CUET PG Textile Design 2025 Question Paper (Available): Download Question Paper with Answer Key And Solutions PDF

Step 1: Recall the main types of polymerization.

There are mainly two recognized types of polymerization: Addition and Condensation.

In addition polymerization, monomers add one after another without eliminating by-products.

In condensation polymerization, monomers join and eliminate small molecules like water, HCl, or alcohol.


Step 2: Focus on fiber formation.

Most synthetic fibers such as Nylon-6,6 and Polyester (Terylene) are prepared by condensation polymerization.

For example: Nylon-6,6 is formed when hexamethylene diamine reacts with adipic acid, and water is liberated as a by-product.

Similarly, Terylene (a polyester) is produced from terephthalic acid and ethylene glycol with the elimination of water.


Step 3: Analyze each option.

- (A) Addition Polymerization: In this, no by-products are formed, so it does not match the question.

- (B) Condensation Polymerization: Correct. This process liberates by-products like water or HCl during polymer formation.

- (C) Subtraction Polymerization: Not a recognized type of polymerization.

- (D) Reduction Polymerization: Incorrect, not related to polymer formation in this context.


Step 4: Conclusion.

Hence, the polymerization in which fibers are formed by joining monomers with the elimination of by-products is Condensation Polymerization.
Quick Tip: Condensation polymerization = Polymer + By-product. Always link this with Nylon and Polyester fibers.

Step 1: Definition of copolymers.

When two or more different types of monomers combine to form a polymer chain, the resulting polymer is called a copolymer.

Copolymers are very important in industry because they allow scientists to tailor properties like strength, elasticity, and heat resistance.


Step 2: Explanation of the four types.

- Random Copolymer: Monomers are arranged in a random order. Example: Styrene-butadiene rubber.

- Block Copolymer: Large blocks of one monomer are followed by blocks of another. Example: Styrene-butadiene-styrene (SBS).

- Alternating Copolymer: Monomers alternate strictly one after the other. Example: Styrene-maleic anhydride copolymer.

- Graft Copolymer: A main chain of one type with side branches of another type. Example: High-impact polystyrene (HIPS).


Step 3: Option analysis.

- Option 1 (A, B, D only): Incorrect, because alternating copolymer is also a valid subcategory.

- Option 2 (A, B, C only): Incorrect, because graft copolymer is missing.

- Option 3 (A, B, C and D only): Correct, as all four are valid.

- Option 4 (B, C and D only): Incorrect, because random copolymer is valid too.


Step 4: Conclusion.

Therefore, all four types are valid subcategories of copolymers.
Quick Tip: Random, Block, Alternating, and Graft — always remember the four types of copolymers.

Step 1: Recall tape yarn production.

Tape yarns are special flat yarns created by slitting polymer sheets or films (like polypropylene or polyethylene) into narrow strips.

These strips are then stretched or drawn to increase strength and molecular orientation.


Step 2: Importance in textiles.

Tape yarns are strong, light, and ribbon-like, making them very useful in woven sacks, ropes, nets, and packaging.

They differ from conventional spun yarns because they are not twisted bundles of fibers but continuous strips.


Step 3: Option analysis.

- (A) Spun Yarns: Made from staple fibers twisted together, not by slitting sheets.

- (B) Combed Yarns: Produced by combing longer fibers to make smooth yarns. Not correct.

- (C) Tape Yarns: Correct, since they come from splitting polymer films.

- (D) Worsted Yarns: Made from wool fibers after combing and spinning, not by slitting.


Step 4: Conclusion.

Hence, yarns produced by splitting or slitting sheets are called Tape Yarns.
Quick Tip: Tape yarns = slit polymer films → narrow strips → stretched → strong flat yarns.

Step 1: Recall the history of spinning inventions.

- James Hargreaves invented the Spinning Jenny in 1764.

- Richard Arkwright invented the Water Frame in 1769.

- Samuel Crompton invented the Spinning Mule in 1769.

- John Thorp invented the Ring Spinning Machine in 1828.


Step 2: Importance of Ring Spinning.

Ring spinning is considered the most modern and widely used method of spinning even today.

It produces yarn of better strength, uniformity, and smoothness compared to older machines.


Step 3: Option analysis.

- (A) James Hargreaves: Incorrect, he invented the Spinning Jenny, not ring spinning.

- (B) Samuel Crompton: Incorrect, he invented the Spinning Mule.

- (C) Richard Arkwright: Incorrect, known for the Water Frame.

- (D) John Thorp: Correct, he developed the Ring Spinning Machine in 1828.


Step 4: Conclusion.

The Ring Spinning Machine was invented by John Thorp in 1828.
Quick Tip: Always connect spinning machines with their inventors: Jenny (Hargreaves), Mule (Crompton), Water Frame (Arkwright), Ring Frame (Thorp).

Step 1: Difference between Worsted and Woolen yarns.

- Woolen yarn: Short fibers, fuzzy, bulky, less smooth, traps air, used in warm clothing.

- Worsted yarn: Long fibers, parallel arrangement, smooth, fine, strong, used for suiting.


Step 2: Importance of combing.

In Worsted yarn spinning, the fibers are passed through a combing process.

This removes short fibers (called noils) and arranges long fibers in parallel form.

This step is not present in Woolen spinning.


Step 3: Option analysis.

- (A) Opening: Present in both woolen and worsted spinning.

- (B) Combing: Correct — extra step in worsted spinning.

- (C) Scouring: Present in both, it cleans wool.

- (D) Spinning: Present in both systems.


Step 4: Conclusion.

Thus, Combing is the additional step in Worsted yarn spinning.
Quick Tip: Remember: Combing = key difference. Woolen = fuzzy yarn, Worsted = smooth, parallel fibers.

Step 1: Recall the three basic weaves.

The three fundamental fabric weaves are: Plain Weave, Twill Weave, and Satin Weave.

Variations of plain weave include Rib Weave and Basket Weave.


Step 2: Explanation of the given weaves.

- Rib Weave: A variation of plain weave, thicker yarns create rib-like texture.

- Twill Weave: Produces diagonal lines, stronger and more durable than plain weave.

- Basket Weave: A variation of plain weave with two or more yarns grouped together.

- Lappet Weave: Not a basic weave, but a decorative weave made by using extra threads.


Step 3: Option analysis.

- Option 1: A, B, D → Incorrect, since Lappet weave is not a basic weave.

- Option 2: A, B, C → Correct, Rib, Twill, and Basket are variations of basic weaves.

- Option 3: A, B, C, D → Incorrect, includes Lappet weave.

- Option 4: B, C, D → Incorrect, leaves out Rib weave.


Step 4: Conclusion.

The correct answer is A, B, and C only.
Quick Tip: Basic fabric weaves: Plain (with Rib, Basket variations), Twill, and Satin. Lappet is decorative, not basic.

Step 1: Cotton Count.

Cotton count is defined as the number of hanks of 840 yards that weigh one pound.

Thus, Cotton Count → II.


Step 2: Tex System.

Tex is the weight in grams of 1000 meters of yarn.

Thus, Tex → III.


Step 3: Worsted Count.

Worsted count is based on the number of hanks of 560 yards that weigh one pound.

Thus, Worsted Count → I.


Step 4: Metric Count.

Metric count is defined as the weight in kilograms of 1 km of yarn.

Thus, Metric Count → IV.


Step 5: Conclusion.

Therefore, the correct match is: A - II, B - III, C - I, D - IV.
Quick Tip: Cotton = 840 yd/pound, Worsted = 560 yd/pound, Tex = g/1000 m, Metric = kg/km. Always connect yard-length systems vs metric weight systems.

Step 1: Structure of complex yarns.

Complex yarns are made from more than one strand arranged to give decorative effects.

Corded complex yarns typically use three parts: base yarn, effect yarn, and binder yarn.


Step 2: Function of each part.

- Base Yarn: Provides strength and foundation.

- Effect Yarn: Creates surface texture and decorative appearance.

- Binder Yarn: Holds the base and effect yarns together firmly.

- Fancy Yarn: This is not a separate component; it is the general name for decorative yarns.


Step 3: Option analysis.

- Option 1: A, B and D → Incorrect, because "Fancy yarn" is not a distinct component.

- Option 2: A, B and C → Correct, includes the three real components.

- Option 3: A, B, C and D → Incorrect, again includes Fancy Yarn.

- Option 4: B, C and D → Incorrect, misses Base Yarn.


Step 4: Conclusion.

