Embroidery thread

Embroidery thread is the yarn that is manufactured or hand-spun specifically for embroidery and other forms of needlework.

Threads for hand embroidery include:

• Crewel yarn is a fine 2-ply yarn of wool or, less often, a wool-like acrylic.
• Embroidery floss or stranded cotton is a loosely twisted, slightly glossy 6-strand thread, usually of cotton but also manufactured in silk, linen, and rayon. Cotton floss is the standard thread for cross-stitch. Extremely shiny rayon floss is characteristic of Brazilian embroidery. Historically, stranded silk embroidery threads were described as sleaved or sleided in the sixteenth century.
• Filoselle is a historical term for embroidery floss made using the leftover waste from reeled silk.^[4]
• Matte embroidery cotton or French cotton à border is a matte-finish (not glossy) twisted 5-ply thread.
• Medici or border medici is a fine, light-weight wool thread formerly manufactured by DMC Group.
• Perle cotton, pearl cotton, or French coton perlé is an S-twisted, 2-ply thread with high sheen, sold in five sizes or weights (No. 3, 5, 8, 12 and 16 (Finca), with 3 being the heaviest and 16 the finest).
• Persian yarn is a loosely twisted 3-strand yarn of wool or acrylic, often used for needlepoint.
• Tapestry yarn or tapestry wool is a tightly twisted 4-ply yarn.

Threads for machine embroidery are usually of polyester or rayon (less often cotton or silk).

Threads, like textiles, can contain compounds that may be harmful to humans. Many dyes have been shown to be allergenic and in some cases carcinogenic. Testing for the presence of these dyes and other additives can be done at many commercial laboratories.

Certification to the Oeko-Tex standard may also be applied for. This tests the component for over 100 different chemicals and certifies the component according to human ecological safety.

How to Photograph Fabric and Clothes

From handmade knits to high-end silks, fabrics are all around us. Today, we'll take a look at the techniques needed to photograph them. Your crafting friends will adore you, and if this is really something you, there are bigger industry jobs out there. Let's take a look at photographing fabrics.

Breaking Out the Gear

If you have a fully stocked studio, you could use everything in it to make great pictures of fabric, but you only need a few simple things to get started. I use the Nikon D700, a full-frame DSLR, for my shoots. Paired with either a 50mm or a 24mm, I have all the range I need to photograph a close-up or a full-length shot of a dress.

In terms of lighting, I sometimes only use one hot-shoe flash with manual capabilities, but this only works if you're shooting in the right environment. My home studio has three white walls and a white ceiling. If you have a room like this in your house, it will save you a lot of trouble. When properly lit, a white room becomes a giant light tent that you can stand up in.

For location shoots where I don't have a good room, I'll use two flashes on stands with umbrellas. Umbrellas seem to be out of fashion with photographers at the moment. While softboxes do offer more control over the light, I find that if you're looking to get your light as soft as possible and you don't have a corporate budget, umbrellas can't be beaten.

You can get a 60-inch umbrella for less than $50 USD, while a similar amount of money might only get your 36 inches in a softbox. When you step the size up, even more, the price difference is worse. A seven-foot diameter Octodome will cost more than $400 USD, while a seven-foot umbrella will only set you back $100 USD.

Lighting for Texture

The most important thing to think about when photographing any fabric is texture. No matter what type of fabric you're shooting, you're either trying to overcome the texture or showcase it. A necktie is made up of thousands of woven fibers, but it needs to look smooth and shiny. A sweater might have an intricate knitted pattern that needs to be shown off.

Whether you're hiding texture or showing it off, you're using the same technique: perfect control of soft, direct light. If you take away nothing else from this tutorial, I hope you get an understanding of how to light and texture are forever bound to each other.

Side Light

I usually only use one light for fabric photos for a couple of reasons. First, I'm usually in my white room, so the reflections off the walls fill in drastic shadows. Second, and more importantly, the light needs to be directional to bring out textures.

