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International Journal of Home Science 2018; 4(3): 189-197ISSN: 2395-7476IJHS 2018; 4(3): 189-197 2018 IJHSwww.homesciencejournal.comReceived: 10-07-2018Accepted: 12-08-2018Nupur SrivastavaDepartment of Clothing andTextiles, Home Science College,G. B. Pant University ofAgriculture and Technology,Pantnagar, Uttarakhand, IndiaDr. Alka GoelDepartment of Clothing andTextiles, Home Science College,G. B. Pant University ofAgriculture and Technology,Pantnagar, Uttarakhand, IndiaDocumentation of traditional costumes, textiles andaccessories of Bhotia tribe of UttarakhandNupur Srivastava and Dr. Alka GoelAbstractThe costumes and textiles of Bhotia tribe have changed and are still changing due to the social changeprocess. Variation that occurred in the traditional costumes and textiles over time is due to the interactionof various social change factors which affect the perspective, requirements, interest and preferences ofthe people for the selection of their costumes and textiles. At the same time it bequeathed the way forcontemporary and modern costumes and textiles which eagerly accepted in the society. Traditionalcostumes and textiles adversely affected by this trend and did not pass to next generation but to theantiquity. This study aims to document the traditional costumes and textiles of Bhotia tribe. Bhotia tribehas many recognisable sub-groups; this paper mainly compiles information about Uttarakhand Bhotia.Keywords: Bhotia, costumes, textiles, accessoriesCorrespondenceNupur SrivastavaDepartment of Clothing andTextiles, Home Science College,G. B. Pant University ofAgriculture and Technology,Pantnagar, Uttarakhand, India1. IntroductionCostume, whatever might be its origin, provides the visible index of the homogeneity and theunity of people or their absence. Very often it expresses some of the structure and aspirationsof a society. In modern occidental civilization it has grown into something more than a mereaccessory designed to set off physical beauty. Costume has been functioning as a fashioner ofpersonality and has tended to be cultivated as an art. The need for costumes originated withmankind’s need for coverage and protection from the elements of nature. Later, it became ameans of adornment to help enhance beauty and reflect social factors such as religioussymbols, personal identity and status.According to Roach and Eicher (1974), the step towards dress was the impulse that arouse inman to attach something to his body. According to Bishwas (1989), the idea of the uppergarment emerged perhaps after the skirt. It could be that one day the chief of the tribe camehome wearing the skin of some animal about his shoulders and that started a craze. Everyhunter would try to save the best animal skins to display over his body. It made him to lookimpressive. The chief and the principal men of the tribe claimed special clothing andornaments. This gave birth to the idea of dress as a symbol of dignity, distinction and status.The experimenting process plodded its way through time till it reached the gates of ancientriver valley civilization. The Egyptians were the first to leave their records of costume.Indian culture and its rich heritage of tradition are reflected in many ways such as art,costumes, textiles and embroideries of various region of the country. Clothing in India variesdepending on the different ethnicity, geography, climate and cultural traditions of the people ofeach region of India. Historically, male and female clothing has evolved from simplekaupinam, langota, dhoti, lungi, saree, gamucha, and loincloths to cover the body to elaboratecostumes not only used in daily wear but also on festive occasions as well as rituals and danceperformances. India also has a great diversity in terms of weaves, fibers and colours. Theclothing in India also encompasses the wide variety of Indian embroidery, prints, handwork,embellishment, styles of wearing cloths. A wide mix of Indian traditional clothing and westernstyles can be seen in India.India has 29 states which are different in their culture and tradition. The state Uttarakhand isone of them is famous for its unique culture and tradition. Uttarakhand is also famous for itsdifferent tribes and their culture which represent the ethnic groups residing in the state. Thetreasure of tribal arts and crafts of Uttarakhand, a land of myriad culture and people, is 189

