CHAPTER-1 INTRODUCTIN

ABOUT THE ORGANIZATION

AND INDUSTRY
 G.I. – APPLICATION NUMBER 76

Application is made by The Commissioner for Textile, Development and

Director of Handlooms and Textiles, Government of Karnataka, No. 14/3A,
3rd Floor, R.P. Building, Nrupatunga Road, Bangalore - 560001 for
registration in Part A of the register of Ilkal Sarees under Application No 76
in respect of Sarees falling in Class 24 is hereby advertised as accepted under
sub-section (1) of section 13 of Geographical Indications of Goods
(Registration and Protection) Act, 1999.

Applicant : The Commissioner for Textile

Development and Director of
Handlooms and Textiles,
Government of Karnataka.

Address : No. 14/3A, 3rd Floor, R.P.

Building, Nrupatunga Road,
Bangalore - 560001

Geographical Indication : ILKAL SAREES

Class : 24

Goods : Sarees
(A) Name of the applicant : Commissioner for Textile
Development and Director of
Handlooms and Textiles,
Government of Karnataka,

(B) Address : No. 14/3A, 3rd Floor, R.P.

Building, Nrupatunga Road,
Bangalore - 560001

(C) List of association of

persons / Producers /
organization / Authority : To be provided on request.

(D) Type of goods : Manufactured goods, Textiles.

(E) Specification : (a) Length of sarees

(i) 5.4 metres (6 yards)
(ii) 7.2 metres (8 yards)
(iii) 8.1 metres (9 yards)
(b) Width: 48” Body: 40” Borders:
8” (each side: 4”) and 5”, 7”, 9” (9”
Gayatri Saree)
(c) Designs (Borders)
(i) Borders: Chikki , gomi,
Chikki Paras, Naveelu Dadi,
Honnur – Traditional ones,
(ii) Gayathree and Godidadi –
Modern type
(d) Body Designs
(i) Checks, (ii) Plain and Stripes,
(iii) Special checks.
(e) Colours:
(i) Borders: Red or Maroon or
Green or Yellow or Black
(ii) Body: Blue, Rose, Green, and
Orange or lemon yellow, Black
(f) Yarn used
 Art silk Silk Silk
S.
Portion Colour X X X
No.
Cotton Cotton Silk
1 Body warp Required 120’s 20/22 20/22 Denier Silk
Denier A.s Denier
Silk
2. Pallavwarp Red 75/1 Denier 20/22 20/22 Denier Silk
A.s Denier
Silk
3 Border Red 75/2 Denier 20/22 20/22 Denier Silk
warp A.s Denier
Silk
4 Extra warp Grey 75/2 20/22 20/22 Denier Silk
DenierA.s Denier
Silk
5 Extra warp Yellow 120/2 20/22 20/22 Denier Silk
Denier A.s Denier
Silk
6 Extra warp Gr/ Or / 150/1 20/22 20/22 Denier Silk
Red Denier A.s Denier
Silk
7 Body weft Required 120’s 24/26 24/26 Denier silk
Denier A.s Denier 2 ply
Silk 2
ply
8 Body weft Black 60’s Cotton 60’s 24/26 Denier silk
Cotton 2 ply
9 Pallav Bleach 150’s 24/26 24/26 Denier silk
weft Denier A.s Cotton 2 2 ply
Ply

10 Pallav Red 150’s 24/26 24/26 Denier silk

weft Denier A.s Denier 2 ply
silk 2 ply
 Note: As: Art Silk.

Read Count used: 1) Art silk x cotton – 60s x 50” stock port
steel
2) Silk x Cotton – 72’s x 50” stock port steel
3) Silk x Silk – 72’s x 50” stock port steel
Note: - Some times 100s x 50” Stock port steel
reed is used in all three cases depending upon
the quality required.

(F) Name of the Geographical Indication (and particulars):

ILKAL SAREES

Ilkal is medium sized town in Bagalkote district. The town is located

in a valley that lies in South – East corner of Bagalkote district and is
quite close to the borders of Kushtagi taluk of Koppal district. The
town falls within the jurisdiction of Hungund taluk and lies at a
distance of about 12 Kms south of taluk head quarters. Between these
two towns, Ilkal is an important centre of trade, commerce and
industry. Among other weaving centres where Ilkal sarees produced
are as follows.