Side Lighting

Textures are revealed by the mix of shadows and highlights that creating depth to the image. Look at the texture of something simple like your hand. With no shadows accenting the wrinkles, it looks smooth. If you want to emphasize this contrast in fabrics, you need to use strongly directional side lighting. If you imagine the fabric is a great big flat piece of land, you want the sun to be setting.

Keep in mind that side lighting is relative. The illustration shows what side lighting is for a piece laying flat on a table. If your piece is hanging, or sitting upright, then you're light will need to move to accommodate the change.

Direct Light

Think of direct light as the opposite of side light. Instead of shooting at sunset, you're shooting at noon. The light, while still soft, is coming directly at your fabric. This reduces texture and hides flaws.

Direct Lighting

You'd be surprised at how often you don't want to emphasize the texture of the fabric. Again, the light position is relative to the position of the surface. For objects arranged flat on a table, the light would come from overhead. For objects arranged vertically, the light would come straight at them from the same direction as the camera.

Now let's jump in and work through some different common examples of fabrics that you might need to work with.

Gnarly Knits

In a previous photo, I showed you a knitted object shot with both side and overhead lighting. Most knitted objects are all about the texture. You'll want to showcase it in some way. Side lighting is an easy place to start. I was recently tasked with photographing a knit hat.

Large horizontal waves were the most prominent feature in the texture. Using side light in opposition to these meant positioning light directly above the hat. Had I shot the hat with my lights to left or right, the waves wouldn't have been as apparent.

Depth of Field

I'd like to quickly mention the depth of field. When shooting products like this for a friend's website or your own amusement, use whatever depth-of-field you want. However, if you're doing a commissioned job for a magazine or a business, they will want sharp edges.

In the hat photo above, I was essentially working in a macro situation. Shooting that close to your subject means that your depth-of-field will shallower. So I needed to make sure I stopped down a lot to get the edges of the hat in focus while still focusing on the front of it.

The reason for the industry obsession with sharp edges is due to their heavy use of cutouts. By cutting out the image, they are able to layer text and other images with it. Blurry edges are all but impossible to cut out well.

Slick Silks

The next photo we will take a look at features five silk ties. In my mind, silk is practically the exact opposite of knits. Instead of large visible fibers, you have a slick, highly reflective surface.

When working with any reflective surface, you can fight the reflection or embrace it. For my shot, set my camera up to capture it.

Remember the mantra, "the angle of incident equals the angle of reflection." The means that I need to match the angle the light is hitting my subject and with my camera angle. Imagine that your flash is shooting a tennis ball instead of light. You want to put your camera in a position to catch the ball after it bounces off your subject.

When you look at the photo, you really get a sense of shiny nature of the ties. What might not be so obvious is what's happening to the texture. By having both my camera and my flash almost directly above the subject, I'm using direct lighting. I'm hiding imperfections and making everything look flatter. Take a look.

You'll really see how direct light and side light affect fabrics in the next photo.

White Balance

I want to make a quick note about white balance. When photographing someone's product, it's essential that the colors match perfectly. No one wants to see yellow dresses in an advertisement and show up at the store only to find orange ones.

To insure that your white balance is perfect, slip something that's pure white into the frame of your image. This way you'll have a clickable reference once you jump into Photoshop or Lightroom.

What color was the show?

Another thing to consider is figuring out the exact Kelvin measurement of your flashes with different modifiers. I know that with my silver reflective umbrellas, my flash produces a light that is 5600K. So that's one less thing to figure out once I arrive at a shoot. Your flash may vary by 100 or 200K.

Dirty Denim

Let's take a look at some jeans. When shooting certain types of clothes, it might be hard to know whether to hide or showcase the texture. In some case, it might be better to shoot it both ways.

The following shots jeans were made during an insane day of shooting for a catalog. I barely had time to breathe let alone adjust a big lighting kit between every photo. So I worked with a hot shoe flash on my camera. What can I say? Being a professional often means being quick. I also knew a professional retoucher would be handling all the post-production.

These two photos perfectly demonstrate how lighting angle affects the texture. These jeans were hung on a wall directly in front of me. For the shot on the left, I bounced the flash off the ceiling creating side light, similar to a photo of the knit hat (the side is just up instead of left or right). For the shot on the right, I bounced my flash off the wall behind me creating direct light.

