ‘the largest diameter
with the greatest height of the design’ 7 inches.
2.Anneal the metal.
3.The raising may be started in either one of two ways:
a. Doming up a shallow bowl.
b. Crimping the disk. This may be done on a block of wood.
4.Anneal and pickle the metal.
5.Draw a circle on the outside of the bowl equal in diameter to that of the bottom of the
design.
6.Place the work on the raising stake and begin hammering, going round and round,
crowding a little metal upward toward the edge by each blow of the hammer. It is
important to hold the metal against the nose of the stake in such a way that the hammer
blow lands just above the point of contact. On the last round, along the edge, use a wood
mallet.
7.Anneal and pickle the metal.
From this point on, it is a repetition of the processes. The blows of the raising hammer
must fall squarely on the metal and the work must be moved back on the stake as the edge
is approached. Pencil guide lines must be described on the work at the beginning of each
course of hammering.
PLANISHING
Planishing is the process of making a metallic surface smooth by hammering lightly and
producing a texture. Only tools with a mirror-polished working surface should be
used. Often the process is repeated several times before all blemishes and bruises from
previous hammering have disappeared. To distribute the blows of the hammer evenly
requires much patient practice. The arm should be kept close to the body and a wrist
motion used in delivering the light blows of the hammer.
A mirror finish on a planishing hammer may be produced in the following manner:
1.Tack a sheet of emery cloth, No. 180 grit, on a board with four small nails, squirt plenty
of oil on the emery, and rub back and forth until all rough marks have disappeared.
2.Tack a sheet of emery cloth, No. 280 grit, on another board, oil it, and rub the hammer
back and forth until all the scratches produced by the coarser grit have disappeared.
3.Tack on third board a sheet of emery cloth, No. 360 grit, oil and rub as before. The steel
is now ready for the final polish.
4.Tack a sheet of crocus cloth (rouge cloth) on a board, squirt plenty of oil on it, and rub
the hammer until it shines like a mirror. This polishing equipment should be wrapped up
and stored for future use.

Procedure to Be Followed in Planishing

1.Clean the metal so that it is free from grease and oxides.
2.Select a stake or iron that has a curvature as near to that of the work as possible.
3.Select a hammer of suitable weight and shape.
4.Place the work on the stake.
5.Begin planishing. The fall of the hammer should be square on the work at the point
of contact.
The hammer blows should fall evenly; the work being rotated or moved so that no two
blows fall in the same place. Planishing should not alter the shape of the work; it should
true it, close the granular texture, and remove irregularities from the surface. Planishing
stretches the work slightly. Concentric pencil circles should be described on circular work to
act as guide lines. Planishing may be repeated several times.
BENDING AND SHAPING METAL
Bending and shaping sheet metal and wire often must be done over specially prepared
blocks of wood or iron. Devices called “jigs” sometimes are made when duplicate pieces
have to be formed. Hand pressure should be employed whenever possible and, as a rule, is
sufficient, at least when handling the lighter gauges of metal. A mallet or hammer is
necessary when dealing with heavy gauge metal or bar stock.
Metal should be annealed before any bending is attempted, and sometimes the metal must
be reannealed before the final shape is reached.

.
Methods of Bending and Shaping Metal
1. Squeeze the metal between two pieces of wood or metal.
2. Bend over specially prepared forms or around pieces of steel. Due allowance should be
made for spring back when wire is bent.
3. Shape with bending jigs. Scrolls should be started and may be finished entirely with a
hammer and various stakes.
4. Score with blunt chisel or chasing tool to secure a sharp bend. The tool must be
blunt and the angle of the bevel should be approximately ninety degrees. This scoring
process requires considerable practice before it can be executed accurately.
5. Shape with a sheet-metalworker’s brake.
.
LEVELLING AND TRUING UP
In order to make and keep a piece of work level and true in the course of its shaping
processes, it is necessary to apply simple tests from time to time. Truing, testing, and
correcting should be considered a part of the work, equal in importance to any of the
operations in the making. Irregularity of hammering, different weights of the blow of the
hammer, and lack of guide lines all contribute to the unevenness of the work.
Procedure to Be Followed in Levelling a Vessel

1. Hold the work at arm’s length and sight for unevenness.

2. Clip off roughly any extreme high spot.
3. Adjust the needle of the surface gauge to the height required and lock the different
adjustment nuts.
4. Hold the work lightly but firmly with one hand and move the gauge with the other so
that the needle scratches a line to indicate how much of the metal should be removed.
5. Clip or file to the line.

