Issued by India

Issued on Apr 7, 2025

Issued for : India Post proudly releases commemorative stamps on 50 Years of reestablishment of diplomatic relations, celebrating culture, history and mutual cooperation between the two nations.

Credits :
Stamp/Souvenir Sheet/FDC/Brochure/Cancellation Cachet : Shri Kamleshwar Singh, Shri Jorge Macedo

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 5000 & 5000 Paise

Souvenir Sheet Price : 10000 Paise

Stamps Printed : 1,15,000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• India and Portugal share warm and friendly bilateral relations, based on longstanding historical and maritime linkages and close cultural connections. Relations between India and Portugal date back to over 500 years when the Portuguese explorer Vasco da Gama led a sea-faring expedition to Calicut (present day Kozhikode) in Kerala in May 1498, becoming the first in the world to discover a direct sea route between Europe and South Asia, across the Atlantic Ocean and the African continent. This gave Portugal direct access to the highly profitable Indian spice market, which contributed to its later emergence as a dominant colonial trading power.
• The Portuguese colonial era in India began in 1502 when they established their first trading centre in Quilon (present day Kollam) in Kerala. Later they acquired several other enclaves on the western coast including Diu, Daman, Dadra & Nagar Haveli and Goa in 1510. Subsequently Goa became the capital of the Portuguese Empire in the Orient, which stretched from Malacca (Malaysia) in the east to Mozambique in the west.
• Bilateral relations between independent India and Portugal began amicably in 1947 and diplomatic ties were established in 1949. The diplomatic relations saw a new dawn after the Carnation Revolution in April 1974, which toppled Salazar’s Estado Novo regime and ultimately restored democratic rule in Portugal. On 31 December 1974, India and Portugal signed a treaty recognising Indian sovereignty over Goa, Daman & Diu, Dadra & Nagar Haveli, which came into effect on 3 June 1975.
• There was rapid progress in bilateral relations from the 1990s, marking the beginning of an era of mutual interest in forging close ties. The ties deepened when António Costa took charge as the Prime Minister of Portugal in November 2015. PM Costa was the first Indian-origin Head of Government in the Western world. Bilateral relations gathered momentum with the reciprocal visits by PM António Costa and PM Narendra Modi in January and June 2017 respectively, followed by the visit of PM Costa to India in December 2019 and the State Visit of President Marcelo Rebelo de Sousa to India in February 2020.
• The year 2025 marks the 50^th anniversary of the revival of diplomatic relations between India and Portugal. To mark this special occasion, commemorative stamps on traditional attires that celebrate the rich cultural heritage of the two countries are released. The attires share some stark similarities, much like the partnership between India and Portugal.
• Viano do Castelo traditional costume
  • Among Viana do Castelo’s costumes, the holiday ladies’ outfit is the most iconic and impressive. This costume is worn by young girls during the Lady of Agony festivals and other important celebrations and is characterized by its wealth and ostentation. This very special Viana do Castelo attire includes a velvet or wool skirt, a vest embroidered with intricate patterns, a linen shirt with delicate embroidery and the most eye-catching element- the gold pieces that adorn the girls’ neck, chest, and hands.
  • Viana’s young girls are the guardians of traditions, and their attire is a symbol of the region’s cultural heritage and wealth. The gold pieces worn by them are often inherited from previous generations and are passed down from mother to daughter as a family treasure.
• Kalbelia traditional costume
  • The Kalbelia costume is the traditional attire of the Kalbelia tribe of Rajasthan, India, known for their vibrant dance and music. Women wear a Ghagra (long, flowing skirt) adorned with intricate embroidery, mirror work and bright colors like black, red, and yellow. The Choli (blouse) is fitted and heavily decorated, often paired with an Odhani (veil or dupatta) draped over the head and shoulders. The costume is designed to enhance the graceful, swirling movements of the Kalbelia dance.
  • Jewelry plays a significant role, with silver bangles, anklets, necklaces, and large earrings adding to the costume’s elegance. The ensemble reflects the community’s nomadic heritage, drawing inspiration from snake charmers, as the Kalbelia people traditionally worked with snakes. The dress not only represents their cultural identity but also enhances the hypnotic, serpentine movements of their world-famous dance, which is recognized as an Intangible Cultural Heritage by UNESCO.
• The Postage stamps pay tribute to India and Portugal’s cultural richness, signifying a beautiful confluence of art and history. Portugal remains a key partner of India in the EU region and the commemorative release of the stamps will reflect the strong relationship.
• Text : Shri Kamleshwar Singh, Shri Jorge Macedo

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Issued by India

Issued on Sep 17, 2024

Issued for : In 2023, India and Romania celebrated 75 years of diplomatic relations. To commemorate this milestone, the Department of Posts is pleased to issue a joint postage stamp, highlighting the strong political, economic, and cultural ties between the two nations.

Credits :
Stamp/FDC/Brochure/Cancellation Cachet : Shri Jairaj T.G.