Sidelight on the left, direct light on the right.

Which side do you like better? I think I like the more creased look for this particular style of jean. There is certainly a place for the more flattening, texture hiding light.

Shooting Your Own Fabrics

If you seek them out there are plenty of opportunities out there for this type of photography. From vintage and handmade clothes for sale on Etsy and eBay to high-end catalog shoots, it all needs to be photographed.

It all comes down to texture and accuracy. Once you master the techniques of side lighting and direct lighting to capture the texture of the fabric, you're well on your way to developing a killer portfolio. After delivering photos that exactly showcase the color of a piece of clothing, you may have captured a great client.

Labelling for Textile Product

The labeling of textile products harmonizes the names of textile fibers and other terms used in labeling or other documents accompanying these products, in order to ensure adequate information for consumers and to promote the development of the market.

The labeling of textile products harmonizes the names of textile fibers and other terms used in labeling or other documents accompanying these products, in order to ensure adequate information for consumers and to promote the development of the market

What is a textile product?

• A raw, semi-worked or made up product exclusively composed of textile fibers, or
• a product containing at least 80% by weight of textile fibers, or
• the textile parts of carpets, mattresses, camping goods, furniture, umbrellas, sunshades, warm linings of gloves and mittens provided they contain at least 80% textile fibers, or
• textiles forming a part of other products where the textile parts are specified.

How should the product be labeled?

• All items must carry a label indicating the fiber content either on the item or the packaging. This label does not have to be permanently attached to the garment and may be removable. If the product is supplied to a wholesaler, the indication may be contained within business documents (e.g. the invoice).
• A textile product consisting of two or more fibers accounting for 85% of the finished product should be marked with the fiber followed by a percentage, e.g. Cotton 80% Polyester 15% Nylon 5%.
• If a product consists of two or more components with different fiber contents, e.g. a jacket with a lining, the content of each must be shown.
• Any decorative matter that makes up 7% or less of the product is excluded from the indication of fiber content.
• The word ‘pure’ should only be used where the garment is made up of only one fiber.
• The word ‘silk’ cannot be used to describe the texture of any other fiber; e.g. ‘silk acetate’ is not permitted.
• Only certain names can be used for textile fibers.

What is labeling?

Textile products must be labeled or marked whenever they are put onto the market for production or commercial purposes. Where these products are not being offered for sale to the end consumer, or when they are being delivered in performance of an order placed by the State, labeling or marking may be replaced by accompanying commercial documents. The names, descriptions, and details of textile fiber content must be indicated in these commercial documents. They must also be indicated on products offered for sale to consumers.

With the exception of trademarks or the name of the undertaking, information other than that required by this Directive must be quite separate. Member States may require that their national language is used for the labeling and marking required by the Directive.
A textile product composed of two or more components which have different compositions must bear a label stating the fiber content of each component. Where two or more textile products have the same composition and form a single unit, they need to bear only one label.
The Directive contains specific requirements for the labeling of:

• corsetry articles,
• etch-printed textiles,
• embroidered textiles,
• yarns consisting of a core and cover made up of different fibers,
• velvet and plush textiles,
• floor coverings and carpets.

The Directive makes provision for derogations for the labeling of certain textile products.

Labeling to inform the consumer

Consumers need to be confident that a textile item is safe to use and meets required standards. There is legislation to protect consumer rights. Labeling on the product and its packaging will provide relevant information about:

• Country of origin to say where the product was made
• Fiber content, which will affect care instruction and product flammability and warn those allergic to certain fibers
• Fire and safety warning, such as product flammability warnings on upholstery, furnishings, soft toys and children’s nightwear, and choking hazards for small children
• Care and washing instructions
• British and European standard symbols, such as the Kitemark and CE mark
• Trademarks to guarantee the quality, and protect the manufacturer from copying by others and from cheaper limitations
• Size
• Product identification code
• The environmental and ethical status

The manufacturer will use symbols on the label to inform the consumer and promote sales. The consumer, however, has the responsibility to use and care for the product as instructed on the labeling.