Many improvised methods can be used in place of a surface gauge, such as a pencil held
firmly on a block of wood (Fig. 8) or a compass or divider held the same way. Small size
annealed wire and tubing are straightened by being rolled between two flat surface irons.
Another method is by pulling: one end is held in the vise and the other in a pair of pliers, then
stretched. A wire ring or moulding usually has to be trued and fitted in two directions, flat
and circular. The flatting is done on a surface plate with a mallet. The rounding is done on a
stake by rotating the work slowly while it is being struck lightly with a rawhide mallet.
WIRING AND CLAMPING
A great deal of ingenuity is sometimes required to scheme out methods of holding pieces
of metal together while they are being soldered. Annealed iron wire is most generally used
for this purpose. The nature of the job naturally determines what gauge of wire should be
used; Nos. 18, 22, and 28 are good sizes to have on hand and they can always be doubled up
and twisted if any heavier wire is wanted. Annealed iron wire is very cheap and can be
purchased from hardware dealers. It is one of the very few things still sold by the very old
unit of weight, “stone,” which is about 14 pounds.
There are times when it is well to protect the edges of the work, especially when soldering
pewter, with small pieces of metal or even with heavy manila paper.
Ordinary wood clothespins are handy fastening devices to use when soft soldering. Dip
them in water before using.
Cotter pins are useful clamps for holding pieces together when hard soldering.
Procedure for Tying Up a Cylinder for Hard Soldering

1. Fit the joint carefully.

2. Stretch the iron wire, clinch one end of the wire in a vise, grip the other with a pair of
pliers, and pull hard.
3. Loop the wire in two places and bend it around the cylinder; twist the ends.
4. Insert two pieces of heavier wire near the joint for the purpose of elevating the binding
wire slightly above the metal surface.
5. Tighten the wire around the cylinder by twisting the four loops.
TINNING AND CLEANING A SOLDERING BIT
A clean hot soldering bit is important for successful soldering. Oxides form on the bit in
the process of heating and these must be removed. The soldering copper, or bit is made in
many sizes and different shapes. A large bit will retain the heat longer than a small one. The
flux used for cleaning and tinning is zinc chloride (muriatic acid with zinc added). A
handier way is to have a small jar of ‘soldering salt’ and to make up a little flux as it is needed
by adding water to the salt.

Tools Needed

Soldering copper
Heating furnace
An ordinary gas plate will do.
Flux
Tin or soft solder
Old file. Sal ammoniac
Procedure to Be Followed

1. Heat the bit to a very dull red.

2. Dip the point of the bit in the flux for an instant.
3. Apply a small amount of solder to the point of the hot bit.
4. Dip it again in the flux.

The soldering bit will appear bright and shiny white on the tip after this tinning and dipping
in the flux. Soldering bits can also be cleaned and tinned by rubbing the point on a piece of
sal ammoniac where a piece of solder has been placed. If the bit has been overheated, it
may be necessary to use an old file to remove the scale.
SOFT SOLDERING COPPER AND BRASS
Soft soldering is the name given to a process of soldering where only a low degree of
temperature is needed and the metal is never brought to a red heat as in ‘hard soldering’. It
is a much used process for simple and elementary work and comparatively cheap. There is
not much strength in a soft-soldered joint and it is rarely used in advanced work, never on
silver. Soft solder is a combination, or alloy, of tin and lead. Sometimes bismuth and
cadmium are added to lower the melting temperature.
It can be purchased in bar or wire form. The handiest and most useful size for craft
workers is the 50-50 wire solder, 1/16 inch in diameter. (The 50-50 means half lead and half
tin.) When metal is heated, it becomes oxidized, and it is impossible to solder on an
oxidized surface; a ‘flux’, therefore, must be used. Zinc chloride (muriatic acid with zinc
added) is a good flux to use, but “soldering salt” can be bought anywhere and it is handier
to make up a little as it is needed. The flux prevents oxidation of the metal while it is being
moderately heated. Members to be united by soldering must be well fitted and clean and
often held together with wires or clamps. There are many ways in which heat can be
applied to the work — by blow torch, mouth blowpipe, Bunsen burner, alcohol lamp,
ordinary gas stove, or soldering bit.