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 5000 & 5000 Paise

Stamps Printed : 113700

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Established in 1948 and upgraded to ambassadorial level in 1968, the India–Romania diplomatic relationship has grown into a strong partnership with deep political, economic, and cultural ties. Both nations have supported each other in multilateral issues and international organizations including the UN. Bilateral visits have further solidified these ties. Economic relations are expanding, with significant growth in trade for 2023-24. Several agreements have been signed over the years to enhance cooperation in sectors such as tourism, defense, and diplomatic visa exemptions. Romania‘s commitment to global initiatives, including the International Solar Alliance, highlights their shared focus on sustainable development.
• Cultural cooperation is a key element of the India–Romania relationship. A Cultural Agreement signed in 1957 laid the groundwork for exchanges in culture, science, and the arts, which continue with the 2022-2027 Cultural Exchange Programme. Educational and cultural exchanges are vibrant, with ICCR-sponsored dance troupes regularly performing in Romania and events like the “Namaste India” festival and International Day of Yoga becoming annual highlights. The Cluj Centre for India Studies and the Romania–India Study Center at the Romanian-American University further enhance academic and cultural ties. In August 2023, an ICCR troupe visited Targu Jiu for the International Folklore Festival, showcasing cultural performances and workshops.
• Folk art reflects the life and traditions of rural communities, with costumes serving as cultural “identity cards” developed over generations.
• The joint stamp features traditional folk costumes from both countries. The Romanian costume from Bihor County showcases vibrant embroidery in red, green, and black on a white shirt, complemented by a long sheepskin coat for women and a simple black hat for men. Women’s attire also includes a black kerchief with red floral motifs.
• For India, the stamp depicts the ‘Lehenga–Choli’ and ‘Dhoti–Kurta.’ The lehenga choli, a pleated skirt and blouse, is worn during festivals and ceremonies, while the dhoti and kurta represent traditional attire for men. These costumes highlight the rich cultural heritage of both nations and their shared traditions.
• This stamp embodies the lasting partnership and shared history of India and Romania, and celebrates their continued collaboration and future growth.
• Text : Referenced from content provided by Ministry of External Affairs.

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Issued by India

Issued on Feb 25, 2024

Issued for : Department of Posts is pleased to issue commemorative postage stamp on Yakshagana and salutes the important role of this traditional dance form in preserving our rich heritage and culture.

Credits :
Stamp/FDC/Brochure/Cancellation Cachet : Smt. Nenu Gupta

Type : Stamp, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise

Stamps Printed : 302360

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Yakshagana is a unique and representative traditional performing art form of Karnataka State. In its evolution in the last six centuries, it has progressed much from its folk roots to a highly complex theatre from combining all the major art components discussed in Bharatha’s Natya Shastra.
• Yakshagana is a combination of dance and drama. It is a synthesis of four forms of Abhinaya namely Aharya, Angika, Vachika, and Sathvika. Its music, dance, costumes and dialogues are stylized. In its internal structure it has classical discipline and in its external expression it enjoys folk liberty. It is a whole night performance depicting the stories of the Ramayana, the Mahabharatha and the Puranas. Yakshagana is a kind of ritualistic Theatre art. It is moralistic in purpose and entertaining in performance. It is intellectually appealing and emotionally entertaining.
• There are many variants of Yakshagana in different parts of Karnataka and in other states as well Yakshagana, which is the more popular name in the modern times is also known as Ata (Play), Dashavatara Ata (depicting the ten Avataras of Lord Vishnu), Bayalata (Play in the open field) etc. The variant seen in the region from Dakshina Kannada to Kasaragod is called Thenku thittu (southern style) and the variant seen from Udupi up to Uttara Kannada it is called Badaga thittu (northern style).
• The term ‘Yakshagana’ has been interpreted variously and this aspect also throws light on the historicity of this theatre. Etymologically this name is a combination of two words ‘Yaksha’ and ‘Gana’. Yaksha not only means a group of demigods in Indian mythology but also implies ‘Worship’ (Yaksha Poojaayam). ‘Yakshaganam’ is also seen in Andhra Pradesh (Kuchupudi Yakshaganam). In old Kannada and Telugu literary texts the words (Ekkala) and (Jakkala) stand for a kind of song, a group of people or community who sing in a particular style. Researchers opine that this style of singing might have led to the birth of ‘Yakshagana’. After fifteenth Century we find a kind of composition of songs which are called ‘Yakshagana Prabhandam’ (Composition). These are song texts sung in temples during temple worship. What was once a form of singing gradually transformed to theatre.
• There are no books that describe the features of Yakshagana theatre (as there are Lakshana Granthas to describe Indian Classical music or dance). There is a collection of a few Sanskrit verses and Kannada Songs called ‘Sabhalakshana’ which provide some basic theoretical information about the lead singer (Bhagavat), dimensions of performing area etc. It also contains invocatory songs to Lord Ganapathi, Lord Krishna, Subrahmanya etc.
• The traditional performance of Yakshagana reveals its strong rustic folk features. Illiterate or less educated village artists performed Yakshagana, learning the art from senior artists. This is how all our folk arts have been handed down from generation to generation. In the last one hundred years there have been many changes. Many educated people in coastal Karnataka have become artists. Quite a few have studied Yakshagana with research interest. Many Theatre persons did experiments in Yakshagana with multi dimension growth a good model of Yakshagana has emerged with rigors and discipline of classical arts.
• Text : Based on information provided by the proponent.

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Issued by India

Issued on Feb 12, 2023

Issued for : Department of Posts is pleased to issue two sets of Souvenir Sheet with commemorative postage stamps on Bridal Costumes of India and celebrates the vibrant colors and spirit of Indian weddings.