The British Standards Institute (BSI) tests products and the process by which they are made. If the product is of the required standards then the manufacturer can display the BSI Kitemark on the product labeling. Consumers trust that products bearing the Kitemark have passed a rigorous certification process and will not only be safe to use but will also be fit for the purpose for which they were designed.

The CE marking is a mandatory European marking for textile products, such as those for children. The symbol shows that the essential health and safety requirements set out in European Directives have been met.

Companies may add their name and logo to the label along with a certification trademark, such as the Woolmark. This type of trademark can be used under license, providing the product meets agreed quality standards.

Designing Safe Products

A designer must consider the needs of the target market and it is essential that a safe product is developed. The manufacturer and retailer will be required to abide by laws that are in place to protect the consumer. If the product is for a child, sharp or small parts that will come off when chewed or pulled, or long ribbons and cords, cannot be included as they might injure or choke the child. Children’s nightwear must be labeled: “Keep away from Children”. It is the designer’s responsibility to ensure that appropriate fabrics, components, and textile processes are used and that health and safety issues are taken into consideration.

New fabrics and fabric finishes might be selected by a designer to ensure that a product is safe and appealing to the consumer. Fabric that is hypoallergenic with UV protection may be chosen, such as that made from bamboo. Bamboo’s organic and natural fiber properties make it non-irritating to the skin for anyone with skin sensitivities or allergies.

Names that may be used for textile fibers

• Wool, alpaca, llama, camel, cashmere, mohair, angora, vicuna, yak, guanaco, cashgora, beaver, otter, whether followed or not by the name ‘wool’ or ‘hair’.
• Animal or horsehair with or without an indication of the kind of animal.
• Silk, cotton, kapok, flax or linen, hemp, jute, abaca, alfa, coir.
• Polyurethane, vinylal, trivinyl, elastodiene, elastane, glass fibre, broom, ramie, sisal, sunn, henequen, maguey.
• Acetate, alginate, cupro, modal, protein, triacetate, viscose.
• Acrylic, chlorofibre, fluorofibre, modacrylic, polyamide or nylon, aramid, polyamide, lyocell, polylactide, polyester, polyethylene, polypropylene, polycarbamide, elastomulltiester.
• Name corresponding to the material from which fibers are composed, e.g. metal (metallic), asbestos, paper, followed or not by the word ‘yarn’ or ‘fiber’.

Products that do not have to bear a fiber content

Air supported structures, animal clothing, artificial flowers, book covers, buttons and buckles, cordage, rope & string, disposable articles, egg cosies, felt hats, felts, flags and banners, funeral articles, gaiters, labels and badges, make up cases, muffs, old made up textile products, oven gloves, packagings (not new and sold as such, e.g. used potato sacks), painted canvas, pin cushions, protective prerequisites of sport, purses, pouches, bags & saddlery, safety items, sails, shoe cleaning cases, sleeve protectors, sleeve supporting armbands, slide fasteners, spectacle, cigarette and cigar, lighter and comb cases, stuffed pan holders, table mats having several components and a surface area not exceeding 500 cm2, tapestries, tea and coffee cozies, textile parts of footwear (except warm linings), textile products for base and interlining fabrics and stiffening, tobacco pouches, toilet cases, toys, travel goods, watch straps.

What is GSM?

GSM is the short form for grams per square meter. All fabrics including towels have a measurement in weight, and the standard measurement is measured in grams per square meters. This number refers to the density of the towel. High-quality Turkish cotton towels are generally heavier and are more absorbent.

Towels can vary anywhere between 300 GSM and 900 GSM. The lower the number, the lighter and thinner the towel. For instance:

300-400 GSM – In this weight category the towels are lighter and thinner. Depending on its use, a lower GSM for the towels are manufactured for gym towel or a kitchen towel. A lightweight, shared beach towel might be around 350 GSM. Medium weight is 400-600 GSM. This weight is great for beach towels, bath towels, guest towels and so forth. Each consecutive gram weight –400, 500, 600– gets a little heavier, and a little more absorbent.

