FORM G I- 1

THE GEOGRAPHICAL INDICATIONS OF GOODS

(REGISTRAT|ON & PROTECTTON) ACT, 1999

Application for Registntion of a geographicat indication in paft Aof the Register; Secfioa 1l (1), Rule 23 (i)

Kota Doria

Application is hereby macte by for the registration in part A of theregister of the accompanying geographical indication furnishing thefollowing particulars:

l. Name of the Applicant:

Kota Doria Development Hadauti Foundation (KDFiF), weavers' ownnon-profit organization of Kota Doria weavers. The address of theorganization is as given below:

, Sadar Bazaar, Kaithun, District Kota.

Rajasthan

Phone:0744 -2844964Email: kdhf@indiatimes.com

2. List of association of persons/ producers/ organization/authority:

Kota Doria Development Hadauti Foundation or KDHF is an umbreilaorganization representing the interests of ail the persons of Hadautiregion involved directry in the production and marketing of Kota Doria. rt

is registered under the Rajasthan societies Registration Act, 195g as anon - profit organisation. A copy of the registration certificate of theorganization is placed at Annexure 1.

Since the organisation has been formed unanimously by the weavingcommunity as a part of the ongoing UNlDO,s Cluster Development

Programme it has been activery been invorved in werfare activities forthe weavers has been coordinating such activities with the variouspublic or private agencies. The organisation has adequate partnership

of different villages, women, existing associations and the various keypersons of the weaving community in its executive committee. Thus, theeffort of the organisation is to provide support to the weaving communityand general public at large without any consideration for caste, creed.religion or any such issues.

The organisation is mandated to apply for, implement and monitor andmanage Geographical Indication registration, brand image promotion ofKota Doria, and provide support for market buird up and other werfareactivities for the weavers. The rist of the members and the executivecommittee of the organization is appended at Annexure 2 and the copyof its constitution is appended at Annexure 3. The membership of theorganization is growing and presenfly there are about 150 membersrepresenting direcfly or indirecfly the interests of about 1500 weaverfamilies of the region. The rist of totar participants wourd be submitted indue course of time.

3. TypeofGoods:

Mainly saris, suits, dupattas, dress materials and fabric for homefurnishings and garments failing under the foilowing crasses of goods asper the Fourth schedure (crassification of Goods - Names of theClasses) of the Act:

Class 24 - Textiles and textile goods, not included in other classes; bedand table covers.

Class 25 - Clothing, footwear, headgear and all other goo<ts falling inClass 25.

4. Specifications

The recognizing characteristic of Kota Doria is the square_checkpattern, locally known as the ,khat, that is present in the basefabric besides any other type of value addition by weaving or any

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other process such as embroidery, printing, painting, dyeing etc.

The Khats are made in the fabric so skillfully that the fabric

becomes transparent. The various types of ,khats' traditionally

being made in Kota Doria are placed at Sample Annexure 1.

4.2 The fabric is mainly made of cotton and silk yarns in different

combinations in warp as well as weft. The popular combinationspresently in production are

Sample Annexure 2:

a) Cotton x Cotton

b) Cotton x Silk

c) Tussar Silk x Tussar Silk

as follows as well as placed at

A) The Cotton - Cofton variety has 90 - 96 ,Khats' across thefabric width of 46inch.

B) Within the Cotton - Silk variety, there are three variations

based on the number of 'khats' in the 46inch width of the

fabric:

1 . 300 - 'khat' variety: Having 285 - 300 ,khats' across thewidth

2. 350 -'khat'variety: Having 325 - 350 ,khats' across the

width

3. 400 -'khat' variety: Having 385 - 400 .khats' across the

width

A) As per the traditional standards, in the Cotton - Cotton variety

there are approximately 02 Khats found in an inch, both intransverse as well as longitudinal directions. Each Khat has30 threads in both the directions, thus there are approximately60 ends/ inch and 60 picks/ inch in the fabric.

