Kumkum ,Fashion Design ,Dezyne E'cole College

KUMKUM
2nd Year Diploma In Fashion Design (NSQF Level 6 Of NSDC)
Dezyne E’cole College, (www.dezyneecole.Com)

Project Report On
portfoliyo
At
Dezyne E’cole College
Submitted To
Towards
The Partial Fulfilment Of
2nd Year Diploma In Fashion Design
NSQF Level 6 Of NSDC
By
Kumkum
106/10 Civil Line Ajmer
2017-18

The Project Of Ms. Kumkum Student Of 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6 of
NSDC Has Been Checked And Graded As
Thank You
Principal
[Seal & Signature]

Acknowledgment
I Am Kumkum Student Of Fashion Department 2nd Year Diploma In Fashion Design NSQF Level 6 Of NSDC
Of Dezyne E’cole College Would Like To Express My Gratitude To Each And Every Person Who Has
Contributed Stimulating Suggestions And Encouragement Which Really Helped Me To Coordinate My
Project.
I Also Thank Dezyne E’cole College Who Provided In Sight And Expertise That Greatly Assisted The Project.
Also, A Special Thanks To My Teachers, Parents And Colleagues Who Have Supported Me At Every Step Not
To Forget, The Almighty Who Blessed Me With Good Heath Because Of Which I Worked More Efficiently
And Better.
Kumkum
2nd Year Diploma in Fashion Design
(NSQF Level 6 of NSDC)

Content
 Fashion history
 Print development
 Collection

Kumkum
Dezyne E’cole College, www.dezyneecole.Com
FASHION
HISTORY

For designing any collection a designer must focus on how, why and what he or she has to come up with
in his storyboard and what kind of look the designer want to showcase according to the research and
form the extracted page of look book created by while choosing the extract design collection.
But the most important question that arises while making and showcasing the collection is that why
people will accept that design?
For all these question the best answer with a designer is the evolution of clothing and historian time
period.
The upcoming pages of the project will deal with when did fashion started and what changes came into
the dressing of the people in different geographical location of the word and how social grounds
influenced the evolution of clothing.
Synopsis

Many shapes and styles in dress date back thousands of year having necessity, function and the material available as
their starting points From such crude beginning wonderful piece of embroidery decoration and reinforcement at the
same time. From the beginning we meet to splendor beautiful and full of utility garment. The ancient world is a
jigsaw of images and objects that historians are trying to piece together Painting, sculpture, artifacts and scraps of
clothing and jewelry all provide clues as to how people lived and dresses sophisticated technology influenced each other
as cultures met through war exchange.
• EGYPT
• MINOAN CULTURE
• CLASSICALGREECE
• ROMANS
• BYZANTINE STYLE
Ancient Word

For three thousand years almost all clothing worn by the Ancient Egyptians was of linen made from flax grown in the
Nile valley. The fabric suited the hot climate because it was cool and airy. Clothes were very simple in shape with minimal
cutting of cloth Half-ripe flax stems made the best thread. The fibers were beaten until soft. The fibers were twisted
into strong thread. The weaving was done on the loom. White linen had to be washed a couple of times. They washed
it in the river or canal rinsed then it was pounded on a stone. After that it was pounded on stone. After that it was
bleached in the sun The silhouette was influenced by two key factors: the fitness and finish of the lining either left with a
natural crimp laundering or arranged in crisp pleats and by the wearing of decorative collars and belts. These
accessories were rich in colour and texture.
Egypt

CLOTHES WORNED BY EGYPTIANS WERE:-
• Loin Cloth:- A triangular piece of cloth
worn by commoners, nobilities and royalties.
Slaves were only allowed to wear if after the
formation of new kingdom.
• SCHENTI:- A skirt which is pleated in front worn
by nobilities and royalties. It was till knee level. Till thigh
level in the old kingdom 3000 B.C. to 2000 B.C. It was
used to wrapped around the hips which hung to folds in
front.
Egypt

• HEADWEAR:- Although heads were shaven as both as a sign of nobility and due to the hot climate, hairstyles was a
huge part of Ancient Egyptians fashion through the use of wigs.
• JEWELLERY:- It was common for Ancient Egyptians to be covered in jewellery, however the upper classes wealth
allowed them to be more lavish, with jewellery made from gold and silver among other items. Accessories were
embellished with precious stones such as emeralds pearls and lapis lazuli.
• FOOTWEAR:- Wore during the new kingdom. Made of leather or papyrus fibre.
• MAKE-UPS:- Kohl eyeliner made of Galina ore. They use to prevent from insects, evil eye, inflamation, allergy and dust.
Rouge which was made of ochre. Eye shadow which was made of malachite which is red and green in colour. They use
Hena for the nail colour and hair.
Egypt

The Loincloth was used for both men and women. The women of Crete wore the garment more as an underskirt than the
men, by lengthening it. Dresses too were long and the low-necked, like those of the 19 centuary. They were so low
that the bodice was often almost all the way to the waist.
Unlike the Egyptians, the schenti varied according to its cut and normally was arranged as a short skirt or apron ending in
a point sticking out similar to a tail.
A triangular front released the top of the thighs. One could say it was clothing of an athletic population, because of this and
the fact that the chest always was naked. It was sometimes covered with a cask, probably ritualistically. However, long
clothing was worn for protection against bad weather and eventually a coat of wool was used by the Greeks.
Minoan Culture

Clothing in this period were simple, drape, folded
in artistic manner shows elegance and grace. The
garments were loose fitted and free flowing , it
was adaptable to other season. The fabrics were
mainly linen or wool. Women also wore a new
with their clothing whenever they stepped out of
the house.
The Ancient Greek fashion was quite modern in
its outlook as far as men were concerned to the
extent that male nudity was really not a big deal
in Ancient Greece.
Greece