Credits :
Stamp/Souvenir Sheet/FDC/Brochure : Smt Gulistaan
Cancellation Cachet : Smt Nenu Gupta

Type : Souvenir Sheet, Mint Condition

Colour : Multi Colour

Denomination : 2500 Paise (8)

Souvenir sheets Printed : 111000 each

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Weddings are a great way to experience the first hand experience of the culture, rituals, food habits, clothing and lifestyles of any community. In India, wedding is a celebration, where everyone is invited to bless, bride and groom on their new journey.
• Red is the predominant color of bridal custom in India. In our culture, it means new beginnings, passion, and prosperity. Red also represents the Hindu goddess Durga, who symbolizes new beginnings and feminine power. In Indian culture, the woman is the one who is leaving her house and going to the man’s house to be with his family. It’s a far bigger change for the woman than the man, so it is appropriate that she be the one commanding the most attention and wearing a bold color like red that symbolizes new life.
• The Indian bride usually wears a wedding sari or lehenga according to the regional traditions. In Indian culture, wedding dress of a bride comes from groom’s side as a Shagun. While the saree is preferred as the bridal dress in South India, West and East India, traditional wear such as the mekhela sador is preferred in North-east India and brides of the North of India prefer Lehenga, Gagra Choli and Odni as bridal dresses.
• The Kashmiri bride complement her looks with weaved sarees which are remarkably jazzy due its adorned work. The bride completes her wedding look with Tarang, Kalpush, Zoojhis and matching dupatta. Their jewelry consists of heavy necklaces, bangles, payals and special ornament called Dejharoo, akin to a Mangalsutra in Indian culture.
• The Punjabi Brides wear a Salwar Kameez, an extremely opulent pant suit, or lengha. The bride wears white and dark red bangles made of ivory known as ‘Chooda’. They are usually in multiples of four and according to tradition the bride must wear it for at least a year after her marriage. Chooda and Kaleeras are the real essentials of a Punjabi bride’s wedding day look.
• The outfit of a Manipuri bride is colorful and has a distinct style which is hard to find in any other community. A traditional Manipuri bride dons a skirt called Raslila on her wedding occasion. The Chakmas brides also wear black and red sarong which is also known as Pindhan in the local language. This entire outfit is teamed up with a blouse known as Silum. The Magh brides from the Manipuri community don the Thami sarong that covers almost the entire body and is coupled with a choli or a blouse which is full sleeved. The traditional outfit of a Manipuri bride is accessorized with the basic ornaments such as bangles, nose, rings, necklaces and earrings.
• The Bengali bride wears a Banarasi saree. Most Bengali brides prefer to wear a red Banarasi saree embellished with gold details or embroidery to match the gold jewellery. The traditional Bengali bridal look comprises of a beautiful red Banarasi saree, alta or red water colour on the hands and feet, mathapatti, mukut and red and white bangles with gold.
• The Marathi bride during the wedding put on a beautiful yellow or green Paithani saree with a golden border, hair tied in a neat bun, decorated with pearl ornaments and Gajra. The Paithani saree can either be woven in Kanjeevaram silk or even Banarasi silk. Most Paithani sarees have peacock and mango motifs of the Pallu and a square block design on the border. Mundavalya is the red and white beaded string like an ornament that the bride and wears across their forehead during their wedding ceremony. Two beaded string also fall from the string on either side on the forehead. Kolhapuri Saaz is the mangalsutra of Marathi brides.
• The Gujarati bridal saree is called as a Panetar. Gujarati brides prefer to wear the traditional cream/white and red saree for the wedding rituals. Many brides also choose Panetar style wedding lehenga choli that is made in white/cream and red colors. Kundan necklace, heavy Jadau earrings or Jhumkas, also known as ‘kan ni butti’ in Gujarati, rings, Nathani or nose ring, armlets, hand ornaments, anklets, bangles, hair ornaments and Maang tikka or the forehead jewelry comprising of the entire array of jewels the bride adorns herself with.
• Gujrati Brides also wear fine Bandhani sarees during their wedding ceremonies. One such glorious Bandhani saree is called as Gharchola – which is traditionally made in the colors of red/maroon and green with Bandhani work and metallic and thread embroidery.
• Tamilian brides dignify their wedding look with Kanchipuram Saree or Madurai Silk. A typical tamil bride usually wears a Kanjeevaram Saree in hues of bright colors with contrasting borders that have gold threads woven into beautiful patterns. Tamil bride is adorned with gorgeous looking heavy gold jewelry, passed on from one generation to the next. A few prominent jewelry pieces that adorn a Tamil bride are Metti (Toe Ring), Kolusu (Anklet), Oddiyanam (HipBelt), Vanki (Armlets), Maanga Malai (Mango shaped necklace), Nose Ring or Nose Stud, Earrings, Thalaisamaan (on forehead), Jadanagam (decorated braid). No tamil marriage is complete without wearing the flowers on the women’s head.
• The Malayali bride wears a white saree with a golden border known as ‘kasavu saree’. The Kerala bride has started pairing her traditional white and gold saree with a shiny red silk blouse, layered gold jewellery and lots of flowers in her hair. Her minimal jewelry and makeup, matching bangles and that oh-so-pretty Kamar Bandh are enough to make her look like a perfect Kerala bride.
• Text : Sh. Pallab Bose.

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Issued by India

Issued on Apr 3, 2022

Issued for : Department of Posts is delighted to commemorate the 30 Years of establishment of diplomatic relations between India and Turkmenistan through the Joint Issue of Commemorative Postage Stamp.