B) As per the traditional standards, in the Cotton - Silk variety thenumber of Khats per inch in transverse and longitudinaldirections are as follows:

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7-8 (98-112 ends/inch9-10 (126-140 ends /inch 8-9 (112-126

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ls manufactured wholly from cotton or predominanfly cotton along

with combination of any other fibre.

Has corded effect obtained by cramming either the warp or weftthreads or both or by using threads of different counts to formstripe paftern warp way or weft way.

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Each Khat in above varieties has 14 threads (i.e. 0B of cotton & 06 ofsilk yarns) both in transverse & longitudinal directions, hence number ofends & picks per inch can be ascertained.

5. Name of Geographical Indication (and particularc):

Kota Doria (Saris, suits, dupattas, dress material and furnishings)

Also sold famously as 'Kota Sari' or 'Kota Masuria Sari'

6. Description of the Goods:

Kota Doria is a fabric famous for its unique square check pattern and

its main recognizing factor. The check pattern itself is of a wide

. variety and some of the same have been annexed in the application.

Thus the main distinguishing feature for the true description of Kota

Doria fabric is the presence of any of the 'khat' patterns in the fabric.

The description of the product range of Kota Doria is being given

below for ready reference. However, the same would be only

indicative since the vast variety of designs, layouts, patterns and end

usages cannot be captured in the application.

6.1 Kota Doria Sari:

As per the Handlooms (Reservation of Articles for production)

Act, 1985 (22 of 1985) Kota Doria Sari was also included in the

range along with other handloom saris exclusively reserved for theproduction by handlooms. The description of Kota Doiia Sari as per

the above Act is reproduced as follows:

Kota Doria Sari is a plain woven cloth either grey or bleached whichis also jointly characterized by the following:

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3) Has a width ranging from 90 centimetres to 140 centimetres

(inclusive of selvedges).

4) Has length ranging from 5 metres to 8.5 metres, and

5) ls commonly known by that name.

6.2 Kota Doria Suits & Dupattas:

The Kota Doria suits and dupattas are plain woven cloth either dyed

or undyed using cotton, silk zari and / or other fancy yarns in thewarp or the weft or both with or without booties for the ground and/or pallu and neck-line or any other value addition thereupon. The

fabric is usually 36 inches to 46 inches wide and length of 2.5 to 7 .5

metres, depending upon the inclusion of the dupatta in the suitlength or other wise.

6.3 Kota Doria Dress Material:

Kota Doria dress material is plain woven or with fancy yarn

insertions/ motifs woven or any other value addition thereupon. ltswidth is usually 36 inches to 46 inches and it can be plain bleached /unbleached or coloured. lts length can be usually in a cut size of11.5 metres.

6.4 Kota Doria Furnishings:

Kota Doria furnishings can be of plain or dyed or with motifs and orother fancy yarn insertions along the warp / weft way. The fabric maybe having plain single count cotton yarns or twisted 2/ 120s etc.kinds of cotton yarns in varying combinations with silk or other yarnsand the characterizing feature would be the square check pattern

and the use of cotton and silk yarns in the fabric construction. Themay vary from 46 inches and upwards.

7. Geographical Area of production and Map

: Kota Doria is made in many villages located

Baran districts of Rajasthan. However, the

in Kota, Bundi and

oldest and biggest

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concentration of weavers is in Kaithun, situated about 15 kms from

Kota (the District Headquarter). Other major places of concentration

of weavers of Kota Doria are:

o Kota, Kotsuwan, Kansuwan, Mandana, Sultanpur & Sangod inKota District.

. Mangrol, Siswali & Anta in Baran District and

r Bundi, Keshoraipatan, Kapren & Roteda in Bundi District.

,The Geographical Location of Kota Doria producing villages have been

shown in the Map of Kota Division as provided by the Office ofAdditional Chief Engineer P.W.D, Kota and the same is enclosed atAnnexure 4.

The relevance of inclusion of villages located across three districts ofRajasthan has been unfolded in other parts of the application. Thepresent geographical expanse is based on the traditional age-old mutual

links between these spaced out production centres where essentiallythe geographical conditions have been conducive and the weaving

community has resided over generations.