MAINLY THERE WERE FOUR TYPES OF CLOTHES:-
• CHITON:- The key garment for both men and women was the chiton, tunic made of two rectangles of cloth joined
at the shoulders and sides. The chiton could be worn with a himation or without it as well. A belt was worn
with the chiton which was called a zoster. It could be arranged in many ways, and cut to different lengths
worn over the chiton was a cloak-like garment.
• HIMATION:-The himation which was made of heavy material for outdoors, or of lighter cloth for a more fashionable
effect indoors or in warmer weather. The himation wasloose and flowing, thus, it can be termed as a modern cloak
it was also used as a form of drapery to be worn over the chiton.
Greece

• PEPLOS:- Peplos was gathered in at the waist and partially fastened at the top of the shoulder, allowing free
corners to drape. It consisted of a tubular shaped cloth this was folded from the inside out. There were
certain types of patterns that were used for the peplos. Some of the common patterns included checks, flowers,
waves or even stripes.
• CHLAMYS:- Chlamys a cape shaped like the clamshell it was named after, was originally worn by soldiers but, like
many functional garments. It was used as a cloak and was pinned at the right shoulder.
Greece

• HAIRSTYLES:- Women loved to wear their hair
long during this period. In the early days of
Greece, men normally wore their hair short and
grew beards. Women curled and braided their hair
in early Greece. Later the style was to tie their hair
back and put it up into a bun.
• JEWELLERY:- Jewellery did form a significant part of
a ancient Greek fashion. Greece loved to wear all
sorts of jewellery with their following
garments- bracelets, earrings and necklaces.
• MAKE-UPS:- Women used honey and olive oil
to improve the skin. They often used
substances as a substitute for cosmetics
enhancing their looks. Dark powder was dusted
over the eyebrows and red powder was used over
their lips.
Greece

Probably the most significant item in the
ancient Roman was the Toga, a one-piece
woolen garments that draped loosely around
the shoulders and down the body and they
could be wrapped in different ways. Colours
of toga and its border was determined by the
wearer ’s rank. Basically a semicircle the toga
was woven on an upright loom, beginning with
long straight edge.
Roman

THE OTHER CLOTHES WORNED BY ROMANS WERE:-
• ARMOUR:- The warfare dress coat scale, lamellar, mail and plate, leather fabric and brigandine armours.
• STOLA:- An outermost which was a long pleated dress similar to the Greek chiton.
Roman

A fusion of Greek roman middle east and oriented styles
indicate social status through clothing. The veils and silks
worn by women, and the T-shaped tunics and cloaks
worn by men, were developed from Roman official dress.
Poor working people wore plain woollen tunics, knee-
length for men, with leggings, boots and a long cloak on
top. tunic. The dresses were embellished with jewels
pearls
• COSTUME:- There were the flowing embroidered
gowns,
• FABRICS:- Imported silk, linen, wool their clothes skin
or jewellery
• COLOURS:- Ancient people was dyes and pigment to
dye
Byzantine Style

Men and women wore loose tunics based on rectangles
sewn together in different styles and caught with belts.
They used to wear mantles draped over tunics with
statues enhancing the lining, though leather and furs
were also worn, especially in the colder northern
regions of Europe. Silk was extremely expensive item
throughout the Medieval period .
• Age of migrations- 600- 1100
• Courtly love and crusades- 1100- 1200
• Priests and the people- 1100- 1450
• The east in the west- 800- 1450
Medieval romance and trande

• After western roman empire collapsed, people
started migrating. To new areas, people needed
warm, water, repelling clothes in the cold
climate, so wool was the main cloth used.
Men and women wore loose tunics, based on
rectangular sewn together in different style
and caught into belt. Mantles were draped over
tunics and had status enhancing for leaving.
Linen shirts were worn as undergarments beneath
tunics.
• ACCESSORIES:- Gold and enamel had
symmetrical celtic patterns or the stylized
animals favoured by Anglo-Saxons. Women ’s
fine embroidery, applied to hangings, capes
and clothing imports such as silk, as well as
furs, kermes and fine wools.
Age Of Migration:- 600-1800

• Fashion became increasingly flamboyant in the
12 century a time of crusaders, romances and
chivalry. Fashion cultivated in south spread
north from Mediterranean shores. Clothing
become fitted more seductively, showing body ’s
shape to first time. Figure hugging silk gowns
revealed embroidered chemises beneath the
laced sides. Garments were still based on
rectangular and triangular fabrics cut, but with
lacing to crush straight shapes against the
curved figure. Ordinary women wore fitted tunics ,
more closely over waist arms and hips.
• FOOTWEARS:- Medieval leather shoe were
much greater numbers than fragile textiles.
Piercing or incising with decorative patterns
was popular and showed off coloured hose
underneath. The long poulaine toe was stuffed
with whalebone, wool, or moss to keep the shape.
Noblemen’s shoes were embroidered with silks..
Courtly Love And Crusades:1100-1200

Ordinary people wore simple clothes which allowed
them to do their work . Their clothes were shorter
and plainer and coarser. Often have produced fabrics .
Garments were made such as aprons to carry tools.
Church people used best quality clothes with finished
embroidery and wearing to dress cardinals and
bishops. Wide brimmed hat, tippet sleeves, pleated
leather purse from belt, use of buttoned tunics,
frayed hems.
Priest And The People: 1100-1450

In medieval times the Mediterranean basin was the most
advanced centre in the world Of learning, Technology and
trade. Expensive textiles came from china along the ancient
Silk Road, the great trade route running through Central
Asia.
The East In The West

Clothing become voluminous in the 13
century and men ’s and women ’s garments
followed the same changes in shape. Tunic
sleeves had tight lower arms, but more fabrics
around the armhole, and the Surcoat
(sleeveless overtunic) became a wardrobe
stable. Neckline became lower, trailing
hemlines, pouline shoes. Tight sleeves,
hoods, belts, veils , gloves were more worn,
houppelande trails on ground. The
silhouette was long with high waist.
Social Statements:- 1200-1300