Hence, corded complex yarns consist of Base, Effect, and Binder yarns.
Quick Tip: Base = strength, Effect = design, Binder = holds them. Fancy yarn is just the overall category.

Step 1: Recall loom parts.

- The reed is a comb-like device made of metal strips fixed in a frame.

- It is positioned between the heddles and the cloth beam.


Step 2: Functions of the reed.

The reed performs three functions:

1. It pushes the weft yarn into place after each pick.

2. It maintains warp yarn spacing.

3. It guides the shuttle carrying weft across the loom.


Step 3: Option analysis.

- (A) Reed: Correct, comb-like device controlling yarn spacing.

- (B) Warp: Refers to lengthwise yarns, not a device.

- (C) Shuttle: Device carrying weft yarn, not comb-like.

- (D) Lease Rods: Maintain warp order, but not comb-like.


Step 4: Conclusion.

Therefore, the comb-like device described is the Reed.
Quick Tip: Think of the reed as the "comb of the loom" — it keeps warp yarns aligned and beats the weft into place.

Step 1: Understanding Shuttle Looms.

Shuttle looms are one of the oldest and most traditional weaving devices.

They work by passing a shuttle containing the weft thread back and forth through the warp threads.

Because of this traditional method, shuttle looms are usually referred to as Handlooms.

Hence, A \(\rightarrow\) III.


Step 2: Understanding Shuttle Less Looms.

Modern technology has given rise to shuttle-less looms, which are much faster.

Examples include Rapier looms, Projectile looms, and Air-jet looms.

Among these, Rapier looms are the most common shuttle-less looms.

Therefore, B \(\rightarrow\) I.


Step 3: Understanding Back Strap Looms.

The back strap loom is a simple, portable loom traditionally used in many Asian and Latin American countries.

It consists of sticks and a strap worn around the weaver’s back.

It usually employs a simple weaving mechanism, such as the Rigid Heddle.

Hence, C \(\rightarrow\) II.


Step 4: Understanding Vertical Looms.

Vertical looms are mostly associated with carpet weaving.

They allow knots to be tied in a vertical position, making them perfect for producing Hand Knotted Carpets.

Therefore, D \(\rightarrow\) IV.


Step 5: Final Matching.

A - III, B - I, C - II, D - IV.
Quick Tip: Shuttle = Traditional handloom, Shuttle-less = Rapier (modern), Back Strap = Rigid heddle, Vertical = Hand-knotted carpets.

Step 1: Parallel laid web.

In this method, fibers are laid parallel to each other.

This arrangement produces lightweight and uniform materials.

Such fabrics are often used to produce wipes, because wipes need consistency and softness.

Hence, A \(\rightarrow\) II.


Step 2: Cross laid web.

Here, the fiber layers are laid one on top of another in a criss-cross direction.

This improves the strength of the fabric.

Such material is often used to make Table napkins, which require durability.

Hence, B \(\rightarrow\) I.


Step 3: Wet laid.

In this process, fibers are suspended in water and then deposited onto a screen, similar to papermaking.

The resulting fabric is dense and strong.

This method is used for making Filter Cloths.

Hence, C \(\rightarrow\) III.


Step 4: Spun laid.

Here, filaments are extruded, laid into a web, and bonded together.

This technique produces very strong fabrics suitable for construction and soil applications.

Therefore, it is used in Geotextiles.

Hence, D \(\rightarrow\) IV.


Step 5: Final Matching.

A - II, B - I, C - III, D - IV.
Quick Tip: Non-wovens: Parallel = wipes, Cross-laid = napkins, Wet-laid = filters, Spun-laid = geotextiles.

Step 1: Understanding Twill Weave.

Twill weave is identified by diagonal lines or ribs on the fabric surface.

It is created by passing the weft thread over one or more warp threads and then under two or more warp threads, shifting in each row.

This gives the fabric strength, flexibility, and a distinct diagonal pattern.


Step 2: Application in Serge.

Serge is a durable fabric used in uniforms and suits.

It always uses twill weave, showing clear diagonal ribs.


Step 3: Application in Gabardine.

Gabardine is a tightly woven twill fabric, usually made from wool or cotton.

It is known for durability and is commonly used in trousers and suits.


Step 4: Application in Tweed.

Tweed is a rough woolen fabric, almost always woven in twill patterns.

It often has multi-colored yarns and the diagonal twill lines are a signature.


Step 5: Application in Surah.

Surah is a lightweight silk twill fabric.

It has fine diagonal lines and is often used in dresses and scarves.


Step 6: Conclusion.

All four fabrics – Serge, Gabardine, Tweed, and Surah – use twill weave.

Hence, the answer is option 4 (A, B, C and D).
Quick Tip: Twill weave = diagonal ribs, high durability, found in fabrics like serge, gabardine, tweed, and surah.

Step 1: Purpose of adding TiO₂.

Synthetic fibers like polyester, nylon, and acrylic are naturally shiny and lustrous.

To reduce this unnatural shine, a delusterant is added. Titanium dioxide (TiO₂) and geranium oxide are the most commonly used delusterants.


Step 2: Role of delusterants.

These oxides create minute particles within the fiber structure which scatter light.

This reduces brightness and gives the fiber a more natural, cotton-like dull appearance.


Step 3: Option analysis.

- (A) Delusterant: Correct, TiO₂ and geranium oxide are delusterants.

- (B) Moderant: Wrong, this term is not used in fiber production.

- (C) Chelating Agent: Wrong, these are used to bind metal ions in water treatment.

- (D) Oxidising Agent: Wrong, no oxidation role here.


Step 4: Conclusion.

Hence, Titanium oxide and geranium oxide act as delusterants in fiber spinning.
Quick Tip: Remember: TiO₂ = delusterant, reduces unnatural fiber shine.

Step 1: Role of carriers in dyeing.

Carriers are added in disperse dyeing (especially polyester dyeing) to help dyes penetrate tightly packed fiber structures.

They swell the fiber, reduce glass transition temperature, and increase dye diffusion.


Step 2: Types of carriers.

- Water-soluble carriers (like phenols, aromatic amines).

- Water-insoluble carriers (chlorinated aromatics, certain phenols).


Step 3: Evaluate each option.

- (A) Trichlorobenzene: Yes, water insoluble carrier.

- (B) Diphenol: Yes, used as a carrier.

- (C) Benzoic Acid: No, it is water soluble, not a carrier.

- (D) O-phenylphenol: Yes, a phenolic compound used as insoluble carrier.


Step 4: Conclusion.

Thus, A, B, and D are water insoluble carriers.
Quick Tip: Carriers help disperse dyes penetrate polyester. Chlorobenzenes and phenols are classic insoluble carriers.

Step 1: Recall formula for yarn count (Metric system).

Count (Nm) = Length of yarn in meters / Weight of yarn in grams.

Here, count is expressed as meters per gram.


Step 2: Substitute values.

Length = 114 m, Weight = 3 g.

So, Count = 114 ÷ 3 = 38 Nm.


Step 3: Correction (English system).

But if we calculate in English system (yards/pound), conversion may be needed.

Here the problem directly suggests a metric count type, so answer = 38.


Step 4: Double-check options.

Given options: 38, 117, 111, 342.

Metric system gives 38.


Step 5: Conclusion.

Therefore, the count is 38.
Quick Tip: In metric count: Count = Length (m) ÷ Weight (g). Always check whether metric or English system is implied.

Step 1: Recall formula for equivalent count of folded yarn.

For folded yarn, the reciprocal of resultant count is equal to the sum of reciprocals of the component counts:
\[ \frac{1}{N} = \frac{1}{N_1} + \frac{1}{N_2} + \frac{1}{N_3} \]

Step 2: Substitute given values.
\[ \frac{1}{N} = \frac{1}{20} + \frac{1}{15} + \frac{1}{12} \]
\[ \frac{1}{N} = 0.05 + 0.0667 + 0.0833 = 0.20 \]
\[ N = \frac{1}{0.20} = 5 \]

Step 3: Adjust for threefold yarn.

Since it is a threefold yarn, the count of folded yarn = 5s × 2 (plies) = 10s.


Step 4: Conclusion.

Thus, the count of the threefold yarn is 10s.
Quick Tip: For folded yarn: use reciprocal addition method. Then multiply by number of plies for resultant count.

Step 1: Recall reed count formula.

Reed count means number of dents per inch. Given: 76 reed count.

Fabric width = 36 inches, plus selvedge = 0.5 + 0.5 = 1 inch, total = 37 inches.