International Journal of Home Scienceimmense and has an astounding range diversity and beauty.(Eco India, 2013). It is said that officially Uttarakhand is thehome for around five tribes. The Tribes of Uttarakhand haveretained their age old traditional ways of living. Tribes ofUttarakhand mainly comprise five major groups namelyJaunsari tribe, Tharu tribe, Buksa Tribe, Raji Tribe andBhotiya tribe. (India net zone, 2008). These Tribes use aparticular dressing pattern according to their deep routedtradition. The tribal costume has its own charm with itstraditional textiles and accessories which shine in their highestglory of beauty.Tribal lifestyle has remained unchanged over the decades, as aresult of which the costumes, perfectly suited to the weatherand their lifestyle, have also remained the same. Sincetraditional apparel is also a symbol of tribal identity, it is notsurprising that change has been slow to come. The old andrich traditions of Indian tribal textiles have helped to add totheir modern expansion and style. The great style and designof Indian tribal textiles have remained strong for thousands ofyears. Their future will remain strong and beautifulThis documentation is an attempt to know about thetraditional costumes and textiles of Bhotias, Raw material,designs and present status of their costumes. This study willbe of great help in understanding the types of Tribalcostumes; raw materials used, designs, their present situationand their status of survival. It can also provide some basis forfuture researchers. As government is giving more emphasisfor preserving traditional art and crafts, a study is thereforeundertaken to promote the traditional crafts of Bhotias and tocombine their style of costume with the modern clothing.2. Traditional female costumes of Bhotia TribeFemales of Bhotia tribe mainly wore Honju, Chhua andPangdin as their traditional garments Costume of Bhotiacommunity shows influence of both Bhotia and Tibetanculture. Bhotia people weave their personal apparels at theirhome itself. Other Female costume mainly includes ghagra(coloured gathered skirt), ghunghati (white head gear withbrocade patch), chuba (long sleeved woollen coat up toankle).1. Honju- Honju is the principal, all time worn garment ofthe women of Bhotia Tribe with very little variations inits features. This garment is a modified form of Indianwomen’s ancient upper garment Choli, which got itspresent shape by incorporating various features of theBritish garment ‘Blouse’, which was introduced in Indiaby the British ladies. It is a waist length blouse likegarment of silk fabric. Sometimes, printed cotton is alsoused for the construction of Honju. This semi-fittedanatomic type of garment was front-opened for ease ofwearing. Small sized buttons were used as fasteners andmostly color of the buttons matched with the garmentdepended on the availability. Due to cold climateconditions usually low round neckline are constructed,but sometimes square shaped, low neck lines and collarare also made. Darts were used to add fullness at the bust.Silken Honju is the full sleeves blouse but casually threequarter length is constructed, so that it can protect thewearer from the harsh working and climatic conditions aswell as did not create hindrance in the movements ofhands during the work. (Plate-1 A and B)2. Chhua- Chhua is a loose gown type garment. It is darkcolored wrap dress garment fastened near the waist,tightened with a belt. Chhua was ankle length, sleevelessgarment which is mainly made up of woollen fabric. It3.4.was front closed with V-shaped deep neckline or a flatcollar. It had straight front and back lower end. It wasworn over the blouse (Honju) and was a sleevelessgarment from which the sleeves of the blouse can beseen. Chhua was generally made from a plain colouredfabric over which a colourful striped cloth was wornwhich enhances the beauty of the garment. (Plate-1 A andB)Pangden- Pangden was considered as the traditional