GI Tag: The Legal Mark Behind India's Handmade Heritage
Surbhi ChadhaShare
A Geographical Indication, or GI, is a legal tag that says a product comes from a specific place, and that the place is the reason the product is special.
India's Geographical Indications of Goods Act came into force in 2003, largely to meet India's obligations under the WTO's intellectual property agreement. Darjeeling Tea became the country's first registered GI the following year.
The idea isn't unique to India. Champagne can legally only come from the Champagne region of France. Scotch Whisky has to be distilled in Scotland. India's law does the same job, just for a much longer and more varied list of products.
GI tags cover far more than textiles. Basmati rice, Alphonso mangoes and Mysore sandalwood all carry one too. But kets sticks to the textile and craft side of that list, since that's where TuDuGu lives.
Where the Idea Comes From

Geographical Indications exist internationally under the World Trade Organization's TRIPS Agreement, which requires member countries to protect place-based product names.
India chose to build a dedicated law rather than fold GIs into existing trademark rules.
That decision turned out to matter a lot for craft producers specifically, because a dedicated law could recognise collective, community-based ownership in a way trademark law was never built to do.
How a GI Tag Differs From a Trademark or a Patent

These three get confused constantly, and the difference isn't just legal trivia. It decides who actually gets to hold the right.
A trademark protects an individual brand. It can belong to one company, and that company can sell it, license it, or take it to court alone.
A GI protects a place-based name for an entire community of producers. No single person owns it, and it can never be sold, licensed or transferred to someone outside that region.
A patent protects a new invention, something novel that didn't exist before. A GI protects the opposite. It protects something that has existed in one place for generations, and simply gives that history legal weight.
Who Can Apply for a GI Tag
This part surprises most people. An individual weaver can't apply for a GI tag on their own craft. The law requires the applicant to be a group, association or organisation representing producers, such as a cooperative society or a state handicrafts body.
That group becomes the registered owner of the name. Individual artisans are, at best, recognised afterwards as authorised users, a separate and secondary registration.
How India Actually Registers a GI
The process runs entirely through one office, and it follows the same steps regardless of whether the product is a spice, a stone carving or a silk saree.
An application goes to the Geographical Indications Registry in Chennai, with proof that the product's quality or reputation genuinely traces back to that place.
- The Registry examines the application and publishes it in the GI Journal, opening a window for objections.
- If no objection succeeds, a certificate is issued and the name enters the official register.
- Registration lasts ten years, and can be renewed indefinitely in ten year blocks.
- Renewal isn't automatic. Someone has to remember to file it and pay the fee.
- Once registered, authorised users from the region can be added separately, giving individual producers a right to use the name.
What Legal Protection Actually Means

Once a name is registered, using it for goods made outside that region becomes a criminal offence rather than a false advertising claim. Infringement can carry a prison term of six months to three years, alongside a fine. Courts treat it with roughly the same seriousness as trademark infringement, at least on paper.
How Many GI Tags India Actually Has
India crossed roughly 650 registered GI tags by early 2026, up from a single registration in 2004. Handicrafts make up the largest category, at just over half the total, ahead of agricultural products, foodstuffs, natural products and manufactured goods.
Tamil Nadu currently leads the state count, followed closely by Uttar Pradesh and Maharashtra. Varanasi alone accounts for one of the highest concentrations of GI tags from a single city anywhere in the country, largely down to its textile and craft output.
For comparison, the European Union has registered several thousand GIs, treating them as a central part of its agricultural export policy. India's list is younger and growing fast, but it's still catching up to how seriously some other regions take this protection.
Why Governments and Brands Care About This
A GI tag isn't just a cultural nicety. It's become a trade tool, and India's government treats it that way.
GI clusters are increasingly built into free trade agreements. Under the India-Oman trade pact, Karnataka's GI protected Indi Lime made its first export shipment in December 2025. New Zealand has separately committed to recognising Indian GI names like Darjeeling Tea and Basmati Rice once its own trade deal with India is finalised.
Domestically, the government has backed GI products with One District One Product retail outlets, dedicated stalls at major railway stations and airports, and tourism circuits built around craft clusters. That's a lot of economic weight sitting on these names, which is exactly why getting the value to flow back to the people who actually make the goods is worth taking seriously.