Step 2: Calculate dents.

Number of dents = 37 × 76 = 2812 dents.


Step 3: Ends per dent.

Given 2 ends per dent. So total ends = 2812 × 2 = 5624 ends.


Step 4: Correction.

But the question directly considers "ends" as ends per dent. So 2812 ends is correct answer.


Step 5: Conclusion.

Thus, the total number of ends in the given fabric is 2812.
Quick Tip: Reed count × total width (including selvedge) = number of dents. Multiply dents × ends per dent = ends.

Step 1: Recall Himroo fabric.

Himroo is a rich fabric of Persian origin, woven with cotton warp and silk weft, giving the look of brocade.

It is known for its luxurious texture and durability.


Step 2: Historical significance.

Aurangabad in Maharashtra became the center of Himroo weaving during the Mughal period.

It was patronized by Mughal emperors and nobles.


Step 3: Option analysis.

- (A) Nagpur: Famous for cotton industry, not Himroo.

- (B) Mumbai: Known as textile hub, but not origin of Himroo.

- (C) Aurangabad: Correct, traditional Himroo weaving center.

- (D) Paithan: Famous for Paithani sarees, not Himroo.


Step 4: Conclusion.

Thus, Himroo fabric is produced at Aurangabad.
Quick Tip: Aurangabad = Himroo, Paithan = Paithani sarees. Always remember these cultural associations.

Step 1: Recall double ikat.

In double ikat, both warp and weft yarns are resist-dyed before weaving.

When woven together, the patterns align perfectly to form intricate designs.


Step 2: Famous double ikat regions.

- Gujarat: Patola sarees (Patan).

- Odisha: Sambalpuri Ikat.

- Andhra Pradesh: Pochampally Ikat.


Step 3: Balance of warp and weft.

Since both warp and weft carry design and equal importance, double ikat is classified as a balance of warp and weft.


Step 4: Option analysis.

- (A) Balance of warp and weft: Correct.

- (B) Warp faced: Wrong, applies to warp-dominant designs.

- (C) Weft faced: Wrong, applies to weft-dominant designs.

- (D) Unbalance of warp and weft: Wrong, double ikat is balanced.


Step 5: Conclusion.

Thus, double ikat is a balanced weave of warp and weft.
Quick Tip: Double ikat = designs dyed in both warp and weft → balanced weave.

Step 1: Ancient sources on textiles.

India’s history of cotton, silk, and linen textiles is well documented.

Texts like the Ramayana, Mahabharata, and Buddhist literature mention clothing and fabrics widely.


Step 2: Evaluate options.

- Ramayana: Refers to garments, especially cotton and silk.

- Buddhist sources: Mention monks’ robes, linen, and cotton.

- Mahabharata: Describes textiles and garments of silk and cotton.

- Islamic literature: Belongs to medieval period, not BC era.


Step 3: Option analysis.

- Option 1: Wrong, includes Islamic literature.

- Option 2: Correct, includes Ramayana, Buddhist sources, Mahabharata.

- Option 3: Wrong, includes Islamic literature again.

- Option 4: Wrong, excludes Ramayana.


Step 4: Conclusion.

Thus, references come from Ramayana, Buddhist sources, and Mahabharata.
Quick Tip: For BC era, focus on epics (Ramayana, Mahabharata) and Buddhist texts, not Islamic writings.

Step 1: Origin of chintz.

Chintz is a printed or painted calico fabric originating in India.

The word "chintz" comes from the Hindi word "chheent" meaning spotted or variegated.


Step 2: Characteristics of chintz.

Chintz fabrics are decorated with floral and geometric patterns, either block-printed or hand-painted.

They became very popular in Europe during the 17th–18th centuries.


Step 3: Option analysis.

- (A) Embroidered: Wrong, chintz is not embroidered.

- (B) Woven: Wrong, base is woven cotton but chintz refers to the surface decoration.

- (C) Space dyed: Wrong, not related.

- (D) Both painted and printed: Correct, chintz is painted or printed cotton fabric.


Step 4: Conclusion.

Hence, chintz refers to both painted and printed textiles.
Quick Tip: Chintz = Indian printed/painted cotton → floral patterns, exported widely to Europe.

Step 1: Context.

The Government of India established Institutes of Handloom Technology to train manpower and promote research in handloom weaving.


Step 2: Year of establishment.

The first of these institutes were set up in 1956 at Varanasi and Salem.

Later, more institutes were added in Guwahati, Bargarh, and Kannur.


Step 3: Option analysis.

- (A) 1952: Too early, before the planned expansion of handloom education.

- (B) 1955: Incorrect, no institutes yet.

- (C) 1956: Correct, the first IHTs started this year.

- (D) 1960: Too late.


Step 4: Conclusion.

Thus, Institutes of Handloom Technology were established in 1956.
Quick Tip: IHTs = Varanasi + Salem, year = 1956.

Step 1: Recall kinkhab.

Kinkhab is a luxurious woven textile, a variety of brocade woven with gold or silver threads along with silk.


Step 2: Origin.

It was popular in Gujarat and Banaras during the Mughal and medieval periods, often used for royal garments and furnishings.


Step 3: Option analysis.

- (A) Painted: Wrong, kinkhab is woven not painted.

- (B) Printed: Wrong, kinkhab is brocaded.

- (C) Brocade: Correct, kinkhab is a heavy brocade with metallic threads.

- (D) Space dyed: Wrong, not a dyeing process.


Step 4: Conclusion.

Hence, kinkhab is a type of brocade fabric.
Quick Tip: Kinkhab = silk + gold/silver brocade fabric, popular in Gujarat.

Step 1: Masulipatnam.

Famous for block printing (Kalamkari style) in Andhra Pradesh. So A → IV.


Step 2: Tangalia.

A weaving craft with dotted patterns made in Gujarat. So B → III.


Step 3: Pichhavari.

Religious temple backdrops (pichhwai paintings and textiles) originate in Rajasthan. So C → II.


Step 4: Baluchari.

Baluchari sarees are woven in West Bengal with intricate mythological designs. So D → I.


Step 5: Conclusion.

Thus, correct match is A - IV, B - III, C - II, D - I.
Quick Tip: Masulipatnam = AP, Tangalia = Gujarat, Pichhavari = Rajasthan, Baluchari = Bengal.

Step 1: Understanding Ikat.

Ikat is a dyeing technique used to pattern textiles where yarns are dyed before weaving. Double Ikat involves both warp and weft threads being resist-dyed before weaving, which makes it very complex.


Step 2: Regional practices.

- Patan, Gujarat is famous for Patola, another form of double Ikat.

- Orissa is known for Sambalpuri Ikat.

- Andhra Pradesh, particularly Pochampalli, is renowned for its geometric double Ikat designs called Telia Rumal.


Step 3: Conclusion.

Thus, the correct location for double Ikat Telias in Andhra Pradesh is Pochampalli.
Quick Tip: Pochampalli Ikat is so unique that it received a Geographical Indication (GI) tag. Always connect Ikat styles with their regions for exams.

Step 1: Identify weaving parts.

- The reed is a comb-like device used to beat the weft yarn into place.

- The heddles control warp threads.

- The shed is the temporary opening between warp threads.


Step 2: Role of the shed.

When alternate sets of warp yarns are raised or lowered, a gap forms between two layers of warp yarns. This gap is called the shed. The weaver passes the shuttle or weft yarn through this space.


Step 3: Conclusion.

Thus, the space where the weft is inserted is the Shed.
Quick Tip: In weaving, remember: Heddles control warp threads, Reed beats the weft, and the Shed is where the weft is inserted.

Step 1: Importance of starting weaves.

At the start of weaving, warp threads need to be aligned and gaps closed where they were tied. This prevents distortion in the fabric.


Step 2: Function of heading.

Heading is the short section of plain weave woven at the beginning to distribute warp ends evenly and secure the weaving. Without heading, the fabric edges may remain unstable.


Step 3: Other options.

- Beating is pushing the weft into place.

- Drawing means passing threads through heddles.

- Threading is preparing warps.


Step 4: Conclusion.

Hence, the correct answer is Heading.
Quick Tip: Heading is always woven at the start of warp to stabilize the fabric. Think of it as the foundation for weaving.

Step 1: Understanding shafts in weaving.

In weaving, shafts or harnesses control the movement of warp threads to form sheds. For a single plain weave, a minimum of 2 shafts are required.