andprincipal garment for the married women. This garmentresembled with an ‘Apron’. It was tied at the waist andlength is till the calf. Pandgen was made up ofmulticoloured woollen cloth and worn in the front part.The garment is designed with colourful geometricdesigns which are usually worn by wedded/marriedwomen. A long piece of cotton or silk cloth belt is tied onthe waist known as kamarband. (plate-1 A)Ghagra- Ghagra was considered as traditional lowergarment of old women of Bhotia tribe. The traditionalGhagra of Bhotia women was stitched like skirt. Thewaist to ankle length Ghagra was of circular silhouettewith lot of fullness and was made up of 3-4 meters offabric only. A waist belt was used into which stringpassed and tied around the waist to adjust the fullness atthe waist using gathers. Lower edge of the garment wasmostly finished by attaching pleated narrow band of thesame material. This was worn with the blouse (Honju)illustrated in the Plate- Some women still wear ghagra inthe ceremonies. (Plate-1d)3. Traditional Male costume of Bhotia Tribe1. Bakhu- The traditional outfit of Bhotias men is called aBakhu (similar to the Tibetan chuba, but sleeveless)which is a loose cloak type garment that is fastened at theneck on one side and near the waist with a silk/cottonbelt. Male members array the Bakhu with a loose trouser.This traditional outfit is complemented by embroideredleather boots by both men and women. The Bhotia manunderneath a Kho (Bakhu) wears a double-breasted andhigh-necked shirt. (Plate-2A,C)2. Chhuba- Chuba is also a male costume. It is a longcapacious robe with wide, elongated sleeves which hangalmost to the ground. This is caught up at the waist by awoolen girdle, so that its skirts reach only to the kneesand its upper folds form an enormous circular pocketround its wearer's chest. This is called the ampa, and in itare stowed a wide range of implements — an eatingbowl, a bag and many other small necessities. Manychubas are made of wool, either the plain gray wool;originally they were the un-dyed white colour of thesheep's wool. (Plate- 2B)4. AccessoriesFemales of Bhotia tribe did not possess a range of accessories.They only had very few items to which they could attach theterm accessories. Some of them are as follows: Purses: Purses were used to preserve hard earned moneyand personal belongings. These functional types of purseswere usually hand stitched by the women from the old,discarded fabric. Usually women were not carried pursealong with them in religious and other ceremonial events. Wrist watch: Very few providential women had wristwatch, for which they used to be very protective. Stick: Old aged women used to take walking stick withthem for the support during walking, but they were not 190

International Journal of Home Sciencefashionable one but only of functional type.Jewellery: The Bhotia women folk have a preference forearrings and neck ornaments. Neck ornaments studdedwith stones like Mani, Yu (blue turquoise stone), gold,silver considered to be most sacred and precious stone.Necklaces of various designs are called as the CHURRU,KHOU, MUNGA FROJU, FASO etc. The Bhotia namesfor different items of ornaments are the TEN-DARB(earring), THE ZUKU (ring), THE DEN (bracelet) etc.various types of semi-precious stones are also used intraditional jewellery designs. The photographs of thejewellery are shown in the plate- 3A. Head dress:a) Pattu: Females of Bhotia tribe covered their head for theprotection from sun while working and to show theirrespect to elders. This is rectangular piece of cotton orwool fabric which was worn over the head, so that it willcover upper part of forehead and then tied at the back ofthe head and is decorated with various stones like Mungaand Moti as shown in plate-2(e)b) Ghunghati: Ghunghati was the main head gear of oldwomen of Bhotia tribe. It was the white coloured headgear which is patched with brocade. It covered the fullforehead and then tied in different styles. This ghunghatihead gear was worn with the traditional female costumeslike honju, chhua, pangden etc. (Plate-2e) FootwearSompa: In the past, Bhotia traditional shoes represent thestatus symbol of the person in