The Textile and Craft Names Worth Knowing
Every state in India carries craft in its name. Here's the full list of textile and handicraft GI tags, place by place.
|
GI Tag / Craft Name |
City / Region |
|---|---|
|
Uttar Pradesh |
|
|
Tharu Embroidery |
Lakhimpur Kheri |
|
Lucknow Chikankari |
Lucknow |
|
Banaras Brocades and Sarees |
Varanasi |
|
Bhadohi Hand Made Carpet |
Bhadohi |
|
Agra Durrie |
Agra |
|
Farrukhabad Prints |
Farrukhabad |
|
Lucknow Zardozi |
Lucknow |
|
Firozabad Glass |
Firozabad |
|
Kanpur Saddlery |
Kanpur |
|
Moradabad Metal Craft |
Moradabad |
|
Saharanpur Wood Craft |
Saharanpur |
|
Banaras Gulabi Meenakari Craft |
Varanasi |
|
Khurja Pottery |
Khurja |
|
Varanasi Wooden Lacquerware and Toys |
Varanasi |
|
Mirzapur Handmade Dari |
Mirzapur |
|
Banaras Zardozi |
Varanasi |
|
Mirzapur Pital Bartan |
Mirzapur |
|
Banaras Wood Carving |
Varanasi |
|
Banaras Hand Block Print |
Varanasi |
|
Mau Saree |
Mau |
|
Aligarh Tala |
Aligarh |
|
Bakhira Brassware |
Bakhira |
|
Banda Shazar Patthar Craft |
Banda |
|
Nagina Wood Craft |
Nagina |
|
Mahoba Gaura Patthar Hastashilp |
Mahoba |
|
Mainpuri Tarkashi |
Mainpuri |
|
Sambhal Horn Craft |
Sambhal |
|
Amroha Dholak |
Amroha |
|
Baghpat Home Furnishings |
Baghpat |
|
Barabanki Handloom Product |
Barabanki |
|
Kalpi Handmade Paper |
Kalpi |
|
Jalesar Dhatu Shilp |
Jalesar |
|
Patchwork of Rampur |
Rampur |
|
Banaras Tabla |
Varanasi |
|
Banaras Shehnai |
Varanasi |
|
Moonj Craft of Uttar Pradesh |
Statewide |
|
Chitrakoot Wooden Craft and Toys |
Chitrakoot |
|
Pilkhuwa Hand Block Print Textile |
Pilkhuwa |
|
Banaras Mural Painting |
Varanasi |
|
Banaras Metal Casting Craft |
Varanasi |
|
Bareilly Cane and Bamboo Craft |
Bareilly |
|
Bareilly Zari Zardozi |
Bareilly |
|
Mathura Zari Poshak |
Mathura |
|
Mathura Sanjhi Craft |
Mathura |
|
Rajasthan |
|
|
Jaipur Blue Pottery |
Jaipur |
|
Dabu Print |
Bagru |
|
Bagru Hand Block Print |
Bagru |
|
Sanganeri Hand Block Print |
Sanganer |
|
Kota Doria |
Kota |
|
Molela Clay Work |
Molela |
|
Tamil Nadu |
|
|
Kanchipuram Silk Sarees |
Kanchipuram |
|
Thanjavur Paintings |
Thanjavur |
|
Toda Embroidery |
Nilgiris |
|
Telangana |
|
|
Pochampally Ikat |
Pochampally |
|
Andhra Pradesh |
|
|
Srikalahasthi Kalamkari |
Srikalahasthi |
|
Machilipatnam Kalamkari |
Machilipatnam |
|
Uppada Jamdani Sarees |
Uppada |
|
Venkatagiri Sarees |
Venkatagiri |
|
Mangalagiri Sarees and Fabrics |
Mangalagiri |
|
Madhya Pradesh |
|
|
Chanderi Fabric |
Chanderi |
|
Maheshwari Saree |
Maheshwar |
|
Bagh Print |
Bagh |
|
Gujarat |
|
|
Kutch Embroidery |
Kutch |
|
Patan Patola |
Patan |
|
Ajrakh Print |
Kutch |
|
West Bengal |
|
|
Tangail Cotton Sarees |
Tangail belt |
|
Korial Sarees |
West Bengal |
|
Garad Silk Sarees |
West Bengal |
|
Baluchari Saree |
Bishnupur |
|
Kantha Embroidery |
West Bengal |
|
Bihar |
|
|
Madhubani Painting |
Mithila region |
|
Sikki Grass Craft |
Mithila region |
|
Bhagalpuri Silk (Tussar) |
Bhagalpur |
|
Odisha |
|
|
Sambalpuri Saree |
Sambalpur |
|
Dungria Kondh Embroidered Shawl |
Dungria Kondh tribe |
|
Lanjia Saura Painting |
Lanjia Saura tribe |
|
Assam |
|
|
Muga Silk of Assam |
Assam |
|
Gamosa of Assam |
Assam |
|
Bodo Dokhona |
Bodo community |
|
Bodo Eri Silk |
Bodo community |
|
Bodo Jwmgra |
Bodo community |
|
Bodo Gamsa |
Bodo community |
|
Assam Mishing Handloom Products |
Mishing community |
|
Assam Jaapi |
Assam |
|
Sarthebari Metal Craft |
Sarthebari |
|
Garo Textile Weaving |
Garo community |
|
Arunachal Pradesh |
|
|
Apatani Textile |
Apatani tribe |
|
Idu Mishmi Textiles |
Idu Mishmi tribe |
|
Tangsa Textile Product |
Tangsa tribe |
|
Monpa Textile |
Monpa tribe |
|
Nyishi Textile |
Nyishi tribe |
|
Adi Textile |
Adi tribe |
|
Galo Textile |
Galo tribe |
|
Tai Khamti Textile |
Tai Khamti community |
|
Wancho Wooden Craft |
Wancho tribe |
|
Jharkhand |
|
|
Bhagaiya Silk |
Godda district |
|
Kuchai Silk |
Seraikela-Kharsawan |
|
Munda Jewellery |
Munda tribe |
|
Jharkhand Bamboo Craft |
Statewide |
|
Chhattisgarh |
|
|
Bastar Dhokra Craft |
Bastar district |
|
Jammu and Kashmir |
|
|
Kashmiri Pashmina |
Kashmir |
|
Kashmiri Hand Knotted Carpet |
Kashmir |
|
Basohli Pashmina and Painting |
Basohli |
|
Kishtwar Tweed Fabric |
Kishtwar |
|
Kishtwar Loi Blanket |
Kishtwar |
|
Chikri Craft |
Kashmir |
|
Himachal Pradesh |
|
|
Lahauli Socks |