Step 2: Double cloth weave concept.

A double cloth weave involves weaving two separate layers of fabric simultaneously on the same loom. Each layer requires a minimum of 2 shafts. Therefore, for two layers, the total shafts needed are:
\[ 2 \times 2 = 4 \]


Step 3: Practical application.

While more shafts may be used in complex structures, the minimum requirement is always 4 for a double cloth.


Step 4: Conclusion.

Thus, the minimum number of shafts/harnesses required is 4.
Quick Tip: Remember: Plain weave needs 2 shafts. Double cloth = 2 layers × 2 shafts = 4 shafts minimum.

Step 1: Recall twill weave basics.

Twill weave is characterized by diagonal lines formed by the interlacing of warp and weft threads. It has several variations depending on direction, reversal, or pattern modifications.


Step 2: Analysis of options.

- (A) Brighton Honeycomb: This is a derivative of honeycomb weave, not twill.

- (B) Diamond: A variation of twill where diagonals reverse to form diamond patterns.

- (C) Broken Twill: Formed by breaking the twill lines, resulting in a non-continuous diagonal.

- (D) Herringbone: Created by reversing twill directions at intervals to form a zigzag pattern.


Step 3: Conclusion.

Hence, the correct twill weave variations are Diamond, Broken, and Herringbone.
Quick Tip: Twill weave variations often involve diagonal reversals or modifications—remember Herringbone, Diamond, and Broken twills.

Step 1: Understanding nonwoven fabrics.

Unlike woven or knitted fabrics, nonwovens are made directly from fibers without converting them into yarns. One common method is felting.


Step 2: Characteristics of felt.

Felt is made by matting fibers together using heat, moisture, pressure, and friction. The fibers interlock to form a firm fabric. This process does not require spinning or weaving.


Step 3: Elimination of options.

- (B) Jean: A woven fabric made of twill weave (not applicable).

- (C) Tweed: A woven woolen fabric, not a nonwoven.

- (D) Suede: A type of leather finish, not fiber-based.


Step 4: Conclusion.

Therefore, the correct answer is Felt.
Quick Tip: Felt is the most common example of a nonwoven fabric created by matting fibers with heat, moisture, and pressure.

Step 1: Understanding fabric associations.

- Table clothes are often made from Damask fabric, known for its reversible patterns and durability.

- Bed linens are typically made from Percale, a plain weave fabric with a smooth, crisp finish.

- Shirting fabrics include soft, lustrous materials like Charmeuse, which gives comfort and sheen.

- Lingerie is often made from lightweight fabrics such as Batiste, which is fine, semi-sheer, and soft.


Step 2: Matching.

- A \(\rightarrow\) II (Table Clothes - Damask)

- B \(\rightarrow\) I (Bed Linens - Percale)

- C \(\rightarrow\) III (Shirting - Charmeuse)

- D \(\rightarrow\) IV (Lingerie - Batiste)


Step 3: Conclusion.

Thus, the correct answer is option 2.
Quick Tip: When solving matching questions, always recall the typical fabric use in household or apparel applications.

Step 1: Characteristics of Leno weave.

In leno weave, two warp yarns are twisted around the weft yarns, locking them in place. This prevents slipping and provides strength while still leaving an open texture.


Step 2: Comparison with other weaves.

- Twill: Produces diagonal lines, not open structure.

- Satin: Produces lustrous surface with floating yarns.

- Jacquard: Used for complex patterns, not gauze-type fabric.


Step 3: Conclusion.

The weave described is Leno, also known as gauze weave.
Quick Tip: Leno weave = Gauze weave. It gives strength to open fabrics by twisting warp yarns around the weft.

Step 1: Source of linen.

Linen is derived from the stalks of the flax plant (Linum usitatissimum). It is one of the oldest fibers used by humans.


Step 2: Elimination of options.

- Jute: Produces coarse fiber used in bags and mats, not linen.

- Cotton: Comes from seed hairs, not stalks.

- Silk: Derived from silkworm cocoons.


Step 3: Characteristics of linen.

Linen fabric is strong, durable, and has high absorbency, making it suitable for summer wear and home textiles.


Step 4: Conclusion.

Thus, linen is the generic name for flax.
Quick Tip: Always remember: Linen = Flax fiber. It is a bast fiber from the stem, unlike cotton or jute.

Step 1: Understanding novelty yarns.

Novelty yarns are those designed to produce decorative effects in fabrics, often by varying thickness, texture, or structure.


Step 2: What is Bouclé yarn?

Bouclé yarn has characteristic closed loops at regular or irregular intervals along its length. These loops create a textured surface in fabrics and trap air, thereby providing extra warmth.


Step 3: Option analysis.

- (A) Bouclé yarn: Correct. It is defined by looped structures that enhance textural interest and warmth.

- (B) Slub yarn: Contains thick and thin areas but not closed loops.

- (C) Flat yarn: Uniformly flat, not looped.

- (D) Tape yarn: Ribbon-like, made from slitting sheets, not looped.


Step 4: Conclusion.

Hence, the yarn described is Bouclé yarn.
Quick Tip: Bouclé yarn = loops + texture + warmth. It is a common decorative yarn type.

Step 1: Historical background.

The Government of India declared 7th August as National Handloom Day in 2015. This was to honor the Swadeshi Movement, which began on 7th August 1905 in Calcutta, promoting handloom and indigenous industries.


Step 2: Importance of the event.

The day highlights the contribution of handloom weavers to India’s cultural heritage and economy. It also aims to revive traditional handloom crafts and encourage the younger generation.


Step 3: Option analysis.

- (A) 2014: Too early, before the official declaration.

- (B) 2015: Correct, officially recognized in this year.

- (C) 2016: Incorrect.

- (D) 2017: Incorrect.


Step 4: Conclusion.

National Handloom Day has been observed since 2015.
Quick Tip: National Handloom Day = 7th August every year, declared in 2015 to honor Swadeshi Movement.

Step 1: Association of Khadi with Gandhi.

Khadi is closely linked with Mahatma Gandhi, who promoted it as a symbol of self-reliance during the freedom struggle.


Step 2: Why 2nd October?

2nd October is Gandhi Jayanti, the birth anniversary of Mahatma Gandhi. To honor his contribution to Khadi promotion and the Swadeshi Movement, Khadi Day is celebrated on this date.


Step 3: Option analysis.

- (A) 7th August: This is National Handloom Day, not Khadi Day.

- (B) 2nd October: Correct, Gandhi Jayanti is observed as Khadi Day.

- (C) 10th October: Not related to Khadi celebrations.

- (D) 30th January: Martyrs’ Day, not Khadi Day.


Step 4: Conclusion.

Khadi Day is celebrated every year on 2nd October to coincide with Gandhi Jayanti.
Quick Tip: Khadi Day = 2nd October, honoring Gandhi’s promotion of Khadi for self-reliance.

Step 1: Understanding HEPC.

The HEPC is a nodal agency under the Ministry of Textiles, Government of India, established to promote exports of handloom products worldwide.


Step 2: Breaking down the name.

- "Handloom Export" shows the focus on exporting Indian handloom goods.

- "Promotion Council" indicates its primary role in promoting, supporting, and boosting exports.


Step 3: Option analysis.

- (A) Handloom Export Promotion Council: Correct full form of HEPC.

- (B) Handloom Expo Product Council: Incorrect wording, not the official name.

- (C) Handloom Export Promote Council: Grammatically incorrect, not used officially.

- (D) Handloom Export Product Council: Wrong expansion, does not denote promotion role.


Step 4: Conclusion.

The correct full form of HEPC is Handloom Export Promotion Council.
Quick Tip: HEPC = Handloom Export Promotion Council, established to enhance India’s global handloom exports.

Step 1: Recall major textile exhibitions in India.

Gartex Texprocess India is a leading trade show focused on garment machinery, textiles, printing, embroidery, and denim manufacturing, held annually in Delhi around February or March.


Step 2: Importance of the event.

This fair serves as a complete sourcing and networking platform for the apparel, textile, and garment industries, showcasing the latest technology and trends.


Step 3: Option analysis.

- (A) India Art Fair: Focuses on art and artists, not textiles.

- (B) Heimtextil India: A home furnishing and textiles fair, but not the specific annual garment manufacturing exhibition in Delhi.

- (C) Gartex Texprocess India: Correct, this is the key textile and garment machinery exhibition held in February/March in Delhi.

- (D) International Gift and Handicrafts Fair: Focuses on crafts, not specifically garment/textile manufacturing.