8. Proofs of origin (Historical records):

Kota Doria is known after the erstwhile Kota State fiom where itoriginated and is still being made in the villages of this erstwhile state orwhere the Ansari weavers' community is present in sufficient numbers.The evidences of weaving activity in the region have been recorded in

several state and British journals. The weaving technique as well as theproduct (from fine muslin to doria muslin and ultimately the famouscheck pattern which has become popular as Kota Doria) evolved over aperiod and in the modern times became famous as Kota Doria after theplace of its origin. The historical references are being appended atAnnexure 5. However, the major findings inferred from these historicalreferences are being reproduced for the purpose of a cohesive. clearand simplified overview.

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About Kota & Hadauti:

Modern Kota City and Kota District of Rajasthan have been derived fromparts of the erstwhile Kota State. The former State of Kota formed theEastern part of present Rajasthan. lt was sunounded by the formerIndian States of Jaipur and Gwalior in the North, Bundi in the West,

Udaipur, Jhalawar, Indore and Gwalior in the South and Khilchipur,

Rajgarh and Gwalior in the West. Though Kota started as an offshoot ofBundi in A.D. 1624, it ultimately superceded its parent in power,

economy and cultural grandeur. At the time of the integration of theIndian States to the Indian Union in 194g, it was the Sth largest state (inrevenue) in the newly formed state of Rajasthan.

The Eastern region of Rajasthan is widely known as ,Hadauti, or theLand of the Hadas. Hadauti comprises the old Hada states of Bundi andKota, which in modern times means Bundi, Kota, Baran and Jhalawar.Hadauti is a region of rarge expanse of fertire prains having rich brack

cotton soil and of ranges of low hills and river gorges covered with thickforest. The land slopes genfly from the South towards The North andhas the river Chambal traversing across it from the South to the North,with its many tributaries. lt is the only perennial river in the largely desertstate of Rajasthan, draining itself into the yamuna. Together with abountiful rainfall, these waters provide a prosperous and verdant look tothis land, which is the main granary of Rajasthan.

About the 'Hadas':

The Hadas, who are one of the major branches of the Chauhan race.trace their origin according to mythology, from Mt. Abu in the SouthAravalli hills. The legend goes on to state that a'yajfia'was performedthere by saint vashishtha to rid the world of evil and out of the sacredpit of fire, sprang forth four warriors, the last being the most powerfulone, called Chatturbhuj Chahuman. The Chauhans who are of theAgnikula race of the Kshatriyas are one of the important races of the 36royaf races of lndia. They established themselves near ,sakhambai,

(the name of present - day Sambhar town approximately 50 milesSouth of Jaipur) in around AD 600 and soon took Ajmer and forged thepowerful kingdom of 'sapadlaksha,(a powerful state comprising parts of

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the present-day Rajasthan, Haryana, punjab, Uftar pradesh and EastDelhi which continued till AD 1192). The high-noon of the Chauhan

Empire was under the great prithviraj lll, the last Hindu king of Delhi.

The empire broke up after his disastrous defeat at the Batfle of Terrain

in AD 1192 against the Sultan Muhammad Ghori. The Hadas are thedirect descendants of the Sakhambai - Nado/ line of Chauhans. In duecourse they migrated and setUed in the hilly fastness or the ,pathaaf

between the plains of Mewar and those that of later day Hadauti.

About Kota Doria Weaving:

The beginning of this exquisite fabric is mired into mystery and not muchis known in written form about the exact date/ period of the initiation ofKota Doria in its present form. lts origin as a craft is shrouded in mysteryand several tales passed on by way of mouth can be heard. The word'Masuria'added to the Kota saris also adds to the mystery. While asection of believers attribute this name to its origin from Mysore, othersattribute the name to the initial use of Mysore silk in the saris. Anotherversion and a more plausibre explanation forthe use of word ,Masuria'is

given by noted textile experts Ms. Rta Kapoor Chishti and Ms. Ambasanyal in their famous book, 'saris of India'wherein they opine that theKota Masuria saris come in a wide variety of checks in pure cotton aswell as cotton and silk, with the finest resembling the 'Masoor' rentilseed. This reference crearry removes the wrong notions that the wordMasuria has got anything to do with Mysore. rt actuaily tarks of thefineness of the fabric, especiaily for the 350 - 400 khat patterns whereinthe finest check resembles the ,Masur' lentil seed.