600-900 GSM – This is a premium, luxury weight. The towel will be denser, heavier, more absorbent. It will probably take a little longer to dry.

List of Top Indian Textile Manufacturing Companies

Sutlej Textiles & Industries Ltd (STIL) is a leading producer of value-added yarns In India. Since inception, the Company has been committed to achieving high growth through the development of niche products to meet the increasingly sophisticated demands of the Industry. Today, it possesses the largest product portfolios of spun-dyed, cotton blended and cotton melange dyed yarns. Sutlej is the largest producer of Melange yarn in India and also one of the few exclusive spinners for specialty yarns such as Modal, Lyocell, and Tencel in the country.

Sutlej Textiles:

2018	The board approved to set up a plant in Jammu and Kashmir to manufacture polyester staple fibre.
2016	Sutlej Textiles & Industries Limited wins Prestigious SRTEPC Awards.
2014	Company have started commercial production on November 01, 2014 of expansion project of 31,104 spindles, at the company’s unit Chenab Textile Mills (CTM), Kathua, Jammu & Kashmir. Sutlej Textiles felicitated with esteemed 'Niryat Shree' Award.
2006	The home textiles and garments unit had started commercial production. The company got listed on NSE and BSE on December 2006.
2005	Sutlej Textiles & Industries Ltd was incorporated on June 22nd 2005, created by the corporate restructuring in which textile division of Sutlej Industries Ltd and Damanganga Processors Ltd was demerged and involved in textile business.
2001	Operations were forward integrated by establishment of Damanganga Fabrics (DGF) at Daheli in Gujrat to manufacture process fabric.
1997	Sutlej Industries Limited (SIL) purchased all the assets of Calico Textile Mill (CTM).
1993	Sutlej Industries Limited (SIL) established Rajasthan Textile Mills (RTM) at Bhawanimandi, Jhalawar district to produce cotton yarn.

Company Website: http://www.sutlejtextiles.co

Arvind Limited is a textile company. The company's principal products/services are finished fabrics and garments. Its segments are textiles, brands, retail and others. The textiles segment includes fabric, yarn and garments. The brands and retail segment includes retailing of branded garments, apparels and fabrics. The others segment includes technical textile, e-commerce and project activity. It also manufactures cotton shirting, denim, knits and bottom weights (Khakis) fabrics, and jeans and shirts garments. The Company, through its subsidiary, Arvind Lifestyle Brands Limited, markets branded apparel and licenses international brands in India. Its brands portfolio includes international brands, such as Arrow, US Polo, Izod, Elle and Cherokee. It also operates MEGAMART apparel value retail stores. It also has presence in telecom business directly and through joint venture companies.

2017	Arvind Ltd signs MoU the Gujarat government to set up a mega apparel park with an investment of Rs 3.00 billion (US$ 46.07 million) in Dahegam in Ahmedabad district.
2014	Arvind announces tie up with The Children's Place, America largest children's specialty retailer.
2012	Arvind Acquires Debenhams, Nautica and Next Business in India.
2008	Arvind Mills Ltd has informed that the name of the company has been changed from "The Arvind Mills Ltd" to "Arvind Ltd".
1998	Arvind Ltd became third largest denim producer in the world.
1992	The company increased the production of denim cloth by 23,000 tonnes per day by modernising the plant located at Khatraj of Ankur Textiles.
1988	New product groups identified were the Indigo dyed blue denim, high quality two-ply fabrics for exports, and special products such as butta sarees, full voils and dhoties.
1962	The company entered into an agreement with Tootal Broadhurst Lee Co Ltd.
1931	The company was incorporated on December, in Ahmedabad. The company manufactures cotton textiles. Company Website: http://www.arvind.com/

Vardhman Textiles Limited is an integrated textile manufacturer. The company is engaged in manufacturing of cotton yarn, synthetic yarn, woven fabric, sewing thread, acrylic fiber, tow and garments. The company's segments include textiles and fibre. The company is a piece dyed fabric manufacturer, and cotton yarn manufacturer and exporter. It offers the range of specialized greige and dyed yarns in cotton, polyester, acrylic and a range of blends. The company also manufactures products, such as organic cotton, melange, core spun yarns, ultra yarns (contamination controlled), gassed mercerised, super fine yarns, slub and cellulose yarns and fancy yarns for hand knitting. The company has approximately 1.1 million spindles and a capacity to manufacture over 580 metric ton (MT) of yarn per day. The company has manufacturing facilities located in Punjab, Himachal Pradesh and Madhya Pradesh. The company markets its products in the European Union, the United States and the far East.