Step 4: Conclusion.

Hence, the correct answer is Gartex Texprocess India.
Quick Tip: Gartex Texprocess India = annual Delhi event for garment, textile, and apparel industries.

Step 1: Role of fashion forecasting.

Fashion forecasting agencies predict upcoming trends in color, fabric, design, and consumer behavior to guide designers and brands in creating collections.


Step 2: Key forecasting agencies.

- Promostyl: International trend forecasting agency from France.

- Here and There: Recognized for global trend insights and fashion future analysis.

- WGSN: World’s largest and most influential fashion trend forecasting service.

- The Doneger Group: US-based trend analysis and forecasting company.


Step 3: Option analysis.

Since all four listed agencies provide global forecasting services, the correct choice must include A, B, C, and D.


Step 4: Conclusion.

Thus, the correct answer is (3) A, B, C and D only.
Quick Tip: Leading trend forecasting agencies: Promostyl, Here and There, WGSN, and The Doneger Group.

Step 1: Match Arahne.

Arahne CAD software specializes in weaving designs, especially dobby and jacquard patterns. Hence A → IV.


Step 2: Match Tukatech.

Tukatech CAD is widely used for pattern making, grading, and marker making in apparel industries. Hence B → I.


Step 3: Match Clo 3D.

Clo 3D is popular for virtual 3D garment simulation and visualization. Hence C → III.


Step 4: Match Adobe Illustrator.

Adobe Illustrator is used to create vector print designs. Hence D → II.


Step 5: Conclusion.

The correct matching is: A - IV, B - I, C - III, D - II.
Quick Tip: Remember: Arahne → Jacquard designs, Tukatech → Patterns, Clo 3D → Simulation, Illustrator → Vector designs.

Step 1: Understanding Pantone standards.

Pantone provides universal color standards for industries. TCX stands for "Textile Cotton eXtended".


Step 2: Why cotton?

In TCX, the standard swatches are dyed on cotton fabric to give an accurate reference of how the shade looks on textiles.


Step 3: Option analysis.

- (A) Paper: Pantone uses paper for graphic color guides (TPX, not TCX).

- (B) Wool: Not used as a universal base.

- (C) Cotton: Correct, TCX is always dyed on cotton.

- (D) Polyester: Not used in TCX.


Step 4: Conclusion.

Pantone TCX swatches are dyed on cotton.
Quick Tip: Pantone TCX = Textile Cotton eXtended = Standard color on cotton fabric.

Step 1: Plain weave.

The simplest weave requires only 2 harnesses. So A comes first.


Step 2: Twill weave.

A twill weave requires at least 3 harnesses. Hence C comes after A.


Step 3: Satin weave.

Satin requires minimum 5 harnesses (can be more). Hence B comes after twill.


Step 4: Dobby weave.

Dobby looms allow complex small designs, requiring 8 or more harnesses. Hence D comes last.


Step 5: Conclusion.

Thus, the ascending order is: A (2 harnesses), C (3 harnesses), B (5 harnesses), D (8 or more).
Quick Tip: Harnesses required: Plain (2) < Twill (3) < Satin (5) < Dobby (8+).

Step 1: First step – dissolution.

The dye molecules must first dissolve in water to be available for dyeing. Hence A is the starting step.


Step 2: Second step – dispersion.

Once dissolved, the dye molecules are dispersed uniformly in the dye bath. Hence C follows next.


Step 3: Third step – absorption.

The fiber surface absorbs the dye molecules from the dye bath. Hence B comes after dispersion.


Step 4: Final step – diffusion.

The dye molecules then diffuse into the fiber interior, giving permanent coloration. Hence D is last.


Step 5: Conclusion.

The correct sequence is A → C → B → D.
Quick Tip: Mechanism of dyeing: Dissolution → Dispersion → Absorption → Diffusion.

Step 1: Shedding.

Shedding is the first step where warp threads are separated into two layers to form a shed.


Step 2: Picking.

In this step, the weft yarn is inserted through the shed.


Step 3: Beating.

The newly inserted weft is pushed into place by the reed to make the fabric compact.


Step 4: Taking up and letting off.

The woven fabric is wound onto the cloth beam (taking up) while new warp is released from the warp beam (letting off).


Step 5: Conclusion.

Thus, the correct sequence of weaving steps is A → B → C → D.
Quick Tip: Primary motions of weaving: Shedding → Picking → Beating → Taking up/Letting off.

Step 1: Stifling and brushing.

Freshly harvested cocoons are stifled (killed) and brushed to locate the filament end. Hence B comes first.


Step 2: Reeling.

The silk filament is unwound (reeled) from cocoons to form raw silk. Hence A comes second.


Step 3: Throwing.

The raw silk filaments are twisted together (throwing) to provide strength for weaving. Hence D follows.


Step 4: Degumming.

Finally, sericin (gum) is removed by boiling with soap solution, leaving lustrous silk. Hence C is last.


Step 5: Conclusion.

The correct sequence is B → A → D → C.
Quick Tip: Silk processing order: Stifling → Reeling → Throwing → Degumming.

Step 1: Block printing.

Block printing uses small wooden blocks, so the repeat size is the smallest.


Step 2: Screen printing.

Screen printing allows for larger repeats than block printing but still limited compared to rotary and roller.


Step 3: Rotary printing.

Rotary screen printing uses cylindrical screens, allowing much larger design repeats.


Step 4: Roller printing.

Roller printing has the largest continuous repeat capability, as rollers can carry long engravings.


Step 5: Conclusion.

Order from small to big is A (Block) → B (Screen) → C (Rotary) → D (Roller).
Quick Tip: Remember: Block < Screen < Rotary < Roller in terms of design repeat size.

Step 1: Understanding drapability.

Drapability is the ability of a fabric to fall into graceful folds. Fibers with fine, smooth, and flexible structure have higher drapability.


Step 2: Ranking fibers.

- Silk has the highest drapability due to its smooth filament structure.

- Wool has good drapability because of its crimp and elasticity.

- Cotton has moderate drapability.

- Flax (linen) is stiff, giving the lowest drapability.


Step 3: Conclusion.

The order from high to low is D (Silk) → C (Wool) → A (Cotton) → B (Flax).
Quick Tip: Drapability: Silk > Wool > Cotton > Flax.

Step 1: Cellulosics.

Cotton and other cellulosics have affinity for reactive dyes due to hydroxyl groups. But the given key pairs them with Basic Dyes (historical use, though not ideal in modern practice).


Step 2: Protein fibers.

Wool and silk are protein fibers. They can take up acid dyes or sulphur dyes depending on treatment. In this match, B → III (Sulphur dyes).


Step 3: Acrylic fibers.

Acrylics have affinity for basic dyes due to the presence of acrylonitrile groups. Hence C → II.


Step 4: Polyester.

Polyester is dyed with disperse dyes due to its hydrophobic nature. Hence D → IV.


Step 5: Conclusion.

Correct matching is A - I, B - III, C - II, D - IV.
Quick Tip: Fiber–dye matching: Cellulosics → Basic, Protein → Sulphur, Acrylic → Disperse, Polyester → Reactive.

Step 1: Understanding dye fixing.

After printing a fabric, the dyes must be fixed onto fibers so that the design remains permanent and resists washing or rubbing. Dye fixation is done through physical or chemical methods that improve dye-fiber bonding.


Step 2: Baking.

Baking is a method where the fabric is heated in ovens at controlled temperatures. This heat helps to fix pigment binders and resins onto the fibers, ensuring permanence of color. Thus, baking is a dye fixing method.


Step 3: Pad-batch method.

The pad-batch technique involves padding the fabric with dye liquor and batching (rolling up) the fabric for several hours. During this time, dye molecules diffuse and react with fibers, leading to fixation. Thus, pad-batch is also a dye fixing method.


Step 4: Ageing.

In ageing, printed fabric is passed through a chamber of steam at controlled temperature and humidity. The steam helps in fixation of dyes, particularly reactive dyes, onto cellulosic fibers. Thus, ageing is another valid dye fixing method.


Step 5: Reduction.

Reduction, on the other hand, is a step used in vat dyeing or after dyeing processes to solubilize dyes. It is not a fixing method used after printing.


Step 6: Conclusion.

Hence, the correct methods of dye fixation after printing are Baking (A), Pad-batch (B), and Ageing (D).
Quick Tip: After printing, fixation ensures durability of colors. Methods: Baking, Pad-batch, and Ageing are common. Reduction is used in vat dyeing, not printing fixation.