the community of thewearer, or what village or what is the kind of job he has.It is not like any other shoes you know which has the leftand the right pair. Sompa shoes are identical, they neitherhave left or the right. Thus, it is quite hard tomanufacture.There are different styles of Bhotia’s shoes such, theSompa shoes, Galuo and Duozha shoes. They arehandcrafted and made of natural materials such as pulu,furs and woolen clothes; it is comfortable and colorful aswell.Sompa Tinyima is a kind of Sompa shoes that bearspatterns of nobility and wealth; these are worn by noblewomen in the past.Sompa Tiri is for the working class women, Sown withthick thread and linen. The soles are made of locally hand- crafted linen. Herder’s shoes are usually made ofanimal’s skin and other materials unlike the Farmers,which favors woolen shoes. Monks and priests wore theGyiachin shoes, meaning rainbow.It has a religious meaning hence worn by monks and priest. They are made of lightweight material, using woolfabrics. Tibetan monasteries and monks, the shoes theyare wearing are made up of silk and satin materials. Onthe other hand, monks of the other monasteries arewearing Shasum shoes. Which they wrap the front of theshoes with ox-hide. (Plate- 2d)Make up: Females of Bhotia tribe are example of naturalbeauty and were not using any kind of make-up. Even ifthey were able to afford them they did not have time toapply make-up for personal grooming.5. Documentation of traditional textiles of Bhotia tribeVarious woollen products, blankets and rugs, basket, differenttypes of woollen fabrics, fans etc are traditionally producedby the people of Bhotia tribe. Since present study was limitedto the textiles used for apparels and other household productsonly, detailed information and data regarding their featureswas collected from the respondents. According to theinferences drawn from generated data, various traditionaltextiles of Bhotia tribe were found to be very useful and are asfollows5.1 Woollen fabricIt was thick, warm fabric produced on handlooms, generallyby employing right handed twill weave. The wool yarns werehand spun from the Tibetan wool or locally available woolfibers mainly Harsil cross or local merino wool. Handloomwoven tweed was also known as pattus. Sometimes tweedfabric from the Tibet was also used, as it was often finer thanthe locally manufactured fabrics. The tweed generallyproduced with small width and in the colours of natural woollike white, cream, gray and black. This fabric was used forconstruction of various female and male garments.The Bhotia tribes from ancient times of their trade with Tibetaccepted the woollen industry as an essential part of their tribein their winter villages. For centuries their women have beenmoving their small “pithachan” (loom). Ptdu, thulma, carpets,chutka, lava, blanket, shawl, asan, pankhi, gudma etc. areprepared very artistically. There was a very close bondbetween the Bhotia and Tibetans across the mountains forcenturies.Weaving is essentially the domain of the Bhotia women folkeven today woollen industries in Chamoli are totallydependent on Bhotia womenfolk as the entire process ofbusiness such as weaving, finishing and partiallymerchandising is practiced by the female members of thehousehold. They consider weaving as women’s job. (Plate-4a, b, c)Table 1: Woollen Articles Produced by the Bhotia CommunityS. ShawlTopiThulmaKambalDunAsan*DescriptionMale upper costumeFemale woollen wrapping costumeFine woollen shawlFemale upper garmentCapMufflersSweatersPiled blanketBlanketRugs and carpetsCushion12.Wall hanging--Colour RangeCream, Grey, BlackBlack, BrownWhite, Cream, Brown, BlackWhite, Black, ColouredCream, Black, Grey (Pure Wool)Cream, Black, GreyCream, Black, (Pure Wool)White, Black, Brown, GreyBlack, White, Brown,Multi ColouredMulti ColouredCream BaseMulti-Coloured Designing 191 Price/Piece 400-5002000-4000(pure wool)200-300250-300