• Women's gowns became high waisted with a low cut
V neck that showed a piece of contrasting
fabric underneath. The V neck would be folded back to
reveal an attractive lining. Long fitted sleeves
developed cuffsin what was called Burundian
fashion. The houppelande of 1380 was a beautiful,
full length robe like garment featuring a high collar
and wide sleeves Later, the full sleeves tightened
at the wrist. The houppelande fell in folds into a
bell shape.
• ACCESSORIES:-The wimple, a style brought back
from the Middle East during the Crusades caught on.
A wimple is a piece of cloth worn over the head
and around the face and neck. A wimple would be
worn under a veil called a couver chef. Men wore
many types of hats and head gear. The sugar loaf hat
was a tallish conical hat that resembled an inverted
flower pot
Trailing Elegance

This was the period when fashion finally moved from
draped clothing to fitted garments and the art of
tailoring came into its own. Clothing now consisted of a
greater number of parts including detachable sleeves,
under and overskirts, sleeveless jerkins and breeches
of different lengths. The masculine form was enhanced
by the latest clothing, with its wide shoulders,
codpieces strong legs and bellies.
The fashion split there were marked regional difference
in women ’s dress. The medieval standards one piece
tunic moved towards broad spectrum of fashion in cut
and construction. Hanging sleeves French gowns
sleeves, ruffs were used on the sleeves and on neck.
Renaissance Splendor

There were marked regional differences in women ’
dress. The medieval standard one-piece tunic moved
towards a broad spectrum of fashions in cut
and construction. Hanging sleeves. French gowns kept
the wide, hanging sleeves, ruffs were used on the
sleeves and on necks too.
Headdresses often emphasized a woman ’s high, smooth
forehead. Many women bleached their hair to
a fashionable blonde. Cylindrical hats of different lengths
were stylish in France, England and low countries.
The Fashion Split:- 1450-1500

Soft draped lines began to disappear as the century went
on the. Women ’s dress has two main parts bodice and
skirt and sleeves were often separate too. Full skirts
widened with gathered and pleated waistlines. Outer
skirts were opened up in front to reveal a petticoat or
forepart underneath. The Spanish farthingales created a
bell shaped and defined the century ’s silhouette. Bodice
became smooth and fitted by adding stiff materials
inside.
From Drape To Shape 1500-1060

• As the century progressed so the gradual stiffening
of women ’s dress continued. Linear bands and
braids followed the clothing ’s sharp lines and
emphasized its control of body shape. Necklines
were either at bust level or up to the chin. The
silhouette stayed triangular with narrow waists
ending in sharp points and full skirts. The top of the
sleeves of women ’s dresses started to be styled into
puffs, tabs, and rolls.
• HAIRSTYLES:- Renaissance love of finery, women ’s
hair during the 16 century was parted in the
centre, swept over the temples, curled crimped
arranged over pads to keep shape, frizzled, bewigged,
piled into high peaks or hidden.
Elegant Formality 1560-1590

Fashion history ’s most geometric period created
unnatural silhouettes made from straight lines,
triangles and circles. Huge ruffs isolated head from head
from body, or open collars revealed décolletages cut
immodestly low.
Female Geometry 1590-1625

This was a century of unprecedented and accelerated
change The world's population grew
dramatically and infant mortality was reduced
by a quarter due to improved healthcare and
hygiene. The average adult lifespan increased by a
decade, and a burgeoning middle class acquired
property and possessions, patronized department
stores, and indulged in sporting activities. Day trippers
to national exhibitions and the seaside saw
fashionable society men and women at leisure
and aspired to their lifestyle and fashions
Philanthropic reforms, including educational
provision assisted the working classes in seeking to
better themselves by working their way factories, shops,
"in service".
Form Revolution to Frivolity

Fashion of 18 century reflected a time of upheaval.
It brought more informal dress influenced by
revolutionary fervor in France. Wrapping gowns
inscribed silk and painted chints gave way to printed
cottons and plain cotton chemise dress could be
washed..
Neo Classicism 1790-1800

Charles Fredrick Worth, an Englishman from the
quiet county of Lincolnshire, was the first
couturier of modern times. Worth also set the
tone for the couturier as dictator, rapidly acquiring
much of the arrogance of French court he served,
with prices to match. “Those ladies are wisest who
leave the choices to us”
Charles Fredrick Worth created the modern
couture system that remained dominant until the
rise of ready-to-wear in the 1960s. Among his
many innovations were the sale of toiles and
patterns and the use of models. More importantly,
he took dressmaking on to a higher place through fit
and construction a tradition that was carried on by
worth’s sons after his dress
Charles frederck Worth

Jeanne Paquin was the queen of haute couture for
nearly thirty years. She was the first major female
couturier running one of the biggest couture houses of
early twentieth century, employing 2,700 employees at
the height. Her rise to fame was rapid and based on
applying her own pared-down personal style to her
business. That style was founded on knits and flannels
materials generally considered only appropriate for
sports clothing. By 1915, she had opened her own fashion
house. It included her first full collection to immediate
and widespread.
Jeanne Paquin

In France the empire became fashionable from 1790s inspired from the classical Greek and roman statue. Waistline were high
and skirts have short trails.
1800-1809

Piping of the dress. Splendor jackets and beautiful hats appear during this time. Wide puffed sleeve emphasize the
narrow waist low deco vet age neckline emphasized the bottle shaped neck. Off shoulder dresses were
appeared. .
1820-1830

Eli Whitney invented the cotton ginning machine in 1793 which was patented by 1807. 1804 we had jacquard loom after
the name of Joseph Jacquard. Isaac Singer in 1851 brought the sewing machine and the principle of assembly
line developed which led to the mass production of classes.
1830-1851

