Several communities mainly Rabari in Gujarat and Rajasthan wear kediyun, a smock with long sleeves tied at the side panel. Its length, cut, and surface decoration is determined by the caste, age, and status of the wearer. This garment is designed to allow free movement of the arms and legs, ensuring that the wearer does not feel restricted. In Gujarati, Kendiyun refers to something that reaches up to the waist. The men’s Kediyu, also known as a ‘gathered frock,’ is stitched to be full-sleeved and hip-length. This part of the outfit has a tight fit around the chest. It is made up of two frontal pieces, one back portion, two sleeves, a gher – fullness part, two gussets, one back yolk, and a collar. Kediyu’s gher-fullness part is about 5-6 metres to 15 metres long, with a length of 11 to 15 inches. In Kediyu, a stand collar is worn. It has an overlapping front-end panel with three tie-up closures on one side. It is adorned with embroidery. Originally, hand embroidery was used to beautify it, but nowadays, machine embroidery is used. Dense embroidery covers the front, back, and collar parts. Lord Krishna, peacock, flower, and flower with branch motifs, as well as geometrically shaped borders and some decorative motifs, are used to embroider Kediyu.

It is customarily a piece of clothing made for and by family members. Handicrafts are a big part of Indian folklore. The objects demonstrate the creators’ skill and ingenuity, as well as the evolution of cultural heritage over time. These handicraft objects were originally created for community rituals and personal needs, but they are now available for commercial use as well. The kediyun is an example of a folk craft in India that is not based on commercial exchange.

In some ways, the kediyun resembled a home-based performance. The mind and body were in sync, and the body responded appropriately. Layers of social and individual aspects converged during the process of making kediyun. The kediyun is passed down from generation to generation through a woman’s unspoken knowledge. Despite this, due to varying finger widths, handspans, and arm lengths, each piece was created uniquely. The creators devised a personal approach to working with and measuring their bodies. In addition to stitching, the hand was used to measure the cloth and the person wearing it. The fabric and thread were held in place by the foot and thigh. The thread was twisted into a double-ply using the palms. As a result, each kediyun could be traced back to its creator’s individual body. On the one hand, the art of kediyun-making unites a specific subgroup. It establishes and communicates the diversity of identities among various regional subgroups, on the other hand. The stitching of the kediyun also serves as a form of personal expression due to the distinctive form of hand-stitching. Hand-stitching is, in fact, a type of handwriting, according to Millar (2012). Frater (1995) compares the hand-embroidery of different Kutch subgroups to dialects of a language. Because the measurements are based on the size of the maker’s features, the kediyun has a distinct identity. Hand measurements and stitching combine to make each kediyun a unique expression of an individual’s creativity.

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