Procedure to Be Followed (Typical Job)

1. Apply the flux to the joint, using a small cheap brush.

2. Heat the work until the flux boils. Apply the heat in such a way that both members be-
come equally hot. It may be necessary to invert the flame occasionally.
3. Swab the joint with flux a second time.
4. Apply the heat again. Shortly after the boiling of the flux the joint should be touched
quickly with the wire solder. Small pieces of solder may be placed along the joint.
5. Rinse in water and remove all wires.
• Aam Admi Bima Yojana (AABY)
• Benefits :Life Insurance, Education
Scholarship
• Artisan Type :Handloom, Handicraft

• Artisan Card
• Benefits :Artisan Card
• Artisan Type :Handloom, Handicraft
S
• Artists Pension Scheme and Welfare
Fund
• Benefits :Financial Assistance
U
• Artisan Type :Handicraft

• Bamboo Cultivation Technology

Scheme
P
• Benefits :Market Linkage, Raw
Material Scheme
• Artisan Type :Handicraft P
• Centrally Sponsored Hostels for ST
Girls/Boys
• Benefits :Education Scholarship,
Scheduled Castes & Scheduled Tribes
O
R
• Artisan Type :NGOs

• Centrally Sponsored Scheme for Pre-

Matric Scholarship
• Benefits :Education Scholarship
• Artisan Type :Handloom, Handicraft

• Credit Gurantee Scheme

T
• Benefits :Financial Assistance
• Artisan Type :Handloom, Handicraft
• Education Loan Scheme
MOTIFS AND DESIGNS
 M
O
T
I
F
S
• Lakshmi, Ganesh and Narsimha bronze
statues in Bharmaur and Harirai and Gauri
Shankar at Chamba are the marvels of the
Bronze Sculptures. A
• Another metalcraft unique to Himachal is the

•
mohra.
Lamps, handles, bells, ghungroo, etc are some
N
•
other products.
Thali, Sculptures.
D
• Musical instrument, and vessels, jugs,
trumpets, jewelry boxes.
• Ornaments like Chokers, heavy anklets,

•
bangles and silver bracelets.
Necklace made out of metal called
D
‘Chandrahaar’ which comprises 5-7 rows of
quality gold beads.
E
S
I
G
N
CUSTOMIZED THAAL

DESIGN TO BE EMBOSSED
PORTRAIT ON THAAL

MAANG TIKKA
PEACOCK
MOTIF

JUG
PRODUCT RANGE
 CUSTOMIZED THAAL
(PORTRAITURE)

WAX MOULD
(PEAPOCK)

THAAL
 ARMOUR AND WAR
WEAPONRY

RAANSINGHA
 BELL

BRASS KEY
 LOCKET

CONTAINER LID

DISPLAYED POTS
WAIST BAND
ORNAMENT

CUSTOMIZED
THAAL
METAL JEWELLERY
ARTISANS PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE

ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
Artisan’s Name : Ankit Verma
Contact Number : 7018083308
Artisan’s Address : Mohalla
Hotnala, Chamba (176310)
Artisan’s Age : 29
Artisan’s Sex : Male
Education level of Artisans :
Secondary
Languages Known :
Comprehend, Read, Write,
English and Hindi
Size of the Family Unit : 2
males, 4 females, no children
Craft associated : Metal Craft
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE

ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
Artisan’s Name : Ramesh Verma
Contact Number : 9736533641
Artisan’s Address : Mohalla
Hotnala, Chamba (176310)
Artisan’s Age : 58
Artisan’s Sex : Male
Education level of Artisans :
Primary
Languages Known :
Comprehend, Read, Write,
Hindi, Chambiyali
Size of the Family Unit : 2
males, 4 females ,no children
Craft associated : Metal Craft
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE

ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
Artisan’s Name : Ramesh Verma
Contact Number : 9736533641
Artisan’s Address : Mohalla
Hotnala, Chamba (176310)
Artisan’s Age : 58
Artisan’s Sex : Male
Education level of Artisans :
Primary
Languages Known :
Comprehend, Read, Write,
Hindi, Chambiyali
Size of the Family Unit : 2
males, 4 females ,no children
Craft associated : Metal Craft
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE

ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
Artisan’s Name : Ramesh Verma
Contact Number : 9736533641
Artisan’s Address : Mohalla
Hotnala, Chamba (176310)
Artisan’s Age : 58
Artisan’s Sex : Male
Education level of Artisans :
Primary
Languages Known :
Comprehend, Read, Write,
Hindi, Chambiyali
Size of the Family Unit : 2
males, 4 females ,no children
Craft associated : Metal Craft
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE

ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
Artisan’s Name : Ramesh Verma
Contact Number : 9736533641
Artisan’s Address : Mohalla
Hotnala, Chamba (176310)
Artisan’s Age : 58
Artisan’s Sex : Male
Education level of Artisans :
Primary
Languages Known :
Comprehend, Read, Write,
Hindi, Chambiyali
Size of the Family Unit : 2
males, 4 females ,no children
Craft associated : Metal Craft
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE

ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
ARTISAN PROFILE
Artisan’s Name : Ramesh Verma
Contact Number : 9736533641
Artisan’s Address : Mohalla
Hotnala, Chamba (176310)
Artisan’s Age : 58
Artisan’s Sex : Male
Education level of Artisans :
Primary
Languages Known :
Comprehend, Read, Write,
Hindi, Chambiyali
Size of the Family Unit : 2
males, 4 females ,no children
Craft associated : Metal Craft
PROPOSED PRODUCT
CANDLE STAND

The design of this candle stand was finalised after exploring

other ideas, and it is a contemporary design which
incorporates the local craft and together, creates an
aesthetic whole. The motifs used in the engraving were
inspired from the stone carving designs on the Lakshmi
Narayan Temple in Chamba. Along with our guidance, the
artisans executed the product beautifully and showed
expertise and craftsmanship.
PROCESS :

• The first step of making

the product is the cutting
of metal sheet of approx.
22 Gauge( thickness), 7“
diameter and 22.5”
circumference.

• Then, thin both the

edges of the
rectangular piece of
sheet by
hammering.
• Heat the edges and
apply silver brazing
flux.

• Then, soldering them

together using gas welding.
• Metal is heated using
coal which is burnt in a
small furnace.

• Immerse the heated metal in

water and then shape it by
hammering.
• Repeat the soldering process and immerse in water.

• The next step

is to heat the
wax.

• After that
finishing of
the edges is
done with the
filer.
.
• Then, it is dried with
the help of heat from
the blower.

• Then, scrub and wash the

piece with acid.

• Now, some water is poured on

the ground and the wax is filled in
the frame.
 • The wax is allowed to harden and later on the
remains are scraped off from the surface and
then the piece is washed with water.

• The desired pattern

is drawn on paper
and photocopied.
 • The pattern is cut with a
plier and stuck on the
surface using office glue.

• The applied glue is

allowed to dry outdoors
(in the open sun) or
indoors (over a furnace).
• After drawing the outline using a marker, the object
is fitted in a bench vice.

• Now, the pattern is engraved using a chisel and a

hammer.
• The piece is immersed
in water and paper is
rubbed off by hand.

• The piece is cleaned with the

cloth and then texture is given in
the background using a
patterned chisel.
• After heating the
edges a little, the
wax is broken using a
hammer and
removed from the
piece.
• Using a round chisel,
holes are punched in the
desired places.

• Excess part from the

inner surface is removed
using a grinder.
• The outer surface is hammered and
the final shape is given to the piece.

• The holes are filed using a round filer and sand

paper is used to even out the inner surface.
 MAKING THE BASE

• A circle is cut from the

copper sheet and the
surface is roughly curved
using a hammer.