Credits :
Stamp/FDC/Brochure/Cancellation Cachet : Shri Brahm Prakash

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 2500 Paise (2)

Stamps Printed : 201600 (on Sankirtana)

Miniature Sheets Printed : 111000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• India enjoys friendly and historical ties with Turkmenistan. Archaeological finds in South Turkmenistan including near Ashgabat have reveled their contacts with Indus Valley Civilization. Traces of Soma drink preparation (mentioned in Rig Veda) in the ruins of Gonur Depe archaeological site in Mary province supports the theory of early civilizational links between the two countries. Sanskrit Buddhist manuscripts, coins and Buddha statue found in the ruins of Merv (Mary province) suggest continuity of cultural and trade linkages. ‘Turkmen Gate’ built in Delhi in memory of great Turkmen Saint Shams-ul-Arifeen Shah Turkmen Bayabani, who is believed to have lived in India during 13^th century, also bears testimony to this friendship.
• In modern times bilateral relations have been strengthened by regular high-level visits. Hon’ble President of Turkmenistan Gurbanguly Berdimuhamedov visited India in May 2010. Hon’ble Prime Minister of India, Shri Narendra Modi visited Turkmenistan in July 2015. During these visits, several significant MoUs and agreements were signed covering areas such as Science & Technology, Defence, and Tourism etc.
• Indian movies and TV serials are popular with Turkmen people. Similarly, Indian music especially Hindi songs also hold a special place in the hearts of Turkmen people. Indian film festivals are held on regular basis in different cities in Turkmenistan. ‘India Cultural Week’ including exhibition, dance performance, film and food festival was celebrated in Ashgabat in May 2017 to mark the 25^th anniversary of diplomatic relations between India and Turkmenistan.
• Central Asia’s first Yoga and Traditional Medicine Centre was inaugurated by Hon’ble Prime Minister of India in Ashgabat in July 2015. A Yoga Teacher and an Ayurveda Expert have been deputed to the Centre from India and offer classes / consultations to interested people. They also teach at the State Medical University of Turkmenistan, Ashgabat.
• India provides training for Turkmen nationals under its Indian Technical and Economic Cooperation (ITEC) programme. Since the inception of the programme for Turkmenistan in 1944, over 400 Turkmen nationals have been trained in various courses. In addition, Indian Council for Cultural Relations (ICCR) provides Scholarships to students from Turkmenistan to pursue graduation, post-graduation and Ph.D. There are currently over 300 students from Turkmenistan pursuing their higher education in various reputed universities in India. In 2010, a Hindi Chair was established by India in Azadi Institute of World Languages, Ashgabat where Hindi is being taught to around 50 university students.
• The joint issue of Commemorative Postage Stamp celebrates this natural friendship of India and Turkmenistan through the traditional art of singing and dancing i.e. Sankirtana and Kushtdepdi. These traditional dance and singing forms of India and Turkmenistan are part of UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.
• Sankirtana encompasses an array of arts performed to mark religious occasions and various stages in the life of the Vaishnava people of the Manipur plains. Sankirtana practices Centre on the temple, where performers narrate the lives and deeds of Krishna through song and dance. Sankirtana works in harmony with the natural world, whose presence is acknowledged through its many rituals.
• Kushtdepdi is a performing art involving creative poeticizing focused on good feelings and wishes. It involves singing with vocal improvisation and dancing with movements of the hands, gestures and footsteps in accordance with the tune of the song. The rite serves as a tool for conveying good wishes and is an inseparable part of ceremonies and national celebrations.
• Text : Referenced from contents provided by Ministry of External Affairs.

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Issued by India

Issued on Jan 14, 2020

Issued for : India Post takes this opportunity to express gratitude to each one of these designers and their designs and is pleased to issue this set of nine Commemorative Postage Stamps on Indian Fashion. Presenting Indian Fashion – Designers’ Creations : Series 4.

Credits :
Stamps/Miniature Sheet/First Day Cover/Brochure : Shri Suresh Kumar
Cancellation Cachet : Smt. Nenu Gupta

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise (9)