A. Hungund taluk

(i) Hire upnal – 1Km from Ilkal

(ii) Gorbal – 2Km from Ilkal
(iii) Kodihal – 35 Km from Ilkal
(iv) Amingad – 24 Km from Ilkal
(v) Suli bhavi – 26 Kms from Ilkal
(vi) Kamtagi – 36 Km from Ilkal
(vii) Kandgal – 19Km from Ilkal
(viii)Gudur – 25Km from Ilkal
(ix) Rakkasagi – 20Km from Ilkal
 B. Badami taluk

(i) Belur – 48Kms from Ilkal

(ii) Jalihal – 50Kms from Ilkal
(iii) Hebballi – 60Kms from Ilkal
(iv) Konkanakoppa – 65Kms from Ilkal
(v) Guledagudda-50Kms from Ilkal

II) Koppal District

A. Kustagi taluk

(i) Dotihal – 15Kms from Ilkal

(ii) Hanumsagar – 15Kms from Ilkal
(iii) Tawargera – 45Kms from Ilkal

III) Gadag District

(i) Gajendragad- Taluk RON

IV) Bijapur District

(i) Golasang - Basavana Bagewadi Taluk
(ii) Vandal - Basavana Bagewadi Taluk
(iii) Ganal - Basavana Bagewadi Taluk
(iv) Benal - Basavana Bagewadi Taluk
(v) Hiremural - Muddebihal Taluk
(vi) Bavoor - Muddebihal Taluk
(vii) Balaganur--Muddebihal Taluk

(G) Description of goods:

(i) General:

Ilkal sarees are woven using cotton warp on the body and art silk warp
for border and art silk warp for pallav portion of the saree. In some
cases instead of art silk, pure silk is also used. The general construction
particulars followed at Ilkal for the past years are given in the page 3 of
28.
 The peculiar characteristic of the saree is joining the body warp with the
pallav warp which is locally called as TOPE TENI. This technique is
only used exclusively at Ilkal. If anyone requires Ilkal saree one must
prepare a warp for every saree. Warp threads for body is prepared
separately. Similarly pallav warp is prepared separately either with art
silk or pure silk depending upon the quality required. Thirdly border
portion of warp is prepared as like the pallav warp either art silk or pure
silk and the colour used for pallav and on border will be one and the
same. In general, the length of the pallav will range 16” to 27”. The
pallav threads and body threads are joined in loop technique, a typical
method which is locally called as TOPE TENI.:

(ii) Designs

(a) Borders

The design woven in the length wise borders are mainly three
types.

(i) Gomi (more popularly known as Ilkal dadi)

(ii) Paraspet (Sub-divided into chikki paras and dodd paras)
(iii) Gaadi

(b) Main body design

(i) Stripes, rectangles, squares

(c) Inner body does not have any special features.

With above broad parameters the Ilkal sarees differ in matters of size,
nature and quality of yarn used for different portion of saree as also colour
combination and combinations of designs on the borders and main body of
the saree. The beauty of Tope-teni seragu is further enhanced at times by
weaving in its middle portion, yet another design known as ‘Kyadgi’.
(H) Geographical area of Production and Map as shown in page no.

(I) Proof of origin: (Historical records)

(a) Bijapur District - Mysore – state Gazetteer – 1966 Page 204 – last para
“Mulls, fine Dhoties are produced at Ilkal…..................................The
peculiarity of saree manufactured at Ilkal is its border ranging in width from
2,1/2 to 4” in which red colour generally predominant.......................”
Page 508 – 2nd para “Ilkal is a centre of the weaving and dyeing
industries in the district specially famous for its sarees”.

(b) Census of India -1981 – Part XD – series 9. – Karnataka-

Handicraft survey report.
- Ilkal sarees – brought out by Government of India

Page 1

The place “Ilkal” too belongs to the illustrious category of beautiful sarees
and is traditionally associated with weaving of specific verities of sarees
which under nomenclature of Ilkal sarees “are of popular in northern districts
of Karnataka

Page 3

(i) “By definition Ilkal sarees are those that were first designed and
produced almost exclusively by the weavers at Ilkal”.

(ii) Ilkal, a town in Hungund taluk of Bijapur District is obviously a

place where the craft under study (Ilkal Sarees) had its origin

(iii)Page 5 – 2nd Para

“Sarees which are popularly labeled as Ilkal sarees are mainly produced at
Ilkal and few other near by villages ….”
(c) Gazetteer of the Bombay Presidency – Vol XXIII
- Bijapur – Page 654
- Published in 1884
“Ilkal is the centre of weaving and dyeing industries in Hungund and
had 684 looms in 1883 against 500 in 1851”.