Crinolines appeared, large frames were abandoned after 1867, skirts trailed and were gathered internally with ties
forming a soft bustles. Then crinolettes and bustles pads took over.
1856-1859

Soft bustles and fishtails. Bodice necklines were square with exposed décolleté for evening. Dresses had three
quarter sleeve with lace cuffs and wore sleeveless for evening wear.
1870-1879

And extremely tight steel boned corsets came in the year 1883-18887 which look like a chicken tail. 1890-1899 during
this time India was ceded to Britain by the trite of Paris in 1898.
1886-1888

This time period focused on simplification of the dress. The idea was “less is more”
After the war the popularity of elaborate hair pieces and dresses were reduced to a replace by energetic boyish look
“The Flapper ” . Always on the move-either dancing or racing around in the automobile the new style which represent
the youth fashion and fun.
Labella Epoque And Jazzage

Paul Poiret was born on 20 April 1879 to a cloth merchant in the poor neighborhood of Les Hells, Paris. Poiret ’s route into
couture followed the common practice of shopping around one ’s drawings in original fashion designs. In freeing
women from corsets and dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a
concomitant revolution in dressmaking.
Paul poiret

Gabrielle Bonheur “coco ” Chanel was a French fashion designer and a businesswoman. She was the founder
and namesake of the Chanel brand. Along with Paul Poiret, Chanel was credited inn the post World-War I era with
liberating woman from the constraints of “corseted silhouette” and popularizing a sporty, casual chic as the
feminine standard of style. A prolific fashion creator, Chanel extended her influence beyond couture clothing.
Coco Chanel

Madeleine Vionnet liberated women from the corset inspired by the celebrated dancer laadora Duncan, whom she
never met bur admired afar. Vionnet was an important force in the history of fashion, but there was much else
beside. Her achievements overshadow her personality. Although her skillful and original tailoring. Should not be
overlooked, It was her talent with the draping of cloth for dresses that put her in a league of her own.
Jean patou

Madeleine Vionnet liberated women from the corset inspired by the celebrated dancer laadora Duncan, whom she
never met bur admired afar. Vionnet was an important force in the history of fashion, but there was much else
beside. Her achievements overshadow her personality. Although her skillful and original tailoring. Should not be
overlooked, It was her talent with the draping of cloth for dresses that put her in a league of her own.
Madeleine Vionnet

This time period 1929-1946 use to have the designer Elsa Schiaparelli entering and during this time very simple dress coats
entered because this was the time of great depression. The main feature that we see here is the dresses became longer at
the hemlines to the floor length.And the roaring twenties came to a hawlt.
Form Glamour to untilty

Elsa Schiaparelli was an Italian fashion designer. Along with Coco Chanel her greatest rival, she is regarded as one of the
most prominent figures in fashion between the two World Wars. Starting with knitwear Schiaparelli ’s designs
were heavily influenced by surrealists like her collaborators.
Elsa Schiaparelli

The new word was came during this time (the teenager they wanted clothes just for themselves his was the Elvis wore
leather flight jacket and military surplus.
Optimism and youth

Designer from Spain. His creations had broad shoulders, and he removed waist..
Cristobal Balenciaga

Circular skirts, Wasp shaped skirt Christian Dior introduced in 1954 Autumn Winter Collection(classic look) the pencil
skirt after seeing the hobble skirt after seeing the hobble skirt of Paul Poiret.
Christian Dior

The long title of American courtier Mainbocher spanned a remarkable period in the history of fashion, from the
frothy collection of the belle époque to the ready-to-wear explosion of the 1960s and 1970s. Late in his career, when he
was in his seventies. Mainbocher showed he could still lead the way with a series pared-down dresses, including a
bias-cut white crepe dinner dress. He was proud to be descended from French Huguenot's pioneers who arrived in
America in the 1640s.
Main bocher

Clothing styles have always mirrored the prevailing attitudes of the time and this is certainly true of fashion in the
1960s. The decade was marked by sweeping social; change and the domination of youth culture- baby boomers were
growing up and demanded their own fashion style. Designers responded with much more liberal, daring approach to
fashion, boasting colourful fabrics and bold designs. Clothing broke with social traditions that dictated what could be worn
when and by whom. In the past attire had been divided n to ‘formal ’ and ‘casual ’ wear, and distinct separations were
made between the styles of clothing worn by men and women.
Swinging Sixties

Mod, short for ‘modern ; refers to a youth lifestyle that emerged from London during the 1960s, and quickly spread
to America, Europe, Australia. Centered around London ’s thriving pop music, art and fashion scene, the mod
lifestyle focused on innovation and the ‘new ’ Mod fashion was slim fitting and featured bold geometric shapes. Colour
was also a key concern- the conservative greys, browns and pastels of the 1950s were replaced by bright wild hues.
Mod look

Yves Saint Laurent was, in the words of the man closest to him, born with a nervous breakdown. Even so he was
also probably the most influential fashion designer of the second half of the twentieth century, Saint Laurent reinvented
Paris fashion for the young, giving the women of the baby boomer generation a new wardrobe stocked with easy,
youthful clothes which, in their energy, flirtatious assertiveness and borrowings, prefigured the social and political
emancipation women were just learning to crave.
Yves Saint Laurent

In the modern age, fashion designers have become celebrities and catwalk shows are major events Late in the 20th
century creativity reached new heights and designers began to use the runway show as theatre, as in Alexander
McQueen's Springs Summer 1999 Collection, where machines spray painted the models" dresses in front of the
audience. The London Designer collections were established in the 1980s, and fashion journalists and
buyers travelled to New York London. Milan, and Pars every spring and autumn to view the collection for the
following season. The power of the brand from Armani to Burberry became international-designers names sold
products. Calvin Klein's fragrances for example sold an aspirational lifestyle, and his underwear line in the 1990s was
so famous that the garment became known simply by the designers name. For the first time, fashions emerged from
the street not the design studio. Towards the end of the 20th century the dress of sub-cultural groups from Goths to
surfers became increasingly mainstream. The freehand authentic feel to street style seized the
imagination of designers, and the styles themselves became more complex as designers adapted and reworked them
The Designer Decade

