The Toda are an ancient pastoral people who live in the cool uplands of the Nilgiri Mountains of Tamil Nadu, India. Toda women do an aesthetically great and intricate form of embroidery, and it holds a cultural uniqueness for the Toda community. This distinct style of embroidery is locally known as "Pugur" or "Pukhoor". In the current study an effort has been made to preserve and revive this craft with the focus on documentation, creating general awareness and capacity building of the artisans. Interventions were planned for the revival and preservation of this traditional craft and community. A video on the tribal craft has been made for introducing it to the masses for increasing awareness about the craft through social media and video screening sessions. A motif/design catalog was also prepared for use by artisans and designers. Also, it was found that design education for artisans at the local level is the most effective model because it focuses on all-round education for the artisan. Thus, a clothing line was designed for men, women, and kids, and design layouts were provided to the artisans for understanding placement of embroidery pattern. Keywords : tribal, toda, pugur/pukhoor, poothkuli, revival ABSTRAK Toda adalah masyarakat pastoral kuno yang tinggal di daerah dataran tinggi Gunung Nilgiri di Tamil Nadu, India. Perempuan Toda membuat bordir yang sangat bagus dan rumit, serta menjaganya sebagai keunikan budaya masyarakat Toda. Gaya bordir distrik ini secara lokal dikenal sebagai "Pugur" atau "Pukhoor". Pada studi terbaru, upaya telah dilakukan untuk melestarikan dan menghidupkan kembali kerajinan ini dengan fokus pada pendokumentasian, penciptaan kesadaran umum, dan peningkatan kapasitas perajin. Intervensi telah direncanakan untuk menghidupkan kembali dan melestarikan kerajinan tradisional dari komunitas ini. Sebuah video tentang kerajinan suku Toda telah dibuat untuk memperkenalkan kerajinan ini kepada khalayak untuk meningkatkan kesadaran masyarakat tentang kerajinan yang disebarkan melalui media sosial dan sesi-sesi pemutaran video. Katalog motif atau desain juga telah disiapkan untuk digunakan para perajin dan desainer. Selain itu, ditemukan bahwa pendidikan untuk para perajin di tingkat lokal adalah model yang paling efektif karena berfokus pada pendidikan secara menyeluruh kepada perajin. Dengan demikian, garis pakaian dirancang untuk pria, wanita, dan anak-anak, dan desain tata letak diberikan kepada perajin untuk memahami penempatan pola bordir.

Precious metals have held a status of their own ever since their discovery. Their use has not only been an indication of power, status, and luxury, but also an example of intricate craft skills exhibited by artisans worldwide. Gold and silver, perhaps the oldest precious metals and also the most popular have had a diverse use in various fields, including textiles. The incorporation of these metals in textiles led to the production of a plethora of textile crafts, each demonstrating a unique feature, skill, and technique. Due to the unique qualities exhibited by the crafts; each textile holds an importance of their own. The terms of many of these textiles are often used interchangeably, however, important minute differences distinguish these textiles from one another, which is often times overlooked. Over the years, these various forms of crafts gained popularity, flourished and were even favourites among the Indian rulers and royalties of the yesteryears. However, with the loss of royal patronage and the decline in investment in the handicraft sector, most of these art forms are either languishing or are not produced anymore. To retain the culturally rich arts of India, the significance associated with them, and most importantly the techniques employed to create such masterpieces, it thus becomes important to document these artforms. This article explores the various textiles that incorporate gold and silver with respect to the technique used to produce exquisite fabrics which depict the dexterity of Indian craftsmanship

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