Stamps Printed : 500000 each

Miniature Sheet Printed : 110000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories through the application of design aesthetics. Fashion designers conduct research on fashion trends and interpret them for their clientele. They attempt to design clothes that are functional as well as aesthetically appealing. They consider who is likely to wear the garment and the occasion on which it is to be worn while designing it. Clothes worn for everyday wear fall within a narrow range of styles whereas clothes for special occasions demand greater attention to the cut and styling. Some garments are made specifically for an individual as in the case of ‘haute couture’ or bespoke tailoring.
• Haute couture is high-end fashion that is constructed by hand from start to finish, made from high-quality, expensive, often unusual fabric and sewn with extreme attention to detail and finished by the most experienced and capable sewers often using time consuming, hand-executed techniques. An haute couture garment is tailored extensively for the wearer’s measurements and body stance. Considering the amount of time, money and skill allotted to each complete piece, haute couture garments are also described as having no price tag. In modern France, haute couture is a protected name that may not be used except by firms that meet certain well-defined standards.
• Many designers prefer to specialize in one particular field of design rather than attempting to create it all when starting out. Specialties include bridal design, fabric design, costume design, accessory design etc. A bridal designer is a fashion professional who has a hand in designing and creating wedding dresses for brides to wear during their wedding. Fabric design also called textile design is a specialty in which the fashion professional will design, create and possibly see the materials that another fashion professional would then use for their creations. Costume designers design and create the costumes that one sees in movies and television. They have a huge role on film sets as it is their clothing design, which help an actor look like the character they are portraying. Accessory design is a specialty about designing and selling objects that are to be worn in addition to the clothes that popular wear. Belts, hats, glasses, purses and necklaces are examples of what an accessory designer would be working with on a daily basis.
• Indian fashion has carved a niche for itself at the global stage. Indian fashion designers have made a mark for themselves on account of their sartorial prowess and creative abilities. Some of the best Indian designers have lent their designs for the present series of Commemorative Postage Stamps on Indian Fashion. These designs and their designers are described as follows:
  • 1) Wendell Rodricks – Indica Emporia
    • Wendell Rodricks is an Indian fashion designer and author based in Goa. In 2014, the Government of India conferred upon him, the Padma Shri. According to the designer in the collection “Indica Emporia” he re-invented what was expected of him with this collection. Whites gives way to colour, cotton and linen to silk and Khadi. Hand woven skills have been used to optimum effect. The art of the cotton growers and silk cultivators, the dyers who use inventive alchemy and weavers who carry forward a grand legacy are the real stars of Indica Emporia.
  • 2) Abu Jani Sandeep Khosla – Flared Sherwani
    • The duo is best known for their ability to infuse Indian craftsmanship and textile heritage with European tailored silhouette. Their signature is to combine traditional aesthetics with modern design. Flared Sherwani collection is a unique meld, using the finest fabrics as a canvas, which come alive with exquisite embroideries and intricate embellishments to create what has been described as a modern masterpiece.
  • 3) Manish Malhotra – Timeless
    • Manish Malhotra is a former Indian model turned costume designer and stylist, widely known for his works in Bollywood, Telugu cinema, Tamil cinema, Hollywood, and television. In 1998, he ventured into modelling and runway fashion designing with his couture Reverie– Manish Malhotra. He was awarded Filmfare awards for best costume designing for various Indian Films. Timeless collection is a collection with timeless Chikankari weaving with ivory floral pattern married to the drama of embellishments exhibits the label’s one of a kind interpretation of legacy with vogue gracefulness.
  • 4) Rahul Mishra – Mystical Indian
    • A nondescript little village has been Rahul Mishra’s homeland, far away from the hustle bustle of the urban landscape. When the first drops of rail fall on the parched earth, the fragrance spreads far and wide to bring in a harmonious sonata of flora and fauna. The Hand-embroidered Peacock Lehenga in the design is inspired by German biologist and artist Ernst Haeckel’s work Kunstformen der Natur (art forms of nature, 1899). Integrating traditional hand-techniques with delicate artworks of blossoming flora from the Indian monsoons, the journey transcends and takes us wandering down mystical gardens.
  • 5) Ashish Soni – Embellishment
    • Ashish Soni is a pioneer in Indian fashion in many ways. In 1993, he became the first Indian designer to hold a solo showing in Delhi, he was also the first designer to be invited to hold a runway show at Olympus fashion week, New York. Embellishment collection is known for his sharply refined and deceptively simple sense of aesthetics. His signature lines are characterized by extreme simplicity, flawless lines, immaculate cuts and a perfect finish. With design as his primary focus, embellishments are subsidiary and used with great restraint to highlight form.
  • 6) Ritu Kumar – Varanasi Weaves
    • Padma Shri awardee and well-known textile revivalist Ritu Kumar took India’s rich textiles and handlooms a notch higher when she showcased her ‘Varanasi Weaves’. Bringing back the beauty of motifs like Badami, Kyari, Shikargah and floral butis, the designer showcased glittering gold and silver royal textiles. Ritu Kumar’s initiative to honour weavers from Banaras is supported by the Ministry of Textiles to revive the handloom weaving in the city.
  • 7) Anita Dongre – Ambika Jacket
    • Anita Dongre is an Indian fashion designer and is the founder of House of Anita Dongre, an Indian fashion house. She was born and raised in Mumbai. Her designs are available under four distinct brands, which are AND, Global Desi, Anita Dongre, and Anita Dongre Grassroot. Ambika Jacket is a sustainable and eco-conscious pret label paying tribute to the handcrafted traditions of India.
  • 8) Rohit Bal – Classic Jalabiya
    • Rohit Bal is a fashion designer from New Delhi, India. He was born in Srinagar. He was awarded with IFA Designer of the Year in 2001 and 2004. Classic Jalabiya is a culmination of Bal’s thoughts, inspirations, fantasies, most importantly, a pursuit to delve into Persia’s rich crafts and traditions. It has Persian zardozi and threadwork, depicting images of wildlife, birds and flowers.
  • 9) Ritu Beri – Vastra
    • Twenty-five years ago, Ritu Beri chose khadi as a fabric to launch her brand. It was a fabric she was comfortable with as she had seen it right from her forefathers to cousins wearing them. She could easily express her creativity. But there was one more reason for using the fabric, espoused by Mahatma Gandhi, by the then fledgling designer. Ritu was appointed as an advisor to KVIC.
• Text : Based on the material provided by Prof. Manika Walia and material collected from internet sources.

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Issued by India

Issued on Dec 19, 2019

Issued for : Department of Posts is pleased to release a set of 12 Commemorative Postage Stamps on Embroideries of India.

Credits :
Stamps/Miniature Sheet/Sheetlets/First Day Cover/Information Brochure/Cancellation Cachet : Ms. Gulistaan

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1000 Paise (5), 1500 Paise (3), 2000 Paise (4)