One of the beliefs is that the Doria saris were originally woven inMysore, and from there, some weaver families were brought to Kota dueto the patronizing efforts of the then Kota prince, Rao Kishore Singh(1684 - 1695). The weavers setfled in Kaithun in the early 17th Centuryand gradually grew in number. As marriages took place from one villageto another, the girls, adept at weaving, started the work in their newhomes too' slowry the interest of other members of the famiry arso grew

- and this resulted in the spreading of the craft from a few famiries toseveral households in a large number of villages in the vicinity.

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However, the historical records of periods even earlier than the period ofRao Kishore Singh cite the presence of weaving activity in Kaithun, theearliest weaving centre of Kota Doria. References of fine cotton weavingand growing of cotton in the area are reported in several documentsranging from the State time documents to the British accounts of thearea. Hence it can be firmly established that since cotton and indigowere grown in the region since quite some time and the reference ofKaithun, the main weaving centre, is available even in the 13h centuryrecords of Bundi state, it would be out of turn to accept rhat there wasno weaving activity prior to the period of Rao Jagat singh/ Rao KishoreSingh.

It would be important to provide a crear picture of the Hadauti regionalso to reaffirm the craim that weaving has been a tradition of this regionand a lot of this can be attributed to the geographical conditions of thearea. Unlike other parts of the State, where coarse_yarn weaving isdone, due to the hot and dry climate, the presence of the only perennialriver of the state, the chambar river (which provides a rot of moisture inthe air required for fine cotton weaving), the presence of brack soir forgrowing of cotton and the lush natural forest cover of the area. allprovide conducive conditions for fine count weaving of cotton. Thehigher incidence of rainfall in this part of Rajasthan is a well known fact.In fact' it may not be out of place to mention that in this part of NorthernIndia, fine count cofton weaving is present only in three centres, i.e.Chanderi, Maheshwar and Kota and of these Kota holds a specialposition due to the 'khat' pattern that it has mastered over the years.some of the historicar evidences that can be cited to substantiate thepresence of cotton growing and cotton weaving in the area are givenbelow:

1. 'Kota Rajya Ka ttihaas' by Mathura Lal Sharma

This is one of the well-known accounts of Kota State's history bymodern historians after thorough scrutiny and corroboration of actsfrom various sources. A copy of the relevant portions of this book asannexed show that it was during the reign of Aurangzeb, i.e. about1665 AD that fine muslins as well as coarse cotton fabrics were

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being woven in Kota State. The historical account tells that prince

Jagat Singh, one of the mansabdars of Aurangzeb's army and

posted at Aurangabad at that time, bought off a lot of clothes both

from the State as well as from out side the State and even as far as

from lran (bought by merchants, off course). This establishes that

zari-bearing fine muslins as well as fabric of coarse cotton yarns

were also made in Kota State.

Gazetteer of India Vol. 3 Chapter lV - Arts & manufactures of thef ndian Empire, page 202 states that ,among the muslins ofRajputana the foremost place is hetd by those of Kotah,.

Gazetteer of India Vol. 15 - Kotah City, page 425 states '... Theprincipal manufactures are muslins, both white and coloured....,

Gazetteer of India Vol. 15 - Art & Manufacture, page 131 states

'Among muslins the foremost place is hetd by those of Kotah,where the charming aft of dyeing the thinnest net with adifferent colour on each surface is stilt sometimes practiced..,,(This indicates in itself that the tradition of weaving fine muslins andtheir dyeing was quite old, even before the time of accounting thesemanufacturing activities by the British writers)

Gazetteer of India Vol. 15 - page 120 states that cotton was grown

in Kotah while page 123 shows a table depicting the total area sownfor different crops within the Rajputana and the table shows that 33square miles was under cotton cultivation in Kotah State.