• The base is heated and then cooled

down by immersing it for sometime in
water.
 • Then, the desired shape is given by hammering
on a U-shaped stand.

• Now, the lead

mixture is heated
and stirred using a
crow-bar.
• After washing the base with the
acid, the heated lead mixture is
slowly poured using a ladle.

• After it settles down water is poured on it and

excess material is scraped off.
• After drawing the pattern
on the base, the design is
embossed using a
hammer and chisel.

• Now, the lead is heated a little and

then removed using a hammer.
• The top edge is hammered
again to give a proper base
line for soldering.

• The circle and base are soldered together using a

silver brazing flux.
• For soldering the candle holder on the piece an alloy of lead
and tin (40:60) is used and acid drops are poured on top of it.

• Final finishing is done using

a filer.
• The candle holder is
given an acid bath,
scrubbed and washed
with water.

• Now, it is given a bath of Ritha and

after washing with water, it is wiped
dry with a clean cloth.
PRODUCT SKETCHES/ DESIGN IDEATIONS
PATTERN DERIVED FROM TEMPLE MOTIFS
FINISHED PROPOSED PRODUCT
MARKET CHANNELS
ORDER BASED BUYERS

Local market-
They produce and sell stuff to the localities from
their tiny workshop which is situation in the busy
main mandir street which makes it easy for the
customer to locate the crafts workshop.

Institutional market-
The craftsmen are often approached by design and
independent institutions to help them in spreading
awareness about the dying craft and hence get paid
for their educational service.

Exhibitions and fare-

The craftsmen often exhibit their products in
government organized fares and exhibitions for the
sole purpose of awareness of the craft on a
national as well as global level. They take up
exhibitionism projects given by the government
and get paid for the purposes.

Customized market-
Besides selling the general products that are
produced for the local market, the craftsmen are
approached by customers to design customized
goods where the design input is given by the buyer
himself/herself.
 SUPPLY CHAIN
The raw material (metal such as Brass or copper) is ordered from
Delhi. The order is delivered to the Craftsman's doorstep in 5 working
days. The Craftsman is approached by customers for the product and
design they want. The details of the product included the material
used, amount of detailing, design, size, heaviness of the product and
the price of manufacturing. The raw material is beaten or melted as per
the product requirement and made into the product. The raw product
is filed and sanded to give a smooth touch. It is then treated and
cleansed using acid to give lusture. It takes approximately 2 days for the
Craftsman to produce an average sized product with average amount of
detailing. The product is wrapped into a newspaper.
 VALUE CHAIN
The raw material costs-22 gauge copper sheet cost 800 per kg and brass sheet
costs 720 per kg. It is transported from Delhi to Chamba at the rate of 370 RS.The
customer pays 500 rs as advance for getting the product manufactured. The
Craftsman charges 300 RS per day of self labour. He pays 250 RS for paint job if it's
required. An average product costs a customer around 1500 RS including the
manufacturing to the delivery.
 CREDIT
The Craftsman invest their ancestral money along with getting
financial aid from the government fir buying raw materials.
 TRENDS
The design which is often implemented and adopted by the craftsmen for the
regular products have a religious theme depicting lorn Vishnu, Shiva, goddess
laxmi or Lord Ganesh and are generally used for the purpose of gifting on
auspicious occasions or during aarti. The trend in products and firms are also
limited to busts or figurines of God's and goddess using the technique of lost wax
process, etching and embossing on 'thaal' or making local musical instruments.
S O
ANALYSIS

W T
STRENGTHS

The craft reflects the heritage of chamba which is

thousands of years old. It celebrates the culture and
the religious sentiments as most of it is displayed in
temples and other religious places in the district. It
carries forward a legacy of artisans who have been
associated with the craft since it's establishment in
the district.
It provides a means of living to the craftsmen and
practicing artisans. It helps in skill development
which can be applied to other areas of work as well
such as dealing with different metals or using
various techniques.

S
WEAKNESS

The craft does not provide good financial returns

due to lack of hardwork awareness.Due to it
being so demanding physically, it may lead to a
lot of ergonomic problems such as back and neck
ache along with straining the eyes due to
constant dealing with heat and fire. The craft
does not have a lot if variety since it is located in
a very religious city where the customer is
slightly rigid with demands and only wants
traditional products. The craft is not well
promoted and people around the country are
unaware of it's Glory.