Sheetlets Printed : 31250 each of 12 types

Miniature Sheets Printed : 1.10 lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Embroideries of India belong to different genres that vary by region and clothing style. Designs in Indian embroidery are formed on the basis of the texture and the design of the fabric and the stitch. The dot and the alternate dot, the circle, the square, the triangle and permutations and combinations of these constitute the design.
• KANTHA
  • Kantha is perhaps the oldest form of Indian embroidery as it can be traced back to the 1^st Century A.D. The thought behind this needlework was to reuse old clothes such as saris and dhotis and turn them into something new with a simple running stitch. Kantha evolved in the eastern regions of the Indian subcontinent, specifically in Bangladesh and in the Indian states of West Bengal, Tripura and Odisha. It is a form of embroidery often practised by rural women. There are 7 different types of Kantha stitches, each having their own unique usage; the Lep Kantha, which is used to make warm, padded quilts or the Baiton Kantha which is used on covers meant to wrap books and other precious objects. “Kantha saris” are traditionally worn by women in Bengal. Today, Kantha embroidery is popular amongst the designer fraternity.
• KAMAL KADHAI
  • Kamal Kadhai is native to the state of Andhra Pradesh that primarily uses needle weaving to stitch beautiful flowers. The flower petals look like they have “steps” or “levels”. It has a 3D effect. The pattern can be used on dresses or cushion covers or making other household stuff like bed sheets, pillow covers, etc. This style of embroidery first started amongst the rural folk about 500 years ago but later received royal patronage.
• PHULKARI
  • Phulkari is the most famous rural embroidery tradition of Punjab, mentioned in the Punjabi folklore of ‘Heer Ranjha’ by Waris Shah. Its present form and popularity goes back to the 15^th century, during Maharaja Ranjit Singh’s reign. Phulkari also means headscarf and it comes from the 19^th century tradition of carrying an odhani or a head-scarf with flower patterns. Its distinctive property is that the base is a dull hand-spun or khadi cloth, with bright coloured threads that cover it completely, leaving no gaps. It uses a darn stitch done from the wrong side of the fabric using darning needles, one thread at a time, leaving a long stitch below to form the basic pattern. Cities famous for Phulkari include Amritsar, Jalandhar, Ambala, Ludhiana, Patiala, Nabha etc.
• CHAMBA RUMAL
  • The Chamba Rumal is an embroidered handicraft that was once promoted under the patronage of the former rulers of Chamba kingdom. Earliest reported form of this rumal is the one made by Bebe Nanaki, sister of Guru Nanak Dev ji in the 16^th century, which is now preserved in the Gurudwara at Hoshiarpur. Chamba Rumal is made in square and rectangular shapes on muslin, malmal, khaddar, silk etc. Using a double satin stitch for the embroidery, both faces of the cloth are concurrently stitched by a forward and backward technique to maintain uniformity of design on both faces of the rumal. After completing the embroidery, the fabric is stitched with a border of about 2 to 4 inches on all sides. The dohbratbokb method is a heritage of Kashmir, which was adopted in Basohli and Chamba, that was improved upon by adopting themes from the Mughal art of Chamba miniature paintings which flourished during the 18^th and 19^th centuries.
• KUTCH EMBROIDERY
  • Kutch Embroidery is a handicraft and textile signature art tradition of the tribal community of Kutch District in Gujarat. Its history is traced to the 16^th and 17^th centuries when people migrated from countries such as Afghanistan, Greece, Germany, Iran and Iraq to Gujarat. It is also said that cobblers known as Mochis were trained in this art form by the Sufi saints of Sindh. The art form became a vocation for women of Kutch not only to meet their own clothing requirements but also to make a living, in view of severe dry and very hot conditions. It became a generational art with the skills passed on from mother to daughter. The embroidery is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. In certain patterns, it is also crafted over silk and satin. The types of stitches adopted are square chain, double buttonhole, pattern darning, running stitch, satin and straight stitches. The signature effect of the colourful embroidery sparkles when small mirrors called bbhib are sewn over the geometrically shaped designs.
• KASHMIRI EMBROIDERY
  • Kashmiri embroidery (also called Kashida) is used for phirans (woollen kurtas) and namdahs (woollen rugs) as well as stoles. It draws inspiration from nature- birds, blossoms and flowers, creepers, chinar leaves, mangoes, lotus, trees etc. The embroidery is done on a base of silk, wool or cotton: the colour is usually white, off-white or cream but nowadays one can find many other colours such as brown, deep blue, sky blue, maroon etc. Kashmiri embroidery is known for the skilled execution of a single stitch, often called the Kashmiri stitch which may comprise the chain stitch, the satin stitch, the slanted darn stitch, the stem stitch and the herringbone stitch.
• KASUTI
  • Kasuti is a traditional form of folk embroidery practised in the state of Karnataka. Kasuti work is very intricate and sometimes involves crafting upto 5,000 stitches by hand and is traditionally made on dresswear like Sarees or Kurta. Its history dates back to the Chalukya period. The Kasuti embroidery features folk designs influenced by rangoli patterns of Karnataka, mirror work and gold & silver thread embroidery, mostly used for special occasions like weddings. Kasuti involves embroidering very intricate patterns like gopura, chariot, palanquin, lamps and conch shells. The pattern to be embroidered is first marked with charcoal or pencil and then proper needles and threads are selected. The patterns are stitched without using knots to ensure that both sides of the cloth look alike.
• CHIKANKARI
  • The present form of chikan (meaning elegant patterns on fabric) work is associated with the city of Lucknow, in Uttar Pradesh. Chikan embroidery is believed to have been introduced by Noor Jahan, the wife of Jahangir. Chikan embroidery involves the use of white thread on white muslin, fine cotton, or voile, which showcases shadow work embroidery. Other colours can also be used. The artisans usually create individual motifs or butjs of animals and flowers like rose, lotus, jasmine, creepers etc. The designs are first printed onto the fabric with a mixture of glue and indigo. At least 40 different stitches are documented and include flat, raised and embossed stitches and the open trellis-like jbbij work, buttonhole stitch, French knots, running stitch etc.
• TODA EMBROIDERY
  • Toda embroidery has its origins in Tamil Nadu. Locally known as “Pukhoor” meaning flower, this embroidery is an art work among the Toda pastoral people of the Nilgiri hills in Tamil Nadu. This embroidery, like Kantha, is practised by women. The embroidery adorns shawls. The shawl, called poothkuli, has red and black bands between which the embroidery is done. As Todas worship buffaloes, the buffalo becomes an important motif in the Toda embroidery. Other motifs include the sun, moon, stars etc. Both sides of the embroidered fabric are usable and both men and women adorn themselves with the embroidered cloaks and shawls.
• SHAMILAMI
  • A renowned textile craft from Manipur is the Shamilami, which uses a technique that combines those of weaving and embroidery. The ethnic Meithei community practises this intricate technique used in the traditional production of Shamilami fabric, whereby motifs such as tjodohbj, inspired by the gracefulness of a silk caterpillar eating a castor leaf, decorate the fabric. The embroidery is done in dark matching shade with untwisted silk thread on the border of the phanek (a lungi or lower body wrap worn by women). Colours in dark red, plum or chocolate are usually used. The embroidery is so artistically done that it does not clash with the weave and is often mistaken for it. Angami Naga shawls have animal motifs in black. This was previously called samilamiphee (which means warrior cloth of wild animals) and was given to brave distinguished warriors by the royalty, in recognition of their prowess. Possession of Shamilami – a combination of weaving and embroidery – is considered a status symbol.
• SUJANI
  • Sujani embroidery originated from the Bhusura village of Bihar. In ancient times, it was considered as a form of quilting wherein old sarees and dhotis were used as the creative canvas. The process begins with tracing down the designs on the base fabric using tracing wheel and tracing sheet. Black or brown threads are used for outlining the motifs and colourful threads are used to fill in colors in the motifs. This style of embroidery is similar to the Kantha stitch of West Bengal. Today Sujani embroidery adorns ethnic outfits like sarees, kurtas, dupattas, stoles, jackets; home décor items such as cushion covers, bedspreads, wall hangings etc. The Sujani is not merely a traditional craft, it is also a way to convey social and political messages.
• APPLIQUÉ
  • Appliqué is a type of embroidery that employs a smaller patch or fabric to be applied or sewed onto a larger fabric or surface to create different designs, abstract patterns or pictures. This embroidery art form came to India with the French in the 17^th century. Appliqué is used extensively in quilting or adorns sarees with elaborate and vibrant looking borders. In Andhra Pradesh, the blouses and headscarves worn by the Banjara tribal women are not only embroidered but also decorated with appliqué and mirror work. Rajasthan is also known for its unique appliqué or gota, which is created by sewing edges of zari ribbon onto fabric, to create elaborate patterns.
• Text : Sh. Pallab Bose