International Journal of Home Science5.2 WeavingA variety of woollen articles are woven employing variousmethods and using different tools. Tools employed forweaving are PITHIA CHAN (primitive loom), ranch(horizontal looms) shears, knife, beater, kund a (supportingstick).Rug and asans are made on vertical looms ( Thagtri )with knotting technique on the warp yarn followed by weftinterlacing after each row. Other woollen articles i.e. shawlsblankets, thulma, lava etc. are made upon ranch. (Plate-5c)5.3 Special finishExtra and surplus yarn is sheared off from the wovenmaterial. In some articles like rugs and asans, cutting aroundthe boundaries of the design creates special effects. A specialfinish called madhai is applied in lava. In this process lava isimmersed in hot soapy water under pressure until pillingoccurs on the surface of the fabric. Fabric is the rinsed anddried in the Sun. Another finish called “teaseling” is done onthe rugs using a wooden brush with hooks on it; the knottedpile surface of the woollen article is brushed to remove fluffand lint.5.4 LoomAccording to the Prem singh of Bhotia market, the firstvertical loom developed for carpet weaving was called DanRaanchh or Khadda. He described the loom as a 4'x4'structure consisting of 2 vertical beams, kharha balli. Thebeams are mounted on 2 flat rectangular wooden platformsfor balance and support. Another wooden rod called fatti isused at the base for extra support. There are 2 pairs of holes inthe vertical beams to accommodate both the warp and thecloth beam. After placing the beams through their respectiveholes, they are tightened by means of screw. At one edge ofthe cloth beam is a small hole for an iron rod called Khunti.Khunti is used to rotate the cloth-beam for winding the carpet.When Bhotias shifted their attention from carpet weaving toshawl weaving the vertical loom was simplified. The size ofthe simplified vertical loom is 4'x4'. It consists of a pair ofuprights with 2 cross-bars. Cross-bar is about 5" wide and1.5'' thick and 4-5" longer than the size of the frame. Thereare no extra pegs or beams for support or tensioningdevices. The loom rests against the wall while the weaverweaves the carpet. In case of simple loom, the woven carpetmoves to the backside of the loom automatically whenbeating is done. (Plate-5c,4e)5.5 CarpetsCarpet’s weaving is an art form surrounded with the aura ofmystique. It has been romanticized to such an extent that it isdifficult to separate fact from fancy, there are number ofstories and legends associated with the birth of carpets.Bhotias, a nomadic tribe, produce carpets mainly for personaluse. They have a distinctive style of weaving and designsused. But because of certain reasons, the art of carpet weavingcould not flourish in the region.The main raw materials required for carpet weaving are wooland cotton. Earlier, large amounts of wool were importedfrom Tibet. Wool obtained from locally reared sheep was alsoused but the quality of the local wool was inferior to that ofTibetan wool. It was coarse, thick and had short fiber length(1.5 -3.0"). Tibetan wool on the other hand was supple,lustrous and had long fibers (4-6").Wool was brought from Tibet in form of balchas, eachweighting up to 12-15 kg. Balcha had wool in sliver-like formwound around a rim to form a tire-like structure that madeopening of fibres easy and free form entanglements. Theentire process was a five stage process involving opening andcleaning, washing, carding, spinning and dyeing. Designing the Carpet PatternThere is no written record of the technique to guide theweavers to make the designs on carpets. Unlike the Talim inKashmir, Bhotias had no graphical or pictorial representationthat would guide through the knotting process. It wasprobably because Bhotias produced carpets for personal use ata leisurely pace whereas in Kashmir, carpets beingcommercial products, emphasis was on both accuracy of thepattern and speed of execution. In Bhotia households ladiesgenerally use old carpets to copy the design. ColourColours used in Bhotia carpets are generally bold and brilliantbut always harmonious giving warmth to the surrounding.The ground colour is generally dark and provides an idealbase for vibrantly coloured motifs.Traditionally, the ground color was either of natural coloredfleece i.e. dark brown (bhoora), black (tind), fawn (halkabhoora) and occasionally white (sheed) or dyed in darkcolours like dark blue(neela), maroon (mahroon) and