Gazetteer of India Vol. 15 - page 133 while referring to the chiefexports from the Rajputana area tells about salt, wool, woolenfabrics, raw cotton and printed cloths.

Reference of Mangrol weavers switching over to terrricot clothweaving from Kota Doria weaving in 1960 is given in one of the StateGovernment publications, ,Vastra Vidhaan'. The relevant portion isannexed.

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Reference of cotton cultivation even in recent times and the fame of

Kota Doria saris are given in the articles written by Mr. A. B. Lal in

the State Govt. Publication "Rajasthan - Sujas Sanchya'.

The District Gazetteer of Kota, 1971 in Chapter V (lndustries) talks

about the Old Time Industries and makes a clear mention of cotton

weaving, the muslins of Kota having more than local reputation and

the use of gold or silver threads while still on loom.

tO.The same gazette mentions in the chapter on cottage and

industries that Kaithun and Mangrol have been famous

Masuria fabrics which are white or coloured muslins with

silver thread introduced while on the loom itself.

village

for the

gold or

77.The famous book - 'Hand-woven fabrics of India' by Jasleen

Dhamija and Jyotindra Jain refers to the presence and fame of the

Masuria/ Kota Saris being woven in Kaithun, one of the few fine

. weaving centres besides Dholka, Khambat and porbandar in

Gujarat.

I2.Famed writer of textiles books, Linda Lynton has referred to KotaDoria saris as one of the nationally popular hot-season garments

because of very light weight.

Based on all the above citing and the general information and belief ofthe weavers and other inhabitants of the area, the fact remains thatwaving of cotton was a tradition in Kaithun and Mangrol since as late as

13th century and the existence of a cotton - cotton square check pattern

in Kota Doria fabric is a live testimony to this fact. Later on, silk was

introduced and since the silk used to come from Mysore in those days,

more so perhaps because ofthe posting ofthe then princes, working forMughal army in the South, the fabric became famous as ,Kota Masuria'.

It can be surely established that Kota Doria has evolved over a period

from plain cotton muslins to cotton muslins with square - checkelements to the present anay of various kinds of ,Khat' patterns andyarn combinations of cotton and silk due to the regular innovation of theweavers and the demand from the consumers for new types of check

arrangements.

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9. Method of Production

1. The processes involved:

. Kota Doria fabric being produced in the region is produced on verytraditional and age-ord pit rooms with a throw shutfle technique. Arlthe processes invorved from yarn to fabric stage are arso carried outmanually. These processes are summarized as follows:

A) Winding:

cotton as werr as sirk is obtained from the traders of Kaithun. Kotaand other parts of the country in the form of hanks (lachhis). Thesehanks require the process of winding before being used on the loomfor weaving. Winding is the process of transfening the yarns from thehank onto bobbins for warp and pimil sifuies for the weft. Winding isalso done for zari and other threads used for varue addition duringthe weaving process. Winding is carried out by using a small swifUcharkha and a rotary wheel attached to a harness of conveyor beltgiving a similar rotary motion to the spool mounted on small spindleat the other end. Rotation of the wheel by hands results in therotation of the spindle and thereby the thread from hank mounted onswift is transfened and wound on to the spools. Winding alsorequires enough skill, as withdrawal of yarn from the spool should beeasy. (Refer photograph no. 1 forwinding process.)

B) Warping:

Warping is the process of getting a predetermined length of warphaving desired number of threads as required for the whole width ofthe fabric. The warping method generally being used for Kota Doriais known as Peg Warping (also known as Ground / street warping),since wooden pegs are used in the process. These woooen pegs areplaced along the whole length of the yarn so that a continuouslycrisscrossed set of two yarns may be obtained for the weavingprocess (The criss-crossing later on helps in finding out the brokenyarn on the loom during the course ofweaving). These wooden pegsare placed below a thick rope tied to a pair of iron pegs (dug into theground fully stretching the rope) on each end, and it is the length of

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the rope that determines the length of the warp being prepared.Generally warp of 31-36 yards is prepared at a time for producing Ssaris of 6 yards each (or 4 saris with blouse, of 7 yards each,depending on the requirement) keeping the margin for shrinkage andwastage etc.