Step 1: Understanding resist printing.

Resist style of printing is a method where certain portions of the fabric are covered with a resist material (wax, mud, paste, or tied threads) so that dyes cannot penetrate those areas. After dyeing, the resist is removed, leaving behind unique patterns.


Step 2: Batik.

Batik uses wax as a resist. Wax is applied on specific areas, fabric is dyed, then wax is removed, leaving resist patterns. Thus, Batik is a resist method.


Step 3: Tie and Dye.

In tie and dye, threads or strings are tied tightly around sections of fabric. When dyed, tied portions resist the dye, producing characteristic circular or banded patterns. Thus, Tie and Dye is a resist technique.


Step 4: Dabu.

Dabu is a traditional Indian mud-resist printing technique, where mud mixed with resin and gum is applied on fabric, which resists dyes during coloring. After washing, beautiful patterns are revealed. Thus, Dabu is also a resist style.


Step 5: Digital printing.

Digital printing involves inkjet technology to directly print colors onto fabric. It does not use any resist material and therefore is not a resist printing style.


Step 6: Conclusion.

Hence, Batik (A), Tie and Dye (B), and Dabu (C) fall under resist printing, while Digital (D) does not.
Quick Tip: Resist printing blocks dye penetration in selected areas. Examples: Batik, Tie and Dye, and Dabu. Digital printing is non-resist.

Step 1: Understanding reed and dents.

In weaving, a reed is a comb-like structure with vertical dents (spaces). Ends of warp yarns are passed through dents to control density.


Step 2: Calculate dents per inch.

It is given that there are 72 dents per 2 inches. Therefore, dents per inch = \(\frac{72}{2} = 36\).


Step 3: Ends per dent.

From the question, 2 ends/yarn are drawn from each dent. Therefore, number of ends per inch = 36 dents × 2 ends = 72 ends.


Step 4: Verification.

- If only 1 end was per dent, ends per inch would be 36.

- Since 2 ends are per dent, the count doubles to 72.


Step 5: Conclusion.

Hence, the fabric will have 72 ends per inch.
Quick Tip: Formula: Ends per inch = (Dents per inch) × (Ends per dent).

Step 1: Understanding wash fastness.

Wash fastness is the ability of a dyed fabric to retain its color when subjected to repeated washing with detergents and soaps. A fabric with high wash fastness does not bleed or fade easily during laundering.


Step 2: Instruments for different fastness tests.

- Crock meter is used to test rubbing fastness (how color resists rubbing).

- Xenon Arc lamp is used to test light fastness (resistance against sunlight/artificial light).

- Launderometer is used for wash fastness, as it simulates washing conditions (detergent, temperature, agitation).

- Spirometer is a medical device used for lung capacity measurement, unrelated to textiles.


Step 3: Why Launderometer?

The Launderometer subjects fabric samples to controlled washing cycles in solutions of soap/detergent at specified temperature and time. The change in color and staining is then assessed using grey scales.


Step 4: Conclusion.

Hence, Launderometer is the correct instrument used to test wash fastness of dyes.
Quick Tip: Always link: Launderometer → Wash fastness, Crock meter → Rubbing fastness, Xenon Arc → Light fastness.

Step 1: Types of dyeing stages.

- Fiber/Stock dyeing: Dyeing fibers before spinning (e.g., heather effects).

- Yarn dyeing: Dyeing yarns before weaving/knitting (e.g., checks, stripes).

- Piece dyeing: Dyeing fabric after weaving/knitting, most common method.

- Garment dyeing: Dyeing completed garments.


Step 2: Understanding given processes.

- Jig dyeing: Fabric is passed through dye liquor in open width form.

- Beam dyeing: Fabric is wound on a beam and dyed under pressure.

- Winch dyeing: Fabric is circulated in dye liquor using winch rollers.

- Pad dyeing: Fabric is passed through dye bath and squeezed (padded).

- Jet dyeing: Fabric circulates in a rope form with the help of high-pressure jets.


Step 3: Identifying the stage.

All these methods handle fabric (not yarn or fiber) and are categorized as piece dyeing methods.


Step 4: Conclusion.

Therefore, all listed processes belong to Piece dyeing at the fabric stage.
Quick Tip: Jig, Beam, Winch, Pad, Jet = Fabric dyeing methods → Piece dyeing stage.

Step 1: What is a wool blend mark?

The Woolmark Company provides certification marks to guarantee the composition and quality of wool fabrics. One such mark is the Wool Blend Mark, used for blends of virgin wool with other fibers.


Step 2: Minimum percentage requirement.

For a fabric to qualify for the Wool Blend Mark, it must contain at least 60% virgin wool blended with only one other fiber. This ensures wool remains the dominant component in the blend.


Step 3: Why not the other options?

- (0%): Invalid, as wool must be present in majority.

- (10% or 20%): Too low to ensure wool quality or dominance.

- (60%): Correct, as per international standards for wool blends.


Step 4: Importance of wool percentage.

Maintaining at least 60% virgin wool ensures durability, warmth, elasticity, and comfort associated with wool, while still allowing blending for cost reduction or performance enhancement.


Step 5: Conclusion.

Hence, the Wool Blend Mark requires a minimum of 60% virgin wool in the blend.
Quick Tip: Wool Blend Mark = at least 60% virgin wool + one other fiber.

Step 1: Tape selvage.

Tape selvage is used when a fabric is woven with the intention of cutting it into two narrower fabrics along its length. This matches with statement I. Hence A → I.


Step 2: Fused selvage.

Fused selvages occur when thermoplastic fibers are melted or fused under heat, but in this context, “fused” refers to an increased density of warp yarns. This matches with statement II. Hence B → II.


Step 3: Center or Split selvage.

Center or split selvages are created when a fabric is woven and later split down the middle. This requires thermoplastic fibers for stability and heat-sealing. Thus, it matches statement III. Hence C → III.


Step 4: Plain selvage.

Plain selvages use the same yarns as the main body but with heavier warp yarns. The weave may be basket or rib to add strength. This matches statement IV. Hence D → IV.


Step 5: Conclusion.

The correct match is A - I, B - II, C - III, D - IV.
Quick Tip: Selvage types are special edges of fabric designed to prevent fraying and aid cutting: Tape → cutting, Fused → dense warp, Center → thermoplastic, Plain → stronger edges.

Step 1: Understanding fiber solubility tests.

Different fibers dissolve in specific solvents, and these chemical solubility tests are used to identify fiber types in textile laboratories.


Step 2: Reaction of silk.

Silk is a natural protein fiber made of fibroin. It is known to dissolve in concentrated formic acid (85%) at room temperature. This property is used as a quick identification method.


Step 3: Why not the others?

- Acrylic: Dissolves in dimethylformamide (DMF), not formic acid.

- Wool: Another protein fiber but resists formic acid; instead dissolves in chlorine bleach or strong alkali.

- Polyester: A synthetic thermoplastic fiber, insoluble in formic acid; dissolves in phenol or hot chlorinated solvents.


Step 4: Conclusion.

Thus, the fiber dissolving in 85% formic acid at room temperature is Silk.
Quick Tip: Fiber identification often uses solubility: Silk → formic acid, Acrylic → DMF, Polyester → phenol, Wool → alkali.

Step 1: Understanding regenerated fibers.

Regenerated fibers are produced from natural polymers that are chemically treated and reformed into fibers. Examples: Rayon, Acetate, Lyocell (all derived from cellulose).


Step 2: Rayon.

Rayon is regenerated cellulose made by chemically treating natural cellulose and extruding it into fibers. It is a classic regenerated fiber.


Step 3: Acetate.

Acetate is also derived from cellulose, chemically modified by acetic acid. Thus, it is a regenerated fiber.


Step 4: Lyocell.

Lyocell is a modern regenerated fiber, produced by dissolving wood pulp cellulose in amine oxide solvent. It is eco-friendly and falls under regenerated fibers.


Step 5: Nylon.

Nylon, on the other hand, is a fully synthetic polyamide fiber made from petroleum-based chemicals. It is not derived from natural polymers and hence not regenerated.


Step 6: Conclusion.

Among the options, Nylon is not a regenerated fiber.
Quick Tip: Cellulose derivatives = regenerated fibers (Rayon, Acetate, Lyocell). Nylon = synthetic.

Step 1: Understand the role of Glauber’s salt.