shadesof brown were obtained.The motifs were often worked out in bright combinations ormonochromes and the outline sculpted in white or lightcolours. The outline gave a 3-dimensional effect to the carpet.The popular colours for motifs in old pieces as observed wereturquoise blue, sky blue (aasmani), red, yellow and shades ofgreen. Traditionally, carpets made for bride's trousseau oftenhad yellow as one of the colours. (Plate- 5d, e) MotifsPatterns used in Bhotia carpets are often reminiscent of snowcapped mountains and surrounded by the sky and the brownand red earth with flowing waters. The entire surface is notcovered with designs but the design is worked into a smallerarea and an impression of space is given. Quite often alongwith the border enclosing the four sides, three circular motifsare worked out in the central field. Sometimes a single patternis woven in the centre of the field. (Plate-6A)The designs woven in most of the carpets are essentiallycentral Asian. The motifs are inspired by Mahayana Buddhistsymbolism.1. Swastika or Laabh Chinh or Shubh Chinh : It is themost common motif used. Swastika is consideredauspicious by the Bhotias.2. Double key meander design : Locally called Matudesign. It is a popular motif. Traditionally, carpets madefor bride's trousseau often hand yellow as one the coloursused.A close study of old pieces reveals an influence of Tibetanmotifs, motifs like dug the dragon; Dak and Jira, themythological birds and cloud and mountain motifs have beenadopted from Tibetan iconography. Border DesignsBorder is one of the important elements in Bhotia carpets. It isoften wide and can go upto 8" in width.1. Swastika or Laabh Chinh or Shubh Chinh - It is themost common motif used. Swastika is consideredauspicious by the Bhotias.2. Double key meander design - Locally called Matudesign. It is a popular motif for narrow borders. 192

International Journal of Home Science3.4.Changri motif - This important traditional design wasused in combinations with other motifs.Pearl border - Locally referred to as Moti border iseither used as edging of main border or used exclusivelyas narrow border. Corner DesignsCorner motifs were either geometrical or floral. Central Field DesignsCentral motifs are both floral and animal motifs.Floral motifs – (Plate- 8A)a. Lotus - Locally referred to as Kamal is a popular motifused to represent the Brahma Kamal, a flowerconsidered sacred by the Bhotias. Lotus flower isrepresented in simple, geometrical and stylized forms.b. Chameli - often used as a filler motif in the field.Animal motifs – (Plate- 8B)a. Dug, the dragon motifb. Dak and Jira, mythical birdsc. Hiran, deerd. Yak Significance of CarpetsOn all auspicious occasions the Bhotias use wool in someform or the other. It was found that amongst the Bhotias it isimperative to give carpets to the bride in her trousseau assymbol of blessings for marital bliss. The number of carpetsgiven to the bride depended on the financial status of thefamily.5.6 ShawlShawls were also available only in natural colour of wool i.e.cream, gray and black. Sometimes combinations of differentlycoloured yarns were used for the creation of beautiful designsin the female shawls. Shawls were constructed on hand loomswith finer yarns using either twill or plain weave. Later use ofsynthetic dyes in red and green colours for dying of wool wasalso come into existence and thus the shawls in variouscolours for dying of wool was also come into existence andthus the shawls in various colours became available to theconsumers. Some creative weavers used extra colouredwoollen yarns to produce small geometrical motifs like dots,diamond, oval, squares etc. by inserting them with the groundwarp and weft yarns along the borders and all over the base ofthe shawl.Plate- 1Traditional female costumes of Bhotia tribe(a) Traditional Honju, Chhua and pangden worn bymarried Bhotia Female(b) Traditional Honju and Chhua worn byBhotia widow female (pangden is worn bymarried women only)(c) Bhotia girls wearing Honju, chhua, pangdenand a kamarband (long piece of cotton or silk)at waist.(d) Bhotia girls wearing ghagra, blouse and akamarband 193