At least two persons are required for the entire process. While oneperson has to twist the yarns with the help of a heald (locally calledas 'Hattha'), which has the yarns passing through it, the other personhas to hold the creel (locally called as ,pinjras,) consisting of thespools of the yarns. So one-person keeps on holding the creel ofyarn, both of them take turns round the pegs to achieve the desirednumber of yarns in the warp. The number of rounds to be takenbetween the two ends of the rope is determined by the number of'khats' desired in the sari and the capacity of the creel being used.Since each khat is made of g cotton and 6 silk yarns in it, hence anoriginal Kota Doria sari of 300 Khats has 2400 cofton and 1800 sirkyarns in the warp. The warp thus prepared is then collected in theform of ball.

Usually the activity is done in the open spaces or byJanes near thehouse of the weaver, either by the non-weaving family members orby other hired persons, usually old-aged women of the village.warping of cofton and sirk yarns as weil as that of zari is carried outseparately. (Refer photograph no. 2 for warping)

G) Dyeing:

Dyeing is the process of coloring the material (fibre, yarn or fabric) indesired colour and shade. For Kota Doria, dyeing of both cotton andsilk yarns is carried out for the readied warp as wel as the hanks forthe weft. The dyeing process is completely manual preseinfly. Wateris heated in a pan/ suitable utensil, dyes pre_dissolved are addedand the yarns are then dipped and dyed till the desired shade is not

' achieved. The prevalent dyeing processes for the various shadesare VAT, Napthol, Direct and Reactive. However, the mostcommonly used process is direct dyeing owing to ease and similarretention on silk as well as cotton yarns. Sometimes they are tied

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and then dyed in different shades to produce the tie _ dye effect in

the fabric. (Refer photograph no. 3 for the process of dyeing.)

D) Sizing:

Sizing is mainly done for imparting the yarn enough strength, surfaceglaze and stiffness so that it can withstand the beating of the reedduring the weaving process and also maintain the stiffnessnecessary for even weaving and a proper look of the sari once theweaving is complete. This is important since no further

. ironing/finishing of the sari is done in the cluster.

Sizing is required and done only for cotton yarns (being very finesingle yarns) and is done by using thin paste of rice (,maandi\ andthe juice of a special wild variety of onion available as a naturalvegetation in the nearby jungres of the area. This onion juice rendersa soft feel to the yarn and it retains a luster and soft feel even afterseveral washes. sizing is done by the rabourers avairabre for thispurpose in Kota and Kaithun. The process involves painstakinglybrushing of the yarns stretched along a stand, using the sizing pasteand special brushes for this activity. These brushes are made up of aparticular type of leaves. (Refer photograph no. 4 for sizing processand equipments)

E) Drafting-Denting-piecing:

All the individuar threads of cotton and sirk are drafted through thedouble clasped country cofton heald (locally called as ,Ranch,) anddenled through the dents ofthe bamboo/steer reed (rocaily cailed as'Fani') in a particular pattern in order to produce a check patternpopularly known as Khat in combination with weft threads. Thepattern of laying the threads for a Khat is very peculiar, which is fourthreads of cotton, two threads of silk, cotton, silk, cotton and twothreads of silk, both in warp way and weft way for Cotton"Silk variety.Silk threads are taken one by one through the dent of the reedwhereas two threads of cotton pass through one dent of the reedforming a very compact check pattern. Fine silk yarns make thetransparent background, while the relatively coarser cotton yarnsforms the check locally named as Khat, which are woven across the

