Submitted to- Dezyne E’cole College, Ajmer

www.dezyneecole.com

Submitted by- Pratigya Bhatnagar

B.Sc. Fashion Technology 2 Years

Advance Diploma

1. Traditional Indian sarees

2. Traditional Indian motifs

3. Client profile

4. Fabric type

5. Selection of motif

6. Simplification of motif

7. Repetition of motif

8. Layout of the saree and pallav

9. Layout of blouse and A-line skirt

10. Sarees with different repetitions

11. The final saree

12. Conclusion

13. Bibliography

CONTENTS

TRADITIONAL INDIAN SAREES

•A saree is a female garment that consists of a drape varying from five to nine yards (4.5 metres to 8 metres) in

length and two to four feet (60 cm to 1.20 m) in breadth that is typically wrapped around the waist, with one end

draped over the shoulder.

•The sari is usually worn over an underskirt & a fitted upper garment commonly called a blouse .The blouse has

short.

• Baluchar is a figured silk produced in Baluchar,

Murshidabad (West Bengal).

• It is a dyed art. Its production was maximum during

16th -18th century. The inspiration used to be the

Jamdanis from Dhaka.

• Length – 8 yards (42”-45”)

• Pallu length- 2.25 yards.

• Body of the saree consisted of scattered butties &

the pallu design consisted of kalka butas .

• Motifs- human figures and kalka motif.

• Attractive part- use of gold & silver threads.

• Colours- soft & subtle (gold, white, orange, red,

green, yellow, royal purple, dark blue, maroon or

red.

• Pitambari- red warp & green weft

• Dhoop chaya- red warp & blue weft

• Jacquard loom is used for the weaving of the saree.

BALUCHA

RI

• Bandhni derives its name from the Hindi word

Bandhan which means tying up.

• The art is practiced in Rajasthan and Gujrat .

• Colours- yellow, red, green and black.

• The main colours is used in Bandhni are natural.

• The common design in bandhni is chains of grains

represented by the dots on the body called the dana

pattern.

• When the chunri body is red the borders and pallu

are indigo blue and vice versa.

• Bandhni products- sarees, woollen, scarves,

handkerchiefs, dupattas, odhnis, turbans, table

cloths.

• Leheriya – it is a method of resist dyeing material is

rolled up and tightly at interval then dyed.

• The pattern results in diagonal stripes.

BANDHEJ

• ALAIPURA is traditionally the district of Varanasi

where the famous Banaras brocades are woven.

• Threads & fabric- woven in silk with profuse use of

metal threads.

• The most famous brocaded textile is called

kinkhwab .

• Banaras brocades are woven on pit looms.

• Different types of silk fabrics:

Tissue –very expensive, shiny, transparent, warp-

silk and weft- gold or silver.

Tanchoi – very expensive, gold and silver yarns &

satin weave adds smoothness and shine.

Organza –thin transparent material, made with

unbleached silk and dyed in all colours, gold and

silver patterns.

BANARASI

• It is made by hand weaving, produced in a town

called Chanderi (Madhya Pradesh).

• Raw materials- cotton, silk and zari threads.

• Colours – natural & chemical, soft & contrasting

colours.

• These sarees are ideal for summers, its beauty lies in

its feel, simplicity and borders and butties.

• Types of chanderi :

Narrow border

Broader border

Wide border

• Motifs – animals & human figures

CHANDERI

IKKAT

• Ikkat patterns are dyed and binded into the threads

before cloth is weaved. It is an elaborate dyeing

process done with silk and cotton fabrics.

• These sarees are associated with Orissa.

• The premium sarees have a special place during

wedding, festivals & public function.

• Kinds of ikkat:

Single

Double

Combined

• Motifs –elephant, peacock, flowers, butterfly.

DHARMAVARA

M

• Dharmavarm is a city in Anantapur district of the

Indian state of Andhra Pradesh.

• The city is famous for its handloom silk sarees &

for cotton and silk weaving industries.

GARAD SILK

• Garad (also known as Garod) silk is one of the

popular styles of saree that has its origin in West

Bengal. Also known as Gorod, the word Garad

means ‘White’.

• Garad silk sarees are distinguished by its red border

and small paisley motifs. Silk fabric used to weave

Garad sarees is not dyed .

• Garad silk sarees should preferably be dry cleaned

or hand washed with mild detergent.

GHARCHOLA

• Gharchola from Gujarat is woven on Cotton or Silk

fabric in large checks of using Silk and Zari threads.