The long lasting image of Jean Paul Gaultier as a perpetual enfant terrible of French fashion took many years to lay
to rest. But now the great iconoclast of Modern French Fashion has become part of establishment he once shunned.
His clothes made all the headlines but were considered unwearable skirts for men. His experiments with
sportswear, stretch fabrics and underwear used as outerwear were influencing all levels of the fashion market.
Jean Paul Gaultier

In terms of creativity and the ability to place fashion at the heart of a vital popular culture, Vivienne Westwood may
be the greatest designer of the twentieth century. Her method is not so very different from that of many designers,
particularly other British designers trained in an art-school tradition.
Clothing has always reconstructed and modified the structure of the body and it still does today. What seems to surprise
and upset people is reconstructions that don ’t accord with what they consider to be the norm, the present accepted
idea of beauty. If you design a dress with a sellier, the padding that gives it a rounded form has become a subversive act.
Vivienne Westwood

In the introduction to the first book on the work of Issey Miyake, East Meets West, published in 1978, Diana Vreeland,
then retired from US Vogue and heading the Costume Institute at the Metropolitan Museum of Art in New York, wrote, ‘His
clothes are totally his and his alone. Miyake’s vision is unique. He was the precursor, leader and mentor of a
new school of Japanese design, which took the fashion world by storm in the early 1980s. He was not the first
Japanese designer to find fame in the West, but he was the first to create something new and revolutionary. He drew
deeply on both oriental and occidental traditions of dress to produce the hybrid style that was to change everyone’s
perceptions of what clothing could be.
Issey Miyake

PRINT
DEVELOPMENT
Kumkum
2nd Year Diploma In Fashion Design(nsqf Level 6 Of NSDC)
Dezyne E’cole College, www.dezyneecole.com

THE TRADITIONAL INDIAN SAREE AN INTRODUCTION
The saree is a traditional garment worn by most Indian women. The word
saree described in Sanskrit ‘Sati’ which means ‘Strip of cloth’ and ‘Sadi’ in
Pali, and which was corrupted to saree in modern Indian language.
Although at present there is a lot of western influence in the way people
dress. Today, saree comprises over 30% of total textile mills, the number of
saree-manufacturing centers are in hundreds and so there are innumerable
types of fabrics, weaving techniques, methods of dying, printing or
embellishing , designing patterns, kind of motifs, colour scheme etc. can be
found.
There is something about the saree that makes a women look dignified,
charming and very bit stylish. Over the years, the saree has evolved into a
fashion statement which most fashion designers glorify the look and feel of
this traditional garment.
A saree consist of a drape varying from five to nine yards in length and two to
four feel in breadth, that is typically wrapped around the waist, with one end
draped over the various styles of saree draping, the most common being the
Navi style, which originated in Andhra Pradesh.
The saree is usually worn over a petticoat, with a fitted upper garment
commonly called a blouse. The saree is associated with grace and is widely
regarded as a symbol of grace in cultures of the Indian Subcontinent.

HISTORY OF INDIAN SAREE
In the history of Indian clothing of the saree is traced back to the
Indus Valley Civilisation, which flourished during 2800-1800 BC around
the north-western part of the Indian subcontinent. Cotton was first
cultivated and woven in Indian subcontinent around 5th millennium
BC. Dyes used during this period are still in use, particularly indigo, lac,
red madder and turmeric. Silk was woven around 2450 BC and 2000
BC. The earliest known depiction of the saree in the Indian
subcontinent is the statue of an Indus Valley priest wearing a drape.
The saree evolved from a three-piece ensemble comprising the
Antariya, the lower garment, the Uttariya, a well worn over the
shoulder or the head, and the Stanapatta, a chest band. This
ensemble is mentioned in Sanskrit literature and Buddhist Pali
literature during the 6th century B.C. This complete three-piece dress
was known as Poshak, genetic term for costume. Antariya and
Uttariya was merged to from a single garment known as saree
mentioned in Pali literature, which served the purpose of two
garments is one-piece.
The modern way of draping saree was invented by Gyan and anadini
Devi. She was the wife of Satyendranath Tagore, first Indian ICS officer
and elder brother of R.N. Tagore, Asian to win Nobel. After becoming
an IAS officer, Satyendranath Tagore and
his wife needed to socialize house did not want to adopt western cloth totally, but then the prevalent way of wearing one-piece saree was not
very civil for that Victorian age. Till then women used to stay inside their own home, so the one piece saree was kind of adequate. To suit with the
new age, Gyanadanandini Divi started wearing saree with blouse , which gradually became the saree we know today.

TRADITIONAL INDIAN MOTIF
Traditional motifs can be described ad the motifs which
are being used in Indian textile since ancient and are
handed over from one generation to the other. Our
traditional motifs are deeply influenced by religious belief,
culture, environment, activities, of day to day life,
architecture, history, rulers etc.
The artisans have modified motifs based on the whims and
fancies of the kings who invaded and ruled India for
several years. For creating the variety to motifs and
designs, weavers and designers had also taken inspiration
from their environment.
Indian artisans have created varied motifs and patterns
which are exclusive in their styles and colour combinations
like creeping vines and floral patterns, which remind us of
Mughal history and the Islamic portrayals. Motifs like lotus,
conch shells, fish, elephant and horse etc. Which represent
the
philosophy of Hinduism and the concept of bring good-luck, health and prosperity are typiclally found in the textiles worn in the occasional
ceremonies.
These motifs represent over poetic expressions and imagination towards life, and devotional characters. These motifs are explainded in the
following slides.