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Issued by India

Issued on Oct 15, 2019

Issued for : Department of Posts is pleased to release a set of two fragrant Commemorative Postage Stamps each on Agarwood and Orange Blossom on the theme Indian Perfumes.

Credits :
Stamps/Miniature Sheet/First Day Cover/Information Brochure : Smt. Bharati Mirchandani
Cancellation Cachet : Smt. Nenu Gupta

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 2500 Paise (2) and 2500 Paise (2)

Stamps Printed : 8.0 Lakh each

Miniature Sheets Printed : 2.0 Lakh each

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Perfume basically refers to a scented mixture of essential oils, fixatives and solvents to provide an agreeable scent to the body, food, objects and living spaces. Etymologically speaking, the word “perfume” is derived from the Latin word, “per fumus” meaning through smoke. Perfume and perfumery finds prominence in the Indus Valley Civilization, which existed from 3300 BCE to 1300 BCE. One of the earliest references to distillation of perfume was in the Ayurvedic text Charaka Samhita and Sushruta Samhita and deals mainly with the manufacturer of perfumes. It was also understood that perfumes attracted angels and warded off darkness or evil spirits. Saints and spiritual aspirants would adorn themselves with the finest scents to assist them in their journey towards enlightenment. Some of the prominent lovers of Indian perfumes, also called ittar, were the Mughal nobles of India.
• AGARWOOD perfume, also known as Oud, has a bitter sweet, woody and balsamic nuance. It is reputed to be one of the most expensive perfumes in the world. There are many names for the resinous, fragrant heartwood produced primarily by trees in the genus Aquilaria. Oil extracted from agarwood is used as a high-quality perfume. The Indian sub-continent was the main source of agarwood for many centuries. Today Agarwood plantations exist in a number of countries, including India, Bangladesh, Bhutan, Thailand, Vietnam etc. The best quality oil comes out from the first distillation process and after this, the wood undergoes the second distillation. Hence, it is graded according to the number of times it is cooked. With its warm, smoky balsamic fragrance it is sure to calm, inspire and brighten one’s mood.
• ORANGE BLOSSOM is aromatic, sweet and elegant and is a highly coveted scent in perfumes. It is traditionally associated with good fortune and is often favoured by brides on their wedding day. It is the fragrant flower of Citrus sinensis (orange tree) and is one of the most popular flowers in perfume making. It came to India originally through Chinese travellers and traders and later through the Portuguese and Dutch. Today India, Brazil and China are the largest cultivators of the orange tree. Orange blossom essence is an important component in the making of perfume. The fragrant flower is used by many top perfumers and is usually combined with floral bouquets and oriental scents.
• Text : Shri Pallab Bose.

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Issued by India

Issued on Sep 6, 2019

Issued for : Department of Posts has tried to capture the stages in the entire process from conceptualization to the development of the finished product and is pleased to bring out a set of four Commemorative Postage Stamps portraying them.