(J) Methods of Production:

Ilkal traditional sarees are produced mainly on pit looms with the
combination of three types of different yarns namely Silk x Silk, Silk x
Cotton, Art silk x Cotton. Along with the above said yarn combination totally
four different traditional designs are produced - they are Chikki Paras, Gomi,
Jari and recently modified traditional design Gayathri.

These sarees are produced in different lengths 6.00 yards, 8.00 yards, and
9.00 yards with solid as well as contrast borders.

The main distinction in these sarees is its attached temple type Pallav (locally
called as TOPE TENI) by inter locking body warp and pallav warp using loop
system and inserting weft by three shuttles using two different colours yarn
by Kondi technique ;

A weaver requires apart from himself two others for preparatory work.

Process of yarn to fabric

Body Warp

The yarn in the cone or Hank form is converted in to required length of

ball warp by peg warping system. This warp is sized by plant resin or
gum (Locally called antu), manually blowing on it to get stiffness, extra
care is taken to avoid clinging of wet ends each other during drying; this
warp has to be prepared for each saree, initially this warp will be in two
layers having half the saree length excluding stretching latter it becomes
single layer of full length required for this saree after weaving the Pallav
portion.
Border warp

Border warp also prepared by peg warping system in to required length,

no resin is used, but the length of warp is made once for six sarees or
nine sarees.

Pallav warp

Pallav warp also prepared by vertically arranged peg warping system

during preparation of warp each body warp end interlaced with the
Pallav warp end manually (locally called Tan adding) to get interlocking
in the ends each other, no resin is used, four ends are used for Pallav.

Extra warp

These ends are prepared as of border warp, no resin is used. Drawing

in: After preparation of warps each ends of Pallav warp are drawn in to
the reed and country heald shafts (Bamboo reed with locally constructed
heald shaft) manually sticking to the left over ends of previous saree
(locally called Kechchu) or drawing in directly (Vaipani).

Weaving

After gaiting up warp and healds on the loom, weaving starts.

Firstly Pallav portion is woven by using three shuttles with two different
colour yarn using Kondi technique (to form temple type design). Two
weavers are required to weave KONDI technique After weaving of
Pallav including the inter locked part of body warp and Pallav warp
(Attaching portion) one part or layer of the body warp is cut to get
standard length of saree (initially half length of body warp with four
ends (two layers) latter becomes full length with two ends (single layer
with two ends per dent). After this, normal plain or checks weaving
continues till end of the saree.
 The above said process and preparation repeats for each saree except
border warp and extra warp, the preparation of which repeats every six
or nine sarees.

Place of work:

Weaving of Ilkal sarees is mostly an indoor activity. It is essentially a

household enterprise involving active participation of female members.

(K) Uniqueness:

1. The uniqueness of saree is joining of the body warp with pallav warp with
a series of loops locally called as TOPE TENI technique.

2. The weaver will gait only 6 yards, 8 yards, 9 yards warp due to above
TOPE TENI technique.
KONDI Technique is used for weft through inserting 3 shuttles.

3. Pallau portion-Design: “TOPE TENE SERAGU” Normally in tope teni

seragu 3 solid portions would be in red colour, and in between 2 portions in
white colour.

4. Tope Teni seragu has been regarded as a state symbol and was greatly
respected during festival occasions.

5. Traditional Borders: (i) Chikki, (ii) Gomi, and (iii) Gadidadi, and modern
Gaythri are unique ones in Ilkal sarees - width ranging from 2.5” to 4”

6. Border Colour Uniqueness: Red usually or Maroon dominates.

(L) Inspection body:

It is proposed by Department of Handlooms and Textiles, Government of

Karnataka to form a core team towards ensuring standards, quality, integrity
and consistency of goods. The team of members would be

1. Dy-Director Textiles, Department of Handlooms, Government of

Karnataka, Bagalkote – Member Secretary

2. Dy Director, Weavers service centre, Bangalore – Member

3. Central silk Technological research Institute, Bangalore-

Member.

4. Leading societies at Ilkal – Members – 2Nos.

5. Karnataka Handloom Development Corporation, Ilkal town –

Member.