Company Website: https://www.vardhman.com/

Vardhman Textiles

2018	Vardhman Textiles and Reliance Industries tie-up for creation of innovative fabrics.
2014	Vardhman Group has over 24 manufacturing facilities in five states.
2007	Vardhman Textile has entered into Joint Venture Agreement on March 24th, 2008 with American & Efird Inc (A&E), a subsidiary of Ruddick Corporation, USA.
1995	The company entered into a joint venture agreement with Japan Exlan Co. Ltd. and Marubeni Corporation of Japan for setting up an acrylic fibre project for manufacture of 16,500 TPA acrylic fibre.
1994	The company entered into a joint venture agreement with M/s. Marubeni Corporation & Toho Rayon Co. Ltd., Japan for setting up a 100 per cent Export Oriented Units (EOU) to manufacture cotton yarn with a capacity of 25,000 spindles at Baddi in Himachal Pradesh. In the joint venture to be known in the name of VMT Spinning Company Ltd.
1978	The company undertook to set up of textile mill with a capacity of 25,000 spindles at Maler Kotla in Sangrur district in Punjab.
1973	Vardhman Textiles Limited was incorporated on October 8th. The company was promoted by Vardhman Spinning and General Mills Ltd.
1962	Vardhman Spinning & General Mills Ltd (VSGML) was incorporated in Ludhiana, Punjab in 1962 by Shri V.S Oswal & Shri Ratan Chand Oswal. VSGML started production with a capacity of 6000 spindles to manufacture cotton yarn in 1965.

Textile Industry & Market Growth in India

Introduction

India’s textiles sector is one of the oldest industries in the Indian economy dating back several centuries. India's overall textile exports during FY 2017-18 stood at US$ 39.2 billion in FY18 and is expected to increase to US$ 82.00 billion by 2021 from US$ 31.65 billion in FY19*.

The Indian textiles industry is extremely varied, with the hand-spun and hand-woven textiles sectors at one end of the spectrum, while the capital intensive sophisticated mills sector at the other end of the spectrum. The decentralized power looms/ hosiery and knitting sector forms the largest component of the textiles sector. The close linkage of the textile industry to agriculture (for raw materials such as cotton) and the ancient culture and traditions of the country in terms of textiles make the Indian textiles sector unique in comparison to the industries of other countries. The Indian textile industry has the capacity to produce a wide variety of products suitable to different market segments, both within India and across the world.

Market Size

The Indian textiles industry, currently estimated at around US$ 150 billion, is expected to reach US$ 250 billion by 2019. India’s textiles industry contributed seven percent of the industry output (in value terms) of India in 2017-18. It contributed two percent to the GDP of India and employs more than 45 million people in 2017-18. The sector contributed 15 percent to the export earnings of India in 2017-18.

The production of raw cotton in India is estimated to have reached 36.1 million bales in FY19^.

Investment

The textiles sector has witnessed a spurt in investment during the last five years. The industry (including dyed and printed) attracted Foreign Direct Investment (FDI) worth US$ 3.09 billion from April 2000 to December 2018.

Some of the major investments in the Indian textiles industry are as follows:

• In May 2018, the textiles sector recorded investments worth Rs 27,000 crore (US$ 4.19 billion) since June 2017.
• The Government of India announced a Special Package to boost exports by US$ 31 billion, create one crore job opportunities and attract investments worth Rs 800.00 billion (US$ 11.93 billion) during 2018-2020. As of August 2018, it generated additional investments worth Rs 253.45 billion (US$ 3.78 billion) and exports worth Rs 57.28 billion (US$ 854.42 million).