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width of the saris. The Khats so formed does not get flaftened evenafter putting the fabric in water. Very fine bamboo or steel reedsgenerally from 110 & above numbers are used depending on thenumber of Khats required in the whole width of the fabric.

since drafting and denting of ail the individuar threads consumes alot of time, an alternative method of piecing is generally being used,

. in which all the individual threads of the newly prepared ball warps ofcotton & silk are tied with corresponding threads of the leftoverthreads of previous warp. Same methods are also adopted whenpreparing cotton x cotton or tussar sirk x tussar sirk variety of thefabric. (Refer photographs no. 5, 6 and 7 for preJoom processes)

F) Weaving:

After the piecing of the threads the ball warp is hangect at the otherend of the loom and the loom is made ready to start.weaving. Thewarp threads are kept in such a way that alr individuar threads are inequal tension to facilitate weaving.

The weaver sits in front of the room keeping his/her feet in the pit tooperate the treadles / jacquard / dobby and / or jala for forming theshed through which the horn shutfle is thrown by hand (throw shutflelooms) to pass across the width of warp. Beating of the entered pick tothe fell of the cloth by reed (fixed in the slay hanging from the ceiling,tied with strings) is done so skillfully that, almost uniform size of checkpatterns (popularly known as Khat) are produced in the fabric. (Referphotograph no. 8 for weaving)

G) Designing:

The designing of Kota Doria sari is mainly based on the extra_weftpattern of weaving. For the purpose of producing floral patterns,booties or any other intricate designs in the pallu, border and body ofthe fabric, jacquard I dobbyt jala are used. The desired paperdesigns are first made on graph papers and then transferred to thefabric through above techniques. The setting up of design on the'jala' of the loom is arso a speciarized activity and so is that of makingof the graphs for the designs. Dobbys of up to 16 plates and

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jacquards of up to 120 hooks are generally being used in Kaithun.Dobby is mainly used for ground motifs and for fine small borders inthe sari. On the other hand, jacquard is being used for makingexquisite borders of the saris and pailus of the saris and for thatmatter any bigger motifs that are required in the fabric for any

' purpose. The method of using small spindles, locally known as ,tittis,

or 'sirkies' for making the motif on the ground t pailu rborder of thesari makes the designing process quite time_consuming but at thesame time provides a very fine finish to the sari. (Refer photographsno. 12 - 15 for graphs, dobbys & jacquards in use)

2. The raw materials in use:

The main components being used in the production of Kota Doria areyarns made from natural fibres viz. cofton and silk. Besides, Zari (ofpure gold - silver), pMC yarn, jute and other fancy yarns are also

. used in lesser amount for motifs, weft insertions or other ornamentalpurposes.

Gotton yarns: 80s to 120s count (mainly of combed quality) areused both in warp way and weft way.

Sifk yarns: 20122 D to 13/15 D Silk is used both in warp way

and weft way. The silk yarns are not de-gummed alike other

handloom centres and his provides a sheer texture to the fabric.

10. Uniqueness

Technically speaking, it is not possible to create a structural pattern in a

fabric using a simple two-pedal loom. However, it is the fine skill of the

weavers of this region that a structural pattern is created in Kota Doria

fabric with just two pedals, the square check pattern, the ,khat'. White

the cramming of the yarns is mechanically achieved in the reed for the

warp way, it is only the inherited skills of the weavers that helps them

throw silk as well as cotton yams along the width according to thedesign requirements and beat the cotton yarns double and keep the silk

yarns lightly beaten to evolve the square check. lt is this inherited skill

and the evolving 'khat' pattern that is so unique that no words would begufficient to explain it.

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The process of sizing is unique as practiced in Kota Doria and is doneby using the juice of a speciar wird variety of onion avairable as naturalvegetation in the nearby jungres of the area. This onion juice renders asoft feel to the yarn and it retains a ruster and soft feel even after severalwashes. sizing is done by the traditionar rabourers avairabre for thispurpose in Kota and Kaithun. The process involves painstakinglybrushing of the yarns stretched along a stand, using the sizing pasteand special brushes for this activity. These brushes are made up of aparticular type of reaves. Thus the sizing process of Kota is quite uniqueand traditional. lt also involves extensive use of materials of local naturalvegetation for giving the distinctive finish to rhe sari and this is a processwhich cannot be repricated ersewhere. rt is unique and characteristic ofKota and needs to be protected.