W
OPPORTUNITY

The craft could be showcased in various

exhibitions and fares for awareness and
promotion. It has the ability to be combined
with different materials and crafts and has a
lot of scope of versatility. With the
government providing schemes and subsides
to the artisans and the craft, it could be
taught in various public settings and
workshops.Due to flexibility of techniques and
materials, the craft could be used to make
customized products which would increase
the base of target audience.

O
THREATS

The craft is on the edge of depletion due to

lack of awareness. Due to less financial
returns, there is lack of interest amongst the
youth to learn the craft. The craft is hugely
customer oriented and could lead the
artisan in debt if not approached properly.

T
OUR REFLECTION TO

THIS JOURNEY
With the current condition of the glorious crafts in Chamba at
the edge of depletion, NIFT Kangra initiated and organised a
discussion amongst the faculties, the struggling and hopeful
artisans and the eager students who had come to the district
for 5 days of intense research on various crafts along with
making myriads of efforts in documenting and attempting to
preserve the heritage that has been inherited by the locals
from their forefathers, passed on with the trust of keeping the
torch lit but sadly, it’s running out of gasoline. The fire merely
an inkling now, can burn out at any moment. It is an urgent
and pressing matter that mostly all of the crafts of Chamba,
namely, metal craft, chamba rumal, wood and stone carving,
horse hair braiding, miniature painting and leather craft,
which have created a unique identity of Himachal Pradesh
and in turn of India all over the world are today a dying art.
The objective of the meet and greet was to awaken a sense of responsibility amongst all
along with discussing art survival threats and strategizing ways to preserve it. The artisans
spoke their heart out. The testimonies entailed their fear, hurt and anger at the society,
the ministry and the youth of today but what really shone through was the fire they still
had in them to reignite the embers of their dying heritage. There were a lot of problems
discussed with main being an increasing communication gap between the artisans and the
contemporary consumer. The localities have started to prefer the modernised products
more than their local artistic articles. The customers don’t realise the value of the
handicrafts and the cost of manual labour along with the input of time that the artisans
dedicate to creating the products. The customer still approaches the products with the
intention of getting the facility at the least possible price. The lack of awareness towards
the craft and respect towards the hard work has somehow lead the artisans to renounce
the activities all together due to lots of input with very less returns. The students
suggested ways to keep the crafts going by the means of design intervention by suggesting
contemporary designs which could be introduced into the traditional practice. The
government could also arrange for practice workshops to promote the craft where the
artisans could come together with the eager minds of the society who would want to
learn the craft.
It is said that ‘home is where the heart lies’ and we have realised that we’re leaving pieces of
hearts in this beautiful land. It was never just about studying the crafts but it was about
empathizing with the community as a whole. We learnt about the city, its history and
culture, the heritage and monuments, the festivals and the glory. We visited the Bhuri Singh
Museum which held laurels of the district while preserving its heritage. Having a close look
at various crafts and sitting with the master craftsmen taught us a great deal. Our specific
focus towards the metal craft taught us patience and precision to an extent that we’re so
eager to try our hands at it. Learning about the nuances of the crafts and how generations
of the same family have been trying to keep the practices of the crafts alive is so heart
touching and motivating. It is our foremost responsibilities as the torch bearers of the
society to work towards the promotion of the craft and making sure that It reaches even the
most remote corners of the country and eventually world. Attempting the documentation of
the craft will help in assimilating various and varied information about the craft so that the
society could be educated about the practice. It will also help in enabling people approach
the artisans to get more products and uplift the craftsmen as a whole.
O
V
E
R

V
I
E
W

Giving the artisan an insight to different designs and products that could be
developed using the craft. Regular products such as jewellery box, a candle stand,
jewellery using the thaal techniques of etching and embossing, along with making
hair bun pins, cutlery sets or customised nameplates. The products can have
versatility in terms of size, heaviness, raw material required and extent of luxury
NATIONAL INSTITUTE OF FASHION TECHNOLOGY, KANGRA