6. National Institute of Fashion Technology, Bangalore – Member

7. A representative from Master Weaver.

 CHAPTER-2

ORGANIZATION PROFILE
 P K GULED ILKAL SAREES
GULED Sarees - A Legacy of 140+ Years in Ilkal Saree Weaving

For over 140 years, GULED Sarees has been weaving some of the finest Ilkal
sarees in the country. Our legacy dates back to 1875 when our great grandfather,
Shri Chandappaji, founded our venture with a vision to provide quality products
and protect traditional weaving technique.

With the support and trust of our customers, along with the hard work and
dedication of our skilled weavers, we have been able to preserve and promote the
art of Ilkal saree weaving. Over the years, our sarees have become more popular,
not only in India but across the globe

Shri Chandappaji's son, Konappaji, continued his father's legacy and worked
tirelessly to make our sarees even more beautiful and unique. Today, his sons
Phaniraj Guled, Rajendra Guled, and Chandrakant Guled, carry on the family
tradition with the same enthusiasm and passion that their ancestors had.

Our sarees are handwoven using traditional techniques, and we take great pride
in our workmanship and attention to detail. Our sarees are known for their rich
colors, distinctive pallu designs, durability, comfort, and versatility. We have a
wide range of sarees to choose from, and we are confident that you will find the
perfect saree for any occasion.

At GULED Sarees, we believe that our customers are our family, and we strive
to provide them with the best possible service and products. We are committed to
preserving the legacy of Ilkal saree weaving and bringing our beautiful sarees to
customers around the world.
Late Chandappa ji Guled

Late Konappa ji Guled

Basic information

Nature of Business Manufacturer and Exporter

Additional Business  Wholesaler

 Trader

 Exporter

 Supplier

 Retailer

 Service Provider

 Importer

Proprietor Vijayakumar Guled

New Kothwal Peth, Ward No-5

Registered Address Taluk-Hungund
District-Bagalkote
ILKAL-587 125
KARNATAKA, INDIA

Total Number of Employees Up to 25 People

Year of Establishment 1875

Annual Turnover Rs.5-6 Crore

Our Speciality

 Trust Worthy

 Superior Quality Products

 Shipping Across The Globe

 Oldest Shop (since 1875)

 Customer Satisfaction is Our Goal

VISION AND MISSION OF P K GULED ILKAL SAREES

VISION

 To create the brand value in the national market.

 To provide world class products to the customer.

MISSION

The mission is to achieve the total customers satisfaction by safety supply the
highest quality product and services
 WORK PLACE

Handloom Weaving machin

Handloom Weaving
PRODUCTS VARIENT

Pure Silk Ilkal hand loom sarees with running blouse 6 to 6.2mtrs sarees length

Pure Silk Ilkal Powerloom sarees with running blouse 6 to 6.2 mtrs saree length
 Silk cotton mix ilkal handloom saree with silk pallu & running
blouse, 6.5 mtrs saree length

SILK+M.COTTON KASUTI/WORK SAREES

silk cotton ilkal sarees with silk pallu & running blouse, 6 to 6.2 mtrs
saree length
 silk cotton non sattin border ilkal sarees with silk pallu & running
blouse, 6 to 6.2 mtrs saree length

SILK+COTTON TRADITIONAL ILKAL HANDLOOM CHEX

Silk Cotton ilkal handwoven sarees with silk pallu & running blouse,
6.5 mtrs saree length
 PURE COTTON QUEEN ILKAL HANDLOOM SAREES
Pure Cotton handwoven ilkal saree with cotton pallu & running blouse,
6.2 mtrs saree lengh

COTTON ILKAL HANDLOOM WITH SILK PALLU

Cotton handwoven ilkal saree with silk pallu & running blouse, 6.2 mtrs
saree length
 GAYATRI BORDER ILKAL HANDLOOM WITH SILK PALLU
Viscose cotton mix ilkal handloom sarees with big silk pallu & running
blouse, 6.3 mts saree length

VISCOSE+COTTON ILKAL HANDLOOM CHEX WITH SILK

PALLU
Viscose cotton mix ilkal handloom sarees with silk pallu & running
blouse, 6 to 6.2 mtrs saree length
 PATTEDA ANCHU HANDLOOM COTTON SAREES
Pure cotton handwoven sarees good for daily use with running blouse, 6
to 6.2 mts saree length

VISCOSE+COTTON ILKAL HANDLOOM PLAIN WITH SILK

PALLU
Viscose cotton mix ilkal handwoven sarees with silk pallu & running
blouse, 6 to 6.2 mtrs saree length
 VISCOSE+COTTON ILKAL POWERLOOM CHEX
Viscose cotton mix powerloom saree with viscose pallu & running
blouse, 6 to 6.2 Mtrs saree length