Government Initiatives

The Indian government has come up with a number of export promotion policies for the textiles sector. It has also allowed 100 percent FDI in the Indian textiles sector under the automatic route.

Initiatives taken by the Government of India are:

• The Directorate General of Foreign Trade (DGFT) has revised rates for incentives under the Merchandise Exports from India Scheme (MEIS) for two subsectors of Textiles Industry - Readymade garments and Made ups - from 2 percent to 4 percent.
• As of August 2018, the Government of India has increased the basic customs duty to 20 percent from 10 percent on 501 textile products, to boost Make in India and indigenous production.
• The Government of India announced a Special Package to boost exports by US$ 31 billion, create one crore job opportunity and attract investments worth Rs 80,000 crore (US$ 11.93 billion) during 2018-2020. As of August 2018, it generated additional investments worth Rs 25,345 crore (US$ 3.78 billion) and exports worth Rs 57.28 billion (US$ 854.42 million).
• The Government of India has taken several measures including Amended Technology Up- gradation Fund Scheme (A-TUFS), the scheme is estimated to create employment for 35 lakh people and enable investments worth Rs 95,000 crore (US$ 14.17 billion) by 2022.
• Integrated Wool Development Programme (IWDP) approved by Government of India to provide support to the wool sector starting from wool rearer to end consumer which aims to enhance the quality and increase the production during 2017-18 and 2019-20.
• The Cabinet Committee on Economic Affairs (CCEA), Government of India has approved a new skill development scheme named 'Scheme for Capacity Building in Textile Sector (SCBTS)' with an outlay of Rs 1,300 crore (US$ 202.9 million) from 2017-18 to 2019-20.

Achievements

Following are the achievements of the government in the past four years:

• I-ATUFS, a web-based claims monitoring and tracking mechanism was launched on April 21, 2016.
• 381 new block-level clusters were sanctioned.
• 20 new textile parks were sanctioned
• Employment increased to 8.62 million in FY18 from 8.03 in FY15.

Road Ahead

The future for the Indian textile industry looks promising, buoyed by both strong domestic consumption as well as export demand. With consumerism and disposable income on the rise, the retail sector has experienced rapid growth in the past decade with the entry of several international players like Marks & Spencer, Guess and Next into the Indian market.

High economic growth has resulted in higher disposable income. This has led to a rise in demand for products creating a huge domestic market.

Exchange Rate Used: INR 1 = US$ 0.0139 as of Q3 FY19.

References: Ministry of Textiles, Indian Textile Journal, Department of Industrial Policy and Promotion, Press Information Bureau

Note: * till January 2019, ^ - during the cotton season October–September

Disclaimer: This information has been collected through secondary research and IBEF is not responsible for any errors in the same.

Transport Textiles

Among other sectors, the automotive industry is one of the largest single markets for technical textiles and one of the most diverse as well. This market comprises of automobiles, trains, marine vehicles and planes.

Technical textiles that are used in this automotive or transport sector are called “MOBILTECH.” The latest developments in aircraft, ship building as well as motor vehicle and train manufacture, all can be largely attributed to MOBILTECH, a non apparel textile.

Mobiltech today covers not only isolation and safety aspect but also focuses on comfort and style. The customers look for aesthetically pleasing interiors, great comfort and fuel economy.

Textile components in automobiles consist of either visible components like upholstery, carpets, seat belts, headliners etc.or concealed components like tyre cords, hoses, belts, airbags etc.

Some of the applications in this industry are:

• Air bag fabrics
• Fabric used as a basis for reduction in weight of body parts
• Tyre cord fabrics (including hose and drive belt reinforcements)
• Automotive upholstery and other textile fabrics used inside the vehicle
• Tyres (for cord reinforcement material, side and thread walls, carcass piles etc)
• Engine (radiator hoses, power steering, hydraulic lines, filters etc)
• Composites for body and suspension parts (bumpers, wheel covers, door handles etc)
• Comfort and decoration (seating, carpets, interior decoration)
• Safety (seat belts, air bags, seat fire barriers etc)