Credits :
Stamps/Miniature Sheet/First Day Cover/Brochure : Shri Suresh Kumar
Cancellation Cachet : Smt. Nenu Gupta

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1500 Paise (2) and 1000 Paise (2)

Stamps Printed : 5.0 Lakh each

Miniature Sheets Printed : 1.1 Lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• The story from the concept to the consumer is imbued with inspiration, ideation, labour and glamour. The metamorphosis from an idea to a pleasing product begins, more other than not, with inspiration. Paradoxically, fashion inspiration is an ongoing process in which the mind is trained to gather ideas. The sources of inspiration abound in nature, flora and fauna, the wild, culture, social values, customs and mores that vary from place to place.
• Every designer follows a process for design development. When starting a collection, a designer needs to consider the color story, design functionality, technical package and garment patterns. Some designers select an image, or series of images, to display their color story. Others use forecasting services which offer a variety of different color swatches, silhouette and textile forecasts.
• The world of design is never as easy as it looks. Designing a garment entails demographic and trend research, blending the research result with the brand image and translating it all to a collection – a process that requires a great deal of toil, time and attention to detail. One of the most important aspects in the process is the Technical Design. Though many people do not know about this process, developing the technical sketch and technical package is essential to move on to production.
• The technical package is similar to the drafting of the design. It shows graphic placement, points of measure, graded measurements, trim placement, seams, etc. Manufacturing a garment without a tech pack leads to difficulty when it comes to assembling of the garment. This is the last step in the development process. Garment patterns are the key ingredients to fit and styling. More returns happen because of fit issues than any other reason, especially among online sales. A well fit garment is worn more often and spends less time in the customer’s closet, which increases brand awareness and follow-up sales.
• Customer satisfaction and functionality are other very significant aspects that play a big role in designing a garment. The designer and product developer have to take into consideration what their customer desires in a specific garment. A garment is created by balancing function with design as well as the customer’s need for style, brand value and image. Designers, fashion forecasters, merchandisers, visual merchandisers and product developers work in unison to determine the direction of the product while moving from concept through technical sketch and display to finally putting the collection on rack for sale.
• Production can be either at customised level or for masses. Today, fashion industry is highly mechanised and with the help of augmented technology, fashion industry has grown manifold.
• Presenting “Indian Fashion – Concept to Consumer : Series 3…….”
• Text : Based on the material provided by Prof. Manika Walia.

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Issued by India

Issued on Aug 1, 2019

Issued for : Department of Posts is pleased to release a set of two fragrant Commemorative Postage Stamps each and a Miniature Sheet each on Sandalwood and Jasmine as part of the series on Indian Perfumes.

Credits :
Stamps/Miniature Sheets/First Day Cover/Information Brochure : Smt Bharati Mirchandani
Cancellation Cachet : Smt Nenu Gupta

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 2500 Paise (2) and 2500 Paise (2)

Stamps Printed : 8.0 Lakh each

Miniature Sheets Printed : 2.0 Lakh each

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Indian perfumery dates back to the Indus Valley Civilization running through the Gupta period up to the Mauryan periods. The great poet Kalidas, makes detailed reference to the use of fragrances by the Protagonist of his plays. In 1469, a ruler Ghiyath Shah the Sultan of Malwa, patronised the book The Ni’matnama, or the Book of Delights, which records two of the ancient world’s most sophisticated traditions of perfumery: that emanating from Persia and Arabia, on the one hand and the ancient Indian tradition that goes back to the time of the Vedas on the other. In the heart of the old city of Delhi, in Chandni Chowk, as also in the old cities of Agra, Lucknow and Hyderabad, there still exist perfumers whose family had been engaged in perfumery and who continue the ancient Indian tradition of ittar-making: oil-based scent manufacturing.
• SANDALWOOD is heavy, yellow and fine-grained and unlike many other aromatic woods, it retains its fragrance for decades. Sandalwood oil is extracted from the woods for use. Both the wood and the oil produce a distinctive fragrance that has been highly valued for centuries in India. Warm, woody and comforting, sandalwood has a lingering quality that makes it the perfect sophisticated unisex fragrance. Its warm notes make it the ideal winter scent and, combined with floral accords, it adds a spicy quality to summer perfumes. Smooth, rich and essentially soft, its notes work well with accords of vanilla, amber, patchouli, lavender and cedar wood. Sandalwood oil has a distinctive soft, smooth, creamy and milky precious-wood scent. It imparts a long-lasting, woody base to perfumes. When used in smaller proportions in a perfume, it acts as a fixative, enhancing the longevity of other, more volatile, materials in the composite. Sandalwood is also a key ingredient in the floral fragrance family when combined with white florals such as jasmine, gardenia, plumeria, orange blossom, tuberose, etc. Sandalwood oil is widely used in India in the cosmetic and perfumery industry since ancient times.
• JASMINE is one of the oldest known and most widely-used botanical scents and is a popular household perfume. Jasmine ittar was the favourite perfume of the Nizams of the Hyderabad State. The perfume is derived from the flower of shrubs and vines in the olive family (Oleaceae). Indian Jasmine grows mainly in Uttar Pradesh, West Bengal, Western Ghats and Southern India. It is known as Juhi (Hindi), Jui (Bengali), Usimalligai (Tamil) etc. and holds great significance in Indian culture. Jasmine has a sweet, warm, floral scent that can be both slightly heady and relaxing with fruity undertones. The fragrance of jasmine is synonymous with our culture in the forms of spirituality, tradition and also medicine. Jasminum sambac fragrance has rejuvenating, boosting and energizing properties, which makes it a natural fragrance, while Jasminum grandiflorum is one of the most prominent scents and it has highly unique and incredibly intense aroma. Essential oil in flowers is extracted through enfleurage/solvent methods which is widely used for production of jasmine perfume in India. The perfume is deep brown with a golden tinge with a thick consistency, having a strong aroma and generally blends well with all oils. Jasmine has been concluded as the “King of Oils”. It is also interesting to note that it takes 8,000 carefully hand-picked blossoms to produce 1 gram (about 1 ml.) of Jasmine Absolute.
• Text : Shri Pallab Bose.

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