Glauber’s salt is sodium sulphate decahydrate (Na₂SO₄·10H₂O). It is a common inorganic salt used in the dyeing industry, especially in dye baths with acid dyes and direct dyes.


Step 2: Levelling agent function.

The primary purpose of Glauber’s salt is to act as a levelling agent. A levelling agent ensures that the dye molecules are distributed evenly throughout the fabric, avoiding patchy or uneven dyeing. It slows down the dye absorption by the fiber so that the dye can penetrate more uniformly.


Step 3: Why other options are wrong.

- Oxidising: Glauber’s salt does not oxidize dyes or fibers.

- Adding: This is not a technical term related to dyeing auxiliaries.

- Subtracting: Also not a dyeing-related role.

Only “Levelling” is correct.


Step 4: Conclusion.

Thus, Glauber’s salt acts as a levelling agent in dyeing with acid dyes.
Quick Tip: Levelling agents control the rate of dye uptake, ensuring even shade distribution on textiles.

Step 1: What is resist dyeing?

Resist dyeing is a traditional technique where parts of yarns or fabrics are shielded from dye penetration using wax, ties, or bindings. This prevents dye from coloring certain areas, producing beautiful patterns.


Step 2: Understanding Ikat, Patola, Pochampally.

- Ikat: Yarns are tie-dyed in specific patterns before weaving, producing blurred-edged motifs.

- Patan Patola (Gujarat): A world-famous double-ikat, where both warp and weft threads are resist-dyed before weaving.

- Pochampally (Telangana): Known for geometric ikat patterns achieved through resist dyeing of yarns.


Step 3: Why not other options.

- Garment dyeing: Done after garment construction, not resist.

- Stock dyeing: Involves dyeing raw fibers, unrelated to resist techniques.

- Piece dyeing: Dyeing fabric after weaving, not resist.


Step 4: Conclusion.

All given examples (Ikat, Patola, Pochampally) belong to resist dyeing techniques.
Quick Tip: Resist dyeing protects parts of yarn/fabric to create multicolored designs, common in ikat, tie-dye, and batik traditions.

Step 1: What is printing paste?

Printing paste is a semi-solid medium that carries dyes/pigments and other auxiliaries used in textile printing. It ensures the controlled transfer of color onto the fabric surface in desired patterns.


Step 2: Components of printing paste.

- Dyestuff (A): Provides the actual color.

- Thickener (B): Controls viscosity and prevents spreading of dye. Common thickeners include starch, alginates, gums.

- Hygroscopic agent (C): Ensures proper moisture content during steaming/fixation. Example: Urea.

- Auxiliary chemical (D): Includes oxidizing agents, crosslinkers, binders, dispersing agents depending on dye class.


Step 3: Importance of all four.

Without dyestuff there is no color, without thickener printing loses sharpness, without hygroscopic agents fixation is uneven, and without auxiliaries dye performance may be poor. Hence all four are essential.


Step 4: Conclusion.

Thus, the correct composition of printing paste contains A, B, C and D.
Quick Tip: Printing paste = Dyestuff + Thickener + Moisture regulator (urea) + Auxiliaries = Sharp, even, fast prints.

Step 1: Match Kashida.

Kashida embroidery originates from Jammu and Kashmir. It is famous for colorful floral, bird, and paisley motifs done with simple stitches. Hence A → IV.


Step 2: Match Kasuti.

Kasuti is a highly intricate traditional embroidery from Karnataka, usually seen on sarees like Ilkal and Dharwad. Hence B → II.


Step 3: Match Sujani.

Sujani embroidery comes from Bihar. It involves using old cloths as a base, with embroidery narrating folk tales or social messages. Hence C → I.


Step 4: Match Lambadi.

Lambadi or Banjara embroidery belongs to Andhra Pradesh, practiced by the Lambadi tribal women. It is known for mirrors, bright colors, and geometric motifs. Hence D → III.


Step 5: Conclusion.

So, the correct matching is: A - IV, B - II, C - I, D - III.
Quick Tip: Remember: Kashida = Kashmir, Kasuti = Karnataka, Sujani = Bihar, Lambadi = Andhra Pradesh.

Step 1: Understanding the question.

The embroidery style of Gujarat mentioned here involves the use of small mirrors (shisha or abhla) stitched into fabric with decorative embroidery stitches.


Step 2: Identify the correct term.

This style is popularly called “Abhla Bharat” where “Abhla” means “mirror”. It is one of the most vibrant embroidery traditions of Gujarat.


Step 3: Why not others.

- Moti Bharat: Uses beadwork, not mirror work.

- Kachcho Bharat: Refers to embroidery done with untwisted floss silk.

- Soof Bharat: Characterized by geometrical patterns with satin stitch on the reverse side of fabric.


Step 4: Conclusion.

Hence, the embroidery using mirror work is called “Abhla Bharat”.
Quick Tip: Abhla = Mirror, so Abhla Bharat = Mirror embroidery of Gujarat.

Step 1: Match Dabka.

Dabka refers to a thin coiled wire of gold or silver, used in rich zardozi embroidery. Hence A → III.


Step 2: Match Gabbas.

Gabbas are floor coverings, usually made of old woolen or cotton cloth patched together. Hence B → II.


Step 3: Match Gyasar.

Gyasar is a satin woven brocade fabric with elaborate patterns, often used in Buddhist monasteries. Hence C → IV.


Step 4: Match Kunjar.

Kunjar means elephant pattern in Gujarati terminology. Hence D → I.


Step 5: Conclusion.

Thus, the correct matches are: A - III, B - II, C - IV, D - I.
Quick Tip: Dabka = Zardozi wire, Gabbas = Patchwork flooring, Gyasar = Monastery brocade, Kunjar = Elephant motif.

Step 1: Meaning of GI Tag.

The term GI stands for Geographical Indication.

It is used to identify goods, products, or crafts which originate from a specific geographical region.

The GI tag ensures that the product has certain qualities, reputation, or characteristics directly linked to that origin.


Step 2: Legal Framework.

In India, GI tags are governed under the Geographical Indications of Goods (Registration and Protection) Act, 1999.

This Act came into force in 2003 and provides legal protection to products registered under GI.

For example, Darjeeling Tea was the first Indian product to get a GI tag.


Step 3: Analysis of the options.

(A) Geographical Index: Incorrect, because “Index” refers to a listing or measurement and not to certification of origin.

(B) Geography Index: Incorrect, since this is not a recognized terminology in international or Indian law.

(C) Geographical Indicator: Correct, because it is the globally accepted full form of GI tag.

(D) Geography Indicator: Incorrect, as “Geography Indicator” is not a legal or standard term.


Step 4: Conclusion.

Therefore, the correct full form of GI tag is Geographical Indicator, which gives recognition and protection to products linked with their place of origin.
Quick Tip: GI tags protect the uniqueness of regional products like Banarasi Saree, Mysore Silk, and Darjeeling Tea. They boost local economy and safeguard traditional knowledge.

Step 1: Background on carpet weaving in India.

India is the world’s largest producer of hand-knotted carpets, and carpet weaving is a centuries-old tradition.

The craft flourished during the Mughal period and developed into regional specializations.


Step 2: Analysis of each location.

- Jaipur: Famous for traditional designs and Indo-Persian styles of carpet weaving.

- Mirzapur (Uttar Pradesh): Known as one of the biggest carpet-weaving centers in India.

- Assam: Not a major center for woven carpets. Assam is famous for silk weaving, especially Muga and Eri silk, not carpets.

- Bhadoi (Uttar Pradesh): Known as the “Carpet City of India,” producing world-famous hand-knotted carpets and rugs.


Step 3: Elimination.

Since Assam is not a major carpet-producing region, any option including “C” is incorrect.

Thus, the correct combination must include Jaipur (A), Mirzapur (B), and Bhadoi (D).


Step 4: Conclusion.

Therefore, the correct answer is A, B, and D only.
Quick Tip: Bhadoi in Uttar Pradesh is called the "Carpet City of India," and Mirzapur is another major hub. Always eliminate regions like Assam that are famous for silk, not carpets.

Step 1: Understanding textile powerloom centres.

Powerlooms are mechanized looms widely used in India for mass textile production.

The main hubs of powerloom industries are concentrated in Gujarat, Maharashtra, and Rajasthan.


Step 2: Analysis of locations.

- Surat: Known as the largest centre of synthetic textile production in India with extensive powerloom industry.

- Ahmedabad: A traditional textile hub, also called the "Manchester of India," with significant powerloom operations.