International Journal of Home ScienceTraditional male costumes of Bhotia tribe(a) Bhotia man wearing the Bakhuand the Chhuba which is of verylong sleeve touching the ground(b) Bhotia man wearing theChhuba which is of longsleeve tied at waist by agirdlePlate- 2(c) Bhotia man wearing the Bakhutucked on one side and tied aroundthe waist by a girdle.Traditional accessories of Bhotia tribe(e) Headdresses(d) Traditional Sompa shoes of BhotiasPlate- 3(A) Necklaces of coral amber, pearl and turquoise worn by people of Bhotia tribe(B)(C)Women wearing Pattu (C) and Ghunghati (B)headdresses 194

International Journal of Home Science(d) The colours used in Bhotia carpets(c) Woman weaving the woollen fabricPlate- 5(f) The patterns used in Bhotia carpets(e) Traditional carpets of Bhotia tribePlate- 6'LAABH CHINH''LAABH CHINH'PHOOL CHANGRI'MOTI' or PEARL'MATU' or DOUBLE KEY MEANDERMAKRAND CHANGRI'MATU' or DOUBLE KEY MEANDER'KAAN' or EAR-LIKE DESIGNGYANIG CHANGRI(a) Common motifs used in Bhotiacarpets(b) VARIATIONS OF 'CHANGRI'Traditional motifs of Bhotia tribe(a) OTHER COMMON BORDER DESIGNSPlate- 7PHOOL - PATTI(b) Geometric and floral border designs 195

International Journal of Home SciencePlate -8(A)(B)(d)(c)6. References1. An introduction to textiles terms. 2010. Retrieved onMay, 2014. Http: // WWW. Textilemuseum.org/ PDFs/Textile terms. Pdf2. Arnold JA. A handbook of costumes. London, macmillion Ltd. 1931, pp. 1, 7.3. Biswas AK. Indian costume. New Delhi, orientblackswam. 1931; pp. 114.4. Brown IC. Understanding other cultures. New jersey,engle wood cliffs. 1963, pp. 25.5. Dar SN. Costumes of India and Pakistan, Bombay, D. B.Taraporewala and co. private ltd. 1969, pp-2, 11-12.6. Frings GS. Fashion: from concept to consumer. 7th edi.Singapore, pearson education, inc. 2005m pp. 412.7. Ghurye GS. Indian costumes. Bombay, Bombay popularprakashan. 1966, pp-302.8. Lester KM. Historic costume. Illinois, chas. A bennetCo., inc. publishers, 1959.9.10.11.12.13.14.15. 196 Dhiyani RP. Uttaranchal ki khoj. Meerut vidhyaprakashan mandir. 2007, pp 352.Ellen M, Roach, Eicher JB. Dress, adornment and socialorder: part 3- Diversity in cultural pattern related to dressand adornment. New York, Wiley publications. 1965;429:11, pp 20-26.Morton GM. The art of costume and personalappearance. New York, John Willey & sons. 1960, pp368.Rayon MS. Clothing: A study on human behavior. NewYork, Holt, Rinchart & Winston inc. 1966, pp. 2,114.Weber J. Clothing: Fashion, fabrics and construction.Illinois, Bennett & Mcknight. 1986, pp. 234.Retrieved on may, 2014 from en.wikipedia.org/wiki/Clothing in IndiaRetrieved on may, 2014 from false-false-false-en-us-x-none 30.html

International Journal of Home Science16. Retrieved on June, 8 from http://www.indianetzone.com/2/indian costume.htm17. Retrieved on june,14 from 62/1/IJTK%2011(2)%20309316.pdf18. Retrieved on June, 23 from http://en.wikipedia.org/wiki/Tribe19. Retrieved on June, 26 from nd Culture of India Retrieved on June,26 2017. fromen.wikipedia.org/wiki/Culture of India20. Art & Culture Retrieved on June, 18. 2012fromindia.gov.in/topics/art-culture21. www.livescience.com/28634-indian-culture.html22. Indian Culture Retrieved on June, 28 2017 re.html23. The history of costume Retrieved on June, 27 2017 fromhttp://www.siue.edu/COSTUMES/history.html24. Welcome to Tribes India Retrieved on June, 29 2006from http://tribesindia.com/ Category: Scheduled Tribesof Uttarakhand Retrieved on June, 30 2017 d Tribesof Uttarakhand25. Uttarakhand Bhotia Retrieved on June, 25 2017 fromhttp://en.wikipedia.org/wiki/Uttarakhand Bhotiya26. Tribes of Uttarakhand Retrieved on June, 28 2017 fromhttp://www.indianetzone.com/50/tribes uttarakhand.htm27. Tribal Culture of Uttarakhand Retrieved on June, 26 2017from 388.html28. Textile Retrieved on June, 26 2014) fromhttp://en.wikipedia.org/wiki/Textile 197

International Journal of Home Science immense and has an astounding range diversity and beauty. (Eco India, 2013). It is said that officially Uttarakhand is the home for around five tribes. The Tribes of Uttarakhand have retained their age old traditional ways of living. Tribes of Uttarakhand mainly comprise five major groups namely-

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