This is further colored in Bandhani or tie & dye

technique.

• Motifs- small golden, peacocks, lotus, human

figures, and floral designs.

• A typical Gharchola is made in Red color,

embellished with yellow and white dots.

• Length- 5.5 metres in & 46 inches in width.

• This saree makes a wedding or any other ritual for

that matter, a scenic and picturesque occasion.

• Since it’s made of silk with some intricate detailing

on it, a little care will go a long way in keeping the

fabric in great shape for an extended time.

GOTA PATTI

• Gota Patti or Gota work is a type of

Indian embroidery that originated in Rajasthan,

India.

• Gota embroidery uses the applique technique. Small

pieces of zari ribbon are applied onto the fabric with

the edges sewn down to create elaborate patterns.

• The dresses with gota work are used for special

occasions or religious occasions.

• The motifs are usually inspired by nature and

consist of flowers, leaves and birds or animals such

as peacocks, parrots and elephants.

• Gota creates a rich and heavy look but is yet light to

wear.

• In Rajasthan, outfits with Gota work are worn at

auspicious functions. It is generally done on

dupattas, turban edges and ghagras.

JAMDHANI

• Jamdhani is derived from a Persian word ‘Jam’

meaning cup and ‘Dani’ means container.

• Jamdhani designs could be made with cotton and

zari threads.

• Motifs –scattered flowers, kalka, ghursavar, hansa,

mayur, chand, pan buti, tara buti, jamawar buti.

• The type of jamdhani sarees are:

Daccai jamdhani

Tangain jamdhani

Shantipur jamdhani

Dhaniyakhali jamdhani

KANJIVARAM

• Kanchipuram is a famous weaving centre in Tamil

Nadu.

• It produces brocaded silks of superb texture, colour

and luster.

• Kanchipuram sarees in the south Indian style have a

pallav and/ or borders that contrast in color to the

main field of the saree.

• The designs on the body of the saree are woven with

gold thread and the motifs range from figures to

temple gopuras along the borders.

• The meeting of the body of the saree with the border

id characterised by a zig zag design.

• Motifs – sun, moon, chariots, swans, peacocks,

parrots, lions, coins, mangoes and leaves.

KOTA DORIA

• They are woven in the village on the outskirts of

kota city. Also popularly known as Masuria

Malmal.

• Cotton yarn of different thickness along with silk

yarns are used for weaving as cotton gives strength

and silk gives transparency.

• Yarns of different thickness help in creating

geometric patterns.

MAHESHWARI

• The motifs of Maheshwari sarees have been derived

form the temple carving and the carving of the palace

buit by Rani Ahilya Bai Holkar.

• The weaving is done with geometric designs with no

motifs on the body of the saree.

• Weaving is done with a fine silk warp and cotton weft.

• Lines play a vital role as vertical stripes, and large

checks are woven to shape up the pattern.

PATOLA

• The products of patola loom are of saree lengths,

which are among the most famous textiles in the

world.

• Motifs- flowers, elephants, birds and dancing

women.

• It was valued for its purity.

PATAN PATOLA

• Patan patola of Gujrat is the most extraordinary

woven sarees anywhere in the world.

TAANT

• Tant saree is a traditional Bengali saree.

• It is traditionally made by the weavers from all

over West Bengal and Bangladesh.

• Tant saree are woven from cotton threads and

distinguished by its lightness and transparency.

It is considered to be the most comfortable

saree for the Indian hot and humid climate.

• Motif -ardha-chandra (half moon), hathi

(elephant), tara (star), kalka (paisley) and phool

(flower).

• It is recommended that before the first wash,

tant sarees should be soaked briefly in warm

water mixed with rock salt, to prevent the saree

from bleeding colour during subsequent

washes. Washing with a mild detergent,

followed by starching and then hanging them to

dry in a shaded area will ensure the longevity of

these cotton sarees.

VENKATGIRI

• Venkatagiri Sari is

a sari style woven in Venkatagiri of Nellore district in

the Indian state of Andhra Pradesh.

• Venkatagiri saris are known for their fine weaving.

NAUVARI(KASHTHA)

• The Kaashtha sari is a style of sari draping is very similar

to the way the Maharashtrian dhoti is worn. The word

Kaashtha refers to the sari being tucked at the back.

• Since this sari is usually worn using a single nine yard

cloth, it is also referred to as Nauvari which means Nine

Yards.

• Sakachcha sari is another term commonly used to refer to

this style of sari.