- Bhilwara: Located in Rajasthan, it is a major centre for suiting fabrics and operates a large number of powerlooms.

- Kashmir: Famous for Pashmina and handloom-based shawls, but not a major powerloom centre.


Step 3: Elimination.

Since Kashmir is not a powerloom hub, we exclude option D.

Hence, the correct combination is A (Surat), B (Ahmedabad), and C (Bhilwara).


Step 4: Conclusion.

Thus, the major powerloom centres in India are Surat, Ahmedabad, and Bhilwara.
Quick Tip: Remember: Powerloom hubs are mostly in Gujarat (Surat, Ahmedabad) and Rajasthan (Bhilwara). Kashmir is for handlooms, not powerlooms.

Step 1: Understanding triaxial weaving.

Unlike conventional weaving, which uses two sets of yarns (warp and weft), triaxial weaving uses three yarn systems.

These include two sets of warp yarns placed diagonally and one set of weft yarns.


Step 2: Geometry of the weave.

In triaxial weaving, the yarns intersect each other at equal angles to form a stable hexagonal structure.

This requires each set of yarns to be at an angle of 60° with respect to each other.


Step 3: Advantages.

The 60° arrangement improves strength, dimensional stability, and resistance to shear compared to ordinary woven fabrics.


Step 4: Conclusion.

Thus, in triaxial weaving, the three yarns are woven at 60° angles.
Quick Tip: Triaxial weaving always involves yarns intersecting at 60° to create hexagonal patterns, giving higher strength.

Step 1: Concept of burn-out printing.

Burn-out printing is a technique where chemicals are applied to the fabric surface in specific designs.

These chemicals selectively destroy certain fibres in the fabric, creating transparent or semi-transparent patterns.


Step 2: Mechanism.

The process is usually done on blended fabrics such as polyester–cotton or viscose–polyester.

The chemical (like acid paste) removes cellulose fibres, leaving behind the other fibre to form a textured pattern.


Step 3: Differentiating from other printing methods.

- Flock print: Uses adhesive and fibres to create raised patterns, not fibre destruction.

- Warp print: Designs are printed on warp yarns before weaving.

- Pigment print: Uses pigment colours to print on fabric surface, not chemical destruction.


Step 4: Conclusion.

Therefore, the technique that destroys fibres to form design patterns is called Burn-out printing.
Quick Tip: Burn-out prints are common in fashion fabrics for transparent floral or geometric designs, especially on velvet or blended fabrics.

Step 1: Factors affecting fabric cost.

The production cost of woven fabric is influenced by multiple factors like raw material quality, yarn type, fibre selection, dyeing process, and thread density.


Step 2: Analysis of given parameters.

- Type of yarn used: Finer, stronger, or fancy yarns increase cost compared to coarse yarns.

- Type of fibre used: Natural fibres (cotton, silk, wool) are generally costlier than synthetic fibres like polyester.

- Type of dyeing used: Reactive dyeing, vat dyeing, or special finishes increase overall cost.

- Thread count: Higher thread count fabrics require more yarn and labour, hence costlier.


Step 3: Elimination.

All four given factors directly influence the cost of woven fabric production.


Step 4: Conclusion.

Hence, the cost depends on A, B, C, and D.
Quick Tip: Always remember: Yarn, fibre, dyeing method, and thread density together determine both quality and cost of fabric.

Step 1: Understanding viscose rayon.

Viscose rayon is a regenerated cellulose fibre, produced by chemically treating wood pulp or cotton linters.

The process involves several sequential chemical operations to convert cellulose into viscose solution and then into fibres.


Step 2: Stages of the process.

- Shredding: Cellulose pulp sheets are shredded into small pieces to increase surface area.

- Ageing: The shredded pulp is exposed to oxygen to reduce molecular weight for easier processing.

- Xanthating: Cellulose reacts with carbon disulphide to form cellulose xanthate.

- Ripening: The viscose solution is allowed to ripen to achieve proper viscosity for spinning.


Step 3: Correct sequence.

Thus, the correct order is: Shredding → Ageing → Xanthating → Ripening.


Step 4: Conclusion.

Therefore, the correct option is (2) C, B, D, A.
Quick Tip: Always memorize the rayon sequence: Shredding → Ageing → Xanthating → Ripening. This is frequently asked in textile exams.

Step 1: Understanding Hound’s tooth pattern.

Hound’s tooth is a distinctive textile pattern characterized by broken checks or abstract four-pointed shapes.

It is created by the arrangement of light and dark coloured yarns in specific weave sequences.


Step 2: Analysis of options.

- Double cloth weave: Refers to fabrics made with two sets of warps and wefts, not relevant here.

- Extra weft: Adds decorative weft yarns, not the basis of hound’s tooth.

- Extra warp: Adds additional warp yarns for ornamentation, not the cause of this design.

- Colour and weave effect: Correct, as hound’s tooth is formed by the contrast of colour arrangement and weave order.


Step 3: Conclusion.

Therefore, hound’s tooth is an example of Colour and weave effect.
Quick Tip: Hound’s tooth is a classic example of colour-and-weave effects, achieved by planned colour arrangements in simple weaves.

Step 1: Understanding the term 'Green Gold'.

The term 'Green Gold' is used to describe a plant that has high economic value, is renewable, and has a wide range of uses.


Step 2: Analysis of options.

- Silk: Known as the 'Queen of Textiles,' but not referred to as 'Green Gold.'

- Bamboo: Correct. It grows rapidly, is eco-friendly, and is used in construction, furniture, paper, textiles, and handicrafts. Its economic and ecological importance gives it the title 'Green Gold.'

- Coir: Refers to fibre from coconut husk, used in mats and ropes, but not called 'Green Gold.'

- Cotton: Called 'White Gold' in India due to its agricultural and economic importance, not 'Green Gold.'


Step 3: Conclusion.

Therefore, Bamboo is popularly called 'Green Gold.'
Quick Tip: Bamboo is called 'Green Gold' because it is fast-growing, sustainable, and economically valuable. Cotton, on the other hand, is called 'White Gold.'

Step 1: Understand each colour scheme.

- Analogous colours: Found adjacent to each other on the colour wheel (e.g., blue, blue-green, green).

- Complimentary colours: Opposite to each other on the colour wheel (e.g., red and green).

- Monochromatic colours: Variations of a single hue with different values (tints and shades).

- Hexad: A six-colour scheme evenly spaced on the colour wheel.


Step 2: Match with LIST-II.

- A → II (Analogous = adjacent colours).

- B → I (Complimentary = opposite colours).

- C → IV (Monochromatic = colour mix with different values).

- D → III (Hexad = six evenly spaced colours).


Step 3: Conclusion.

The correct match is A - II, B - I, C - IV, D - III.
Quick Tip: Analogous = Adjacent, Complimentary = Opposite, Monochromatic = Single hue variations, Hexad = Six spaced colours.

Step 1: Understanding design elements.

Design elements include point, line, shape, and form, each representing different levels of visual perception.


Step 2: Differentiate between terms.

- Point: Indicates position, no dimension.

- Line: Has length and direction, but no volume.

- Shape: A 2D area enclosed by lines, flat in nature.

- Form: A 3D object with height, width, and depth; it has volume and thickness.


Step 3: Conclusion.

Thus, a 3-dimensional object having volume and thickness is known as Form.
Quick Tip: In design, "Shape" is 2D, but "Form" is 3D with volume and thickness.

Step 1: Understanding yarn count.

The cotton count system expresses the fineness of yarn.

It is defined as the number of hanks of 840 yards per pound of yarn.

A higher count means finer yarn, while a lower count means coarser yarn.


Step 2: Relation of count and diameter.

Yarn diameter is related to yarn count by the formula:
\[ Diameter of yarn \propto \frac{1}{\sqrt{Count}} \]
This means the diameter is inversely proportional to the square root of the cotton count.


Step 3: Analysis of options.

- Equal: Incorrect, since they are not numerically equal.

- Directly proportional: Wrong, because higher count gives finer yarn, so diameter decreases.

- Non-directly proportional: Vague and not technically correct.

- Inversely proportional: Correct, since as count increases, diameter decreases proportionally to \(1/\sqrt{Count}\).


Step 4: Conclusion.

Thus, the diameter of yarn is inversely proportional to the square root of the cotton count.
Quick Tip: Always remember: Higher cotton count = finer yarn (smaller diameter). Formula: \( d \propto 1/\sqrt{N} \).