PAISLEY MOTIF
The Paisley motif evolved from seventeenth
century floral and tree of life designs that were
created in expensive, tapestry woven Mugal
textiles, primarily patkas (Sashes) made for the
Mugal court. The kalgas created on Kashmir
shawls, which became fashion item in Europe for
over a century , were certainly the most
imaginative and intricate and it was from the
imitations of these shawls woven in factories, still
commonly used in Europe and the United States.
Textiles : It is found in Phulkari of Punjab, Kantha
of West Bengal, Kashidakari of Kashmir,
Chikankari of Lucknow and Brocade of Banaras.
Names In Different Languages : It is popularly
known as ‘Kalga’ in Urdu language, ‘Mankolam’ in
Tamil Nadu, ‘Ambi’ in Punjab and ‘Carrey’ in
hindi.
Symbol of Motifs : It is a symbol of life and
eternity.

CONCH MOTIF
Shankha is a Sanskrit word used to denote a sleek
and smooth conch shell. It is believed that if the
Shankha is blown with skill, it can scare away evil
spritis and is described as a killer of germs and
enemies. The Conch or Shankh has remained as
intergal part of Hindu socio-religious philosophy
since the mythological past. It is regarded as a
divine jewel always held by Lord Vishnu on his
right hand. The Shankh is part of Hindu aesthetics
as a permanent motif in the stone carvings and
canvases made by sculptors and artists of ancient
days.
Textiles :This motif is majorly used in Phulkari of
Punjab, Ikat of Andhra Pradesh, Patola of Gujrat
and Mochi Embroidery of Gujrat.
Symbol of motif : It is a symbol of fertility.

PEEPAL LEAF MOTIF
Depictions of the heart-shaped leaves of the
peepal tree are one of the earliest and most
common motifs found in early and Mature Indus
Valley pottery. Yet, subsequent to the Indus
Valley period, few depictions of the peepal or its
leaves have survived in Indian art.
Textiles : It is found in Gujarati Patola called
‘Peepal Patra Bhat’.
Symbol Of Motif : Peepal leaf motif has a
religious significance.

TAMPLE MOTIF
The temple motif consist of rows of large
triangles found along ethnic and tribal saree
borders, as well as in the end pieces of Dravidian
and some central Deccan sarees. They are usually
woven into the ground fabric of the saree in the
interlocked weft technique. So making the
triangles point in the weft direction of the fabric,
never the warp.
Textiles : Temple motif is found is many Indian
textile. It is found in Phulkari (Darshandwar Bagh)
of Punjab, Mochi embroidery of Gujarat, Bandha
of Orissa, Kancheevaram sarees of Tamil Nadu
and Kalamkari of Andhra Pradesh.
Names Of Different Languages : It is called
‘daant’ (teeth) in West Bengal, ‘Kumbbam’ in
Telgu, ‘Kumb’ in Orissa and Andhra Pradesh.
Symbol Of Motif : It is the symbol of protection
against evil eye, the Kumbba is fertility symbol.

KALASHA MOTIF
Amongst all auspicious symbols used in Indian
art throughout history, Kalasha, the holy
ceremonial water jar hold a special place. It is an
important part of ceremonial occasions and
weeding in Hindu culture. The motif is seen in
the carvings of the sculptures , and paintings of
ancient India.
Textiles : With time craftsman started using it as
motif in the enrichment of textiles through
weaving, embroidery or printing.
Names In Different Languages : The motif is
called ‘Purna Kumba’ in Suthern India.
Symbol Of Motif : It is a symbol of fertility and
puirty.

CREEPING VINES MOTIF
It is a Persian origin which came ti India through
Mughal. It is mostly preferred by the designers
or the craftsman for filling the empty area with
free flow designs. They look harmonious and
rhythmic which gives the viewer a pleasant
feeling. Creepers with flowers, leaves, birds and
fruits make a heavy creeping wine pattern and
fruitful.
Textiles : It is majorly used in block prints from
Machlipattnam and other embroideries. It is also
used in Chikankari or Lucknow and Kashidakari
of Kashmir. In woven textiles it is used in
Paithani sarees.
Symbol Of Motif : It is the symbol of unity and
flawlessness.

FLOWER MOTIF
Various types of forms abound in Indian sarees.
Flowers have played a major role in Hindu and
Early Buddhist iconography, and many designs
were than used by the Muslims. Various types
of flowers are depicted in traditional Indian
saree. In many Deccan Sarees, narrow bands of
repeat supplementary warp figuring are
generically called phool, even if the deign is not
strictly floral.
Textiles : This motif is found in most of the
textile. Like Chikankari, Phulkari, Chamba
Rumal, Kashidakari, Kutch Embroidery, Ajrakh
Prints Sanganeri Prints, Ikat and Patola,
Brocade , Kancheevaram, Paithani, among
woven textiles.
Symbol Of Motif : Flowers are mostly linked
with feminine and many God and Goddesses.
Flower is a symbol of fertility, protection and
good luck.

LOTUS MOTIF
The lotus is among the most popular motifs in
Indian art. There are various forms of lotus motifs
like astadal padma – eight petalled to the satadal –
hundred petalled. It also symbolizes prosperity and
material wealth, associated closely with the
Goddess Sri Lakshmi. It is one of the multifaceted
symbols in the traditional patterns. Its spiritual
aspect is emphasized particularly in Indian sarees
and furnishing. The colours used are always bright
to depict the richness of the lotus.
Textile : In Kantha embroidery the central motif is
almoat always a fully bloomed lotus seen from
above. Other textiles are, Chikankari, Phulkari,
Chamba Rumal, Kashidakari, Kutch embroidery,
Ajrakh Prints, Sanganeri Prints, Ikat and Patola.
Names In Different Languages : It is popularly
known as ‘Kamal” in India.
Symbol Of Motif : Lotus is the symbol of eternal
order of the union earth, water and sky. It
represents the life giving power of water but is
also associated with the sun for the opening the
closing of the petals. It is also the symbol of
recreating power of life.