Kullu, Lahaul and Spiti |
|
Kullu Shawl |
Kullu |
|
Kinnauri Shawl |
Kinnaur |
|
Chamba Rumal |
Chamba |
|
Kerala |
|
|
Kannadippaya (Mirror Mat) |
Tribal artisans |
|
Balaramapuram Handloom |
Balaramapuram |
|
Karnataka |
|
|
Mysore Silk |
Mysore |
|
Ilkal Saree |
Ilkal |
|
Molakalmuru Saree |
Molakalmuru |
|
Manipur |
|
|
Moirang Phee |
Manipur |
|
Wangkhei Phee |
Manipur |
|
Nagaland |
|
|
Naga Tribal Shawls |
Naga tribes |
|
Meghalaya |
|
|
Garo Textile Weaving |
Garo tribe |
From A Wider Lens
The Ministry of Textiles has said that GI recognition can raise rural artisans' incomes by 20 to 30 percent. That claim gets repeated often, usually without much scrutiny of what it's actually measuring, or over what timeframe, or for whom.
A tag can genuinely help a product. Whether it helps the person who wove it is a separate question, and the evidence on that is far messier than the marketing suggests.
A Tag the Weaver Doesn't Own
Start with ownership. Official records show the GI tags for Pochampally and Gadwal sarees are held by weaver cooperative societies, not by the individual weavers whose names never appear on the certificate.
That's not necessarily a flaw. Collective ownership can be a sensible way to protect a craft practised by thousands of people. But it also means a weaver's income depends on how well that cooperative negotiates, polices counterfeits and passes on value, not on any right the weaver holds personally.
The Wage Data Sitting Next to the Tag
In May 2026, the Institute for Human Development and the Crafts Council of India released the first field based study of the handloom and handicraft sector's actual economics, covering five states including Uttar Pradesh, home to Banarasi silk.
It found the average artisan across these states earns around Rs 270 a day, below the minimum wage in every state surveyed. Uttar Pradesh recorded the lowest per worker earnings of the five, despite hosting one of India's most recognised GI protected textiles.
A famous name sitting above a low wage isn't proof the tag failed. But it's a reason to treat the income claims with more care than a press release usually gets.
Protection That Depends on Someone Enforcing It
A GI tag is only as strong as someone's willingness to defend it in court, and that willingness costs money and time that a weaver cooperative doesn't always have. One law firm's review of the Act's history puts it plainly: there remains a wide gap between what the law promises and how it's actually applied.
The first infringement case ever brought under the Act, in 2005, was filed by Pochampally's own weaver cooperatives against power loom sarees sold under a similar sounding name. It settled out of court.
Two decades on, machine made imitations of GI tagged sarees are still a routine complaint across handloom clusters, because catching every imitation in a national market is a bigger job than most cooperatives are resourced to do.
The Fairer Reading
This doesn't mean GI tags are pointless. They do something no marketing claim can do on its own. They make it illegal to call a product something it isn't, and they give buyers a verifiable reason to trust a name.
For a marketplace built on direct sourcing, that verified origin is genuinely valuable, and worth explaining properly to buyers rather than waving at vaguely.
But a GI tag is a starting point for fair value reaching the artisan, not a guarantee of it. The certificate protects a name. Getting a fair price to the person who wove it still depends on everything the tag doesn't cover: who owns the cooperative, how it prices its work, and who's willing to fight the counterfeits.
To Do Good Is to Preserve a Heritage

A GI tag tells a buyer where a piece came from. It doesn't tell them what the person who made it was paid, or whether the price they're paying reaches that person at all.
That's the part TuDuGu tries to make visible. Every listing carries the maker's name and workshop alongside the regional story, not instead of it, so a Kanchipuram silk saree on TuDuGu is never just a place name. It's a specific weaver's work, credited and priced as theirs.
A GI tag protects a name from being stolen. Knowing who wove what you're wearing is a different kind of protection, and it's the one TuDuGu was built around.
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