KHUN MATERIALS
Viscose Cotton mix Powerloom Khun material with 36 inches panna
 Important Note:-
1) Colour of the product may slightly vary due to digital photography

2) For Silk Sarees its recommended only dry cleaning

3) For other sarees Handwash with REETA POWDER for best results

4) Slobs & uneven yarn contrasts are general phenomena in hand-woven

Products

This is a natural outcome & inherent characteristics of hand-weaving procedure

which makes the products all the more unique & beautiful
 CHAPTER-3

MCKINSEY’S 7S FRAMEWORK AND PORTER’S FIVE

FORCE MODEL
 The McKinsey’s 7S Framework suggests that there is a multiplicity
of factors that influence an organization’s ability to change and its
proper mode of change. Because ofthe interconnections of the
variables, it would be difficult to make significant progress inone
area without making progress in the others as well. There is no
starting point orimplied hierarchy in the shape of the diagram, and it
is not obvious which of the sevenfactors would be the driving force
in changing a particular organization at a certain pointof time. The
critical variables would be different across organizations and in the
same organizations at different points of time.

Hard elements are easier to define or identify and management can

directly influence them. These are strategystatements; organization
charts and reporting lines; and formal processes. Soft elements can
be more difficult to describe and are less tangible and more
influenced by culture. However, these soft elements are as
important as the hard elements if the organization is going to be
successful. The way the model is presented in Figure below depicts
the interdependency of the elements and indicates how a change in
one affects all the others.
 Strategy: the plan devised to maintain and build competitive advantage
over the competition.

Structure: the way the organization is structured and who reports to

whom.

Systems: the daily activities and procedures that staff members engage
in to get the job done.

Shared Values: called "super ordinate goals" when the model was
first developed, these are the core values are evidenced and are the
general work ethic. Placing Shared Values in the middle of the model
emphasizes that these values are central to the development of all the
other critical elements. The structure, strategy, systems, style, staff
and skills all stem from why the organization was originally created,
and what it stands for. The original vision was formed from the values
of the creators. As the values change, so do all the other elements.

Style: the style of leadership adopted.

Staff: the employees and their general capabilities.

Skills: the actual skills and competencies of the employees working for
the company.

Strategy :

A set of decisions and actions aimed at gaining a sustainable

competitive advantage. It includes purposes, missions, objectives
and major action plans. “a set of values and aspirations that goes
beyond the conventional formal statementof corporation objectives
goals are missions and fundamental ideas around which a business is
built” Main Objectivesare:
Structure – How the organization is structured, what are the chain of
command, how the authority and responsibilities are distributed, how
activities and reporting relationship is structured, and the mechanism
through which the organization coordinates all its activities.

Systems – what are the technological systems put in place to

smoothen the operations, what are the formal and informal procedures
put in place to manage the organization, planning, budgeting,
performance measurement, resource allocations, and management
information systems (MIS).

4) Staff – Who works in the organization, how the organization

manages its human resources – recruit, selects, job profile
specifications, career trajectories, training, and promotions.

5) Style / Culture – Each organization has its own culture which

has evolved over a period of time. The organization style or culture
includes – leadership style within the organization, dominant values
and beliefs, work culture, informal network among employees,
management style etc.

Skills – It includes the competencies and capacities the human

resources of the organization have. Skills analysis and planning
requires answering the following questions – Does the organization
has required competencies and skills among its current work force to
deliver organizational objectives, what are the new skills required,
how those skills can be imparted among the employees in the
organization, do the organization needs to make changes in
procedures, systems, processes and technology to align them with
skills of the employees.
Elements soft The of Mckinsey 7S model are –

Staff, Skills, Style and Shared Values. They are related to the people
in the organization. The soft elements are most difficult to change in
the organization. For example if the organization decides to enter a
new industry – it needs to align the staff, skills and style of the present
structure with those that can be effective in the new industry. The
criticality of the soft element can be understood by the rate of failures
of mergers and acquisition. More than 80% of the mergers and
acquisitions fail. The most prominent reason of the failures is – failure
to integrate the culture and shared values of the two organizations.

The hard elements of the organization are –

Strategy, Structure, and Systems. These are the building blocks of the
organization around which the organization build its soft elements.
Structure and Systems are the easiest to among the 7S to change.

STRATEGY
 PURCHASING
SUPERVISOR DEPARTMENT