RUDRAKSH MOTIF
Rudraksh beads have an ascetic charm.
Associated with Lord Shiva and mentioned in
Vedic literature, it has significance for peace and
power. Bestwood with electrical and magnetic
properties which make them spiritually and
medicaiiy curative, these beads are positively
charged. Rudraksh beads are common motif
among South woven saress.
Textiles : Used in Kancheevaram, Gadwal and
hand woven saress of Orissa.
Symbol Of Motif : The name rudraksh literally
means ‘eye of Shiva’, this motif is associated
with Lord Shiva.

BUTI AND BUTI MOTIF
Another group of floral motifs found in sarees is
the small buti and large buta, which are depicted
as flowers, springs or bushes. As with the phool,
however, these names are also given to geometric
and zoo-morphic motifs. They are always created
as floating design elements placed against a plain
background. The smaller buti is usually create in
rows figure.
Textiles : These are used in Chikankari, Phulkari,
Chanba Rumal, Kashidakari, Kutch embroidery,
Ajrakh Prints, Sanganeri Prints, Ikat and Patola,
Brocade and most of the woven textile.
Names In Different Languages : Buta is most
common word used in most of the languages,
their names are different in terms of motifs used
in butas, i.e. ‘kalga Buta’ motif.
Symbol Of Motif : Symbol of this depends upon
which motif is chosen to create butas. It can be
flower or paisley.

TREE OF LIFE MOTIF
Tree of life motif is a many branched tree laden
with flowers and fruits, birds in the tree
branches, animals roaming under it illustrating
the idea that all life on earth are related and has
been used in religion, philosophy, mythology
and other areas. Lot of colours are associated
with this motif.
Specific trees supplied pre-industriak India with
food, medicines, timber, utensils and even cloth.
Many of the rular rituals still being practiced
reflect this heritage.
Textiles : It is mostly seen in the embroideries
and Kalamkari of India. It is also seen in Kashmiri
carpets.
Symbol Of Motif : The tree of life is a
metaphysical extrapolation of the basic concepts
of fertility and protection.

SUN TREE MOTIF
The Assamese sun-tree motif is now such an
archetypal pattern of the north-estern region
that many Assamese textiles are recognized as
such just on the basic of this design. It depicts
two birds, animals or flowers, facing each other
on either side of a tree whose branches spread
above them. The motif is rigidly symmetrical,
highly stylized and angular, with a pointed ro of
like top to the tree, and its sides are often
straight.
Textiles : It is used as embroidery or as prints in
textile. Also it is found on way woven textile of
the Northern India.
Symbol Of Motif : Sun tree motif represents
reaching upward and growth.

PEACOCK MOTIF
The Peacock was painted on Indus Valley depicting
tribal art; it was also found in Mauryan Buddhist
sculpture, Gupta-period artifacts, Mughal
miniatures, and in present – day wall painting and
textiles. Although it is hard to say if it had the same
symbolism in every age, the peacock was found in
the arts of most post-indus cultures, indicating that
it remained a potent symbol. The peacock is now
India’s national bird.
Textiles : In all types of Indian textiles peacock is
either printed or embroidered on light background
with dark colour combinations. It is majorly used in
MOCHI Embroidery and Kutch embroidery of
Gujarat, Kancheevaram silk sraee of Tamil Nadu,
Paithani saree of Maharashtra and Patola saree of
Gujarat.
Names In Different Languages : It is called
‘Morbangadi;’ in Maharashtra language, ‘mor’ in
Hindi and ‘Nemail
in Tamil’
Symbol Of Motif : The peacock has had several
associations that at first glance appear to be
unrelated : immortality, love, courtship, fertility,
regal pomp, war and protection.

HANSA MOTIF
The motif was found in Indus Valley pottery and
on the wall painting at Ajanta. In Buddhist
illustrations, it represented spiritual purity. It was
also common in Indian art prior to Mughal times,
but afterwards, it disappeared. Its use in textiles
is characterized by its highly stylized forms as
depicted in woven and embroidered textiles of
Southern India.
Textiles : This motif is found in some of the Tamil
sarees and ethnic Orissa Ikats.
Symbol Of Motif : As it is associated with
Goddess Sarawati. It is a symbol of divine
knowledge and creativity.

FISH MOTIF
The fish appears early in the archaeological
record, and is painted onto Early Indus Valley
pottery as well as carved into Mohenjo-Daro
seals and plaques in the nature Indus Valley
civilization. Yet is was rarely depicted in the
sculptures and architecture of later historical
periods and was never a vehicle for any deity-
Nevertheless, its relationship with India folk
and tribal art remains strong.
Textiles : It is often depicted in textiles where
fish form a major part of the diet, as in Orissa,
or where the Vaishnavism is important. It is
majorly found in Kanthkari of West Bengal.
Symbol Of Motif : Fish are potent fertility
symbols throughout tribal and caste Hindu
India, indicating abundance of food, wealth and
children, as well as the generation powers of
the supernatural. The fish is also an avatar of
Lord Vishnu who, as the preserver, is
associated with prosperity and material
comforts.

PARROT MOTIF
Representations of the parrot do not have the
historical and iconographic depth of those of the
goose. It has not depicted in ancient, classical or
even medieval India architecture. This dearth of
historical representation suggests that it is a
relatively recent addition to the traditional Indian
textile.
Textile : Motif of parrot is generally found in
textiles from West Bengal, Gujarat and Rajasthan
embroideries and resist textiles.
Symbol Of Motif : Parrot motif it is a symbol of
courtship and passion seen in Indian art mostly in
company of Krishna and Radha, Hinduism’s
eternal lovers.

ELEPHANT MOTIF
Elephant motif it is widely used motif in Indian
textiles. Elephant is regarded as the mount of
kings in India, it is used in richly decorated from in
their printed, painted and embroidered textiles
to depict war scenes and royal extravaganza.
Textile : It is mostly used in Mochi embroidery of
Gujarat, Ikat of Andhra Pradesh and Patola of
Gujarat.
Names In Different Languages : It is called ‘Vagh’
in Gujarati and ‘Gajah/Hathi’ in hindi language’
Symbol Of Motif : Elephant came to symbolize
the God of Warriors. It is a sign of wealth and
power and influence denoting royalty, inner
strength and nobility.

TORTOISE MOTIF
The tortoise is the second incarnation of Vishnu,
who was both the Cosmic Tortoise upon which
the universe rests, and the foundation of the
churning stick with which Vishnu stirred the
Cosmic Ocean that created the universe.
Tortoise are known to have been part of the
late, upper Paleolithic diet, and they were
depicted on Early Indus Valley pottery, suggests
they were already a noticeable part of local life.
During the Gupta period, when Vaishnavism
began to take recognizable shape, tortoise
amulets were made in the north-West.
Textiles : Today, tortoise are traditionally woven
in the supplementary-warp bands of east
Deccan sarees.
Symbol Of Motif : The tortoise has associations
with prosperity and the creation wealth.

HUNTING SCENE MOTIF
The origins of the hunting-scene designs are
obscure. It is easy to assume that these textiles
were inspired by the elaborately figured
seventeenth-century. Safavid lamps textiles
whose designs were conceptually similar
because they also depict hunts and war, but the
style of representation is completely different.
The hunting scene prints excavated at al-Ffustat
suggest that the roots of this designs are much
older.
Textiles : These are found in Gujarati textiles.
Symbol Of Motif : It has no such symbolism
except the passion of hunting.

There are more than 80 recorded ways to wear a saree. The most common style is for the saree to be wrapped around the waist, with the loose
and of the drape to be worn over the shoulder, baring the midriff, the saree can be draped in several different styles, though some styles do
require a saree of a particular length of form. The French cultural anthropologist and saree researcher Chantal Boulanger categorized drapes in the
following families.
WAYS OF WEARING SAREES IN INDIA
Nepali Style Gujarati Style Malayali StyleMadisar StyleBrahmini Style

WAYS OF WEARING SAREES IN INDIA
Nivi Style Bengali Style Professional Style
Tribal Style

TYPES OF SAREE WORN IN INDIA
While an international image of the modern style saree may have been popularized by airline stewardesses, each region in the Indian
subcontinent has developed, over the centuries, its own unique saree style. Following are the other well-known varieties, distinct on the basis of
fabric, weaving style, or motif.
Brocade saree
Originating in the northern
region of the country, these
Indian traditional sires are
made of silk and a heavy
mughal influence to it and is
quite a popular for wadding
and occasions. The trademark
of the saree is its intricate floral
pattern and zari work as well as
foliate motifs such as the kalga,
phool and bel adorning the
whole saree in silver, golden or
copper thread works. The
signature design of a banarasi
brocade silk saree is the jhalar
that is nothing but an intricate
fringe-like pattern that is often
found in the outer edge of
borders of the saree
Jamawer saree
More popularly know it be a product
of Kashmir, jamawer is a glorious
variant of the silk saree with an array
of skilful designs and colour on a
parchment of pure silk or pashmina.
The term ‘jamawer’ literally means
robe and yard, witch now is a very
popular variety of Indian traditional
sarees that you can invest in for a
wedding. The uniqueness of the
saree is that many of its varieties
come with matching silk shawls
attached along them and are
embellished in meenakari colour like
orange and green and have beautiful
aksi embroidery for the borders.

Lucknowi
chikankari saree
The art of chlkankri is
quite popular in the
regions of uttarpradesh.
The thread work with
fine intricate design
show grace and
elegance. The colour of
ckikankari sarees are
often very subtle and in
pastel shades which can
never go out of style.
The light texture and
soft shade of colours
makes it a very versatile
variety of Indian
traditional sarees ,
makesit a very it a very
versatile variety of
indian traditional sarees,
fit for any occasions, be
it casual or formal.
Tanchoi saree
tanchoi is actually a kind of
weaving technique which
colour placed in the welf
that are often of the same
shade and done on silk
fabric. The richness of the
shades and the softness of
the material make it a really
popular silk saree all across
India and abroad too. There
are numerous varieties of
tanchol weave which
includes satin tanchol, satin
jari tanchol, atlas or gilt and
mushabbar. These saree
are quit popular for formal
occasions such as weddings
ceremonies, and festivities.
The ideal time to wear a
tanchol saree is during the
cooler months of autumn
and winter because of the
warmth of the fabric.

Kanjeevaram silk
saree
Originating in the town of
Kanchipuram in Tamil
nadu, the weavers here
have a tradition of more
then 150 years of weaving
these beautiful south
Indian silk sires. This
variety of Indian
traditional sires are made
form silk and get Their
name form the town itself.
The unique aspect of the
saree is the gold-dipped
thread that is woven along
with premium silk fabric
for a magnificent finish.
Kinkhab saree
Kinkhab brocade sarees
were very popular in the
Mughal era and they were
considered one of the
finest and luxurious textile
in that era. Nowadays, this
pattern is widely used for
wedding sarees with a
heavy brocade and
intricate embroidery
inspired from the Islamic
heritage. The pattern of
the brocade has wefts,
numerous layers as well as
warp threads that add to
the glory of the elaborate
look created by the
embroidery