Uniqueness of Kota Doria lies, besides the khat pattern, in being a fabricwith soft gossamer feel, sheerness and yet a corded texture at the placewhere the cotton yarns are crammed together. Such a variety of feelswithin the same fabric is very unique. Moreover, this rends the fabric afantastic feel and fall. The weaving texture is such that one can assessthe count of the yarn.

The 'khat' paftern of Kota Doria is unique and is the main characteristicof the fabric. The 'khat' is itself the uniqueness of the fabric and thusneeds to be protected. This unique feature owes its origin to theinherited traditional skills of the weavers and the special finishingprocesses given to the yarn during sizing.

Kota Doria is also unique in the sense that it is perhaps the onry fabric,which uses cotton as well as silk in predefined proportions in the warpas well as weft of the fabric. This lends the fabric a very unique kind offall and sheerness.

fn sOite of using silk without degumming it, Kota Doria fabric does notget brittle and has a long life. This is because of the ,khat' pattern, astructure that ensures the apprication of stress onry on cotton yarns and

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thus the silk just provides sheerness and good fall. Thus the comfort

and longevity of the fabric of Kota Doria is quite unique.

11. Inspection Body

Kota Doria Development Hadauti Foundation (KDHF) has

representatives from the producing villages and they have been

nominated by the weavers of these villages. Moreover, the KDHF

membership includes the master weavers and other stakeholders as

well. Thus, once the registration would be provided, the implementation

and assurance of the quality of Kota Doria; its genuineness would be

inonitored by the village level commiftee formed by the organisation.

The involvement of local design / technical institutions' experts may also

be done for the yearly meeting of the inspection committee and wherein

the issues related to the quality assurance can be addressed. Moreover,

each product would be stamped by the representatives of theorganisation at the village level and a logo for the same has been

developed and placed at Annexure 9. The applicant is further open toany other inspection body that may be designated by the Office ofRegistrar, Geographical Indication Registry, if needed.

12. Other

As mentioned above the production of Kota Doria involves number ofprocesses, which require high level of skill, patience and concentration,but all the stakeholders involved in the production are carrying on theirage-old traditional craft and passing on the skill to their new generation.

However this traditional craft is facing tough competition from the fakeKota Doria made on power looms in other parts of the country. Thusthere is the need not only to provide protection and safeguard theinterest of original Kota Doria being made in the geographical area asmentioned in point number 7 of the application but also promote itsimage among consumers.

blong with the statement of case in class'1) class 24 in respect of rextires and textire goods, not incruded in other

classes; bed and table covers.

2) Class 25 in respect of Clothing, footwear, headgear and all othergoods falling in Class 25

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in the name(s) of Kota Doria Development Hadauti Foundation(KDHF)whose address is:

Sadar Bazaar, Kaithun, District Kota, RajasthanEmail: kdhf@indiatimes.com

who claim to represent the interest of the producers of the goods towhich the geographicar indication is used continuousry sinceapproximately 250 years in respect of the said goods .

2' The apprication shail incrude such other particurars cailed for in rure32(1) in the statement of case.

3. All communications relating to thisfollowing address in India:

application may be sent to the

Kota Doria Development Hadauti Foundation (KDHF)Sadar Bazaar, Kaithun, District Kota, RajasthanEmail: kdhf@indiatimes.com

4. In the case of an application from a convention country the followingadditional particulars shall also be furnished

a) Designation of the country of origin of the geographical indication.b) Evidence as to the existing protection of the geographical indicationin its country of origin, such as the tifle and the date of the relevantlegislative or administrative provisions, the judiciar decisions or the dateand number of the registration, and copies, of such documentation.

n4'----(NASIRUDDIN ANSARI)

Presidentl

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