TRADITIONAL INDIAN

MOTIFS

• A motif past meaning and history are usually

discovered from sources that have nothing to do

directly with textiles.

• Natural surroundings, religion, achievement of

an individual are usually the driving force

behind the human pschycology that leads to the

development of the particular motifs.

POMRGRANATE MOTIF

COWRIE SHELL MOTIF

LOTUS MOTIF

KALASH MOTIF

SWASTIK MOTIF

RUDRAKSH MOTIF

MIHRAAB MOTIF MOON

& STARS MOTIF

PAISLEY MOTIF

HAND OF FATIMA MOTIF

TREE OF LIFE MOTIF

COCK MOTIF

DOUBLE HEADED BIRD MOTIF

PEACOCK MOTIF

TRADITIONAL INDIAN MOTIFS

PARROT MOTIF GEESE MOTIF TULIP FLOWE

R MOTIF

TEMPLE MOTIF

BUTA AND BUTI MOTIF

THE CREEPING WINE MOTIF

THE SUN & TREE MOTIF

TORTOISE MOTIF

FISH MOTIF

ELEPHANT MOTIF

CONCH

MOTIF

TRADITIONAL INDIAN MOTIFS

ARCHITECTURAL MOTIFS

ARCHITECTURAL MOTIF

OF EGYPT

EGYPTIAN PAPYRUS FLOWER

SIMPLIFYING THE MOTIF

DEVELOPMENT OF MOTIF

HALF DROP REPEAT

BORDER REPEAT

REPETITION OF MOTIF

STRIPES PATTERN REPEAT

OVERLAPPING THE MOTIF

REPETITION OF MOTIF

SCATTERED PATTERN REPEAT

ASCENDING AND DESCENDING

REPEAT

REPETITION OF MOTIF

LAYOUT OF THE SAREE

1. Saree Length= 6

m

2. Saree Width=

1.5m

3. Pallav Width=

1m

4. Pallav Length= 15m

5. Border Width= 6in

6. Selvage = 0.5in

LAYOUT OF BLOUSE & A-LINE

SKIRT

BLOUS

EWIDT

H 1.5m

BLOUS

E

LENGT

H 1m

LENGT

H

40”

A-LINE

SKIRT

SIZE-34”

FRONT PART

A-LINE

SKIRT

SIZE-34”

BACK PART

PROFESSIONAL STYLE OF

DRAPING

• Because of the harsh extremes in temperature on the Indian

Subcontinent, the sari fills a practical role as well as a

decorative one. It is not only warming in winter and cooling

in summer, but its loose-fitting tailoring is preferred by

women who must be free to move as their duties require.

• For this reason, it is the clothing of choice of air

hostesses on Air India. This led to a professional style of

draping a sari which is referred to "Air-Hostess style sari".

• An air hostess style sari is tied in just the same way as a

normal sari except that the pleats are held together quite

nicely with the help of pins. A bordered sari will be just

perfect for an Air-Hostess style drape where the pallu is

heavily pleated and pinned on the shoulder. Even the vertical

pleats that are tucked at the navel are severely pleated and

pressed. Same goes for the pallu pleats that are pinned at the

shoulder.

•To get the perfect "Air-hostess" a complimentary U-shaped

blouse that covers the upper body completely is worn which

gives a very elegant and formal look.

• Mastering the "Air-hostess" style drape helps to create the

desired impact in a formal setting like an interview or a

conference

PROFESSIONAL STYLE OF

DRAPING

• The professional way of draping a saree is well pleated

tucked at the waist and the left shoulder.

•This figure is the template of the saree, to see how it will

look when draped around a body.

•An air hostess can pleat the saree, according to her

convenience so that she can work independently.

THE FINAL SAREE SELECTED FOR THE CASE STUDY WILL BE SCREEN

PRINTED.

PALLAV

OF THE

SAREE

BODY

OF THE

SAREE

BORDE

R OF

THE

SAREE

CONCLUSION

I n this project, the case study required an uniform for air hostess of air India, for which I

designed their uniform by studying traditional architectural motifs and motifs of India. I select

welcoming colors which shows the welcoming nature o the client, which is also their profession.

BIBLIOGRAPHY

Reference books: Traditional Indian textiles

Color Harmony

Reference images :www.google.com

Fabric information : www.fibretofashion.com

THANK YOU

Pratigya Bhatnagar

B.Sc. Fashion Technology 2nd year

Diploma 2nd year

Dezyne E’cole College

Civil lines, Ajmer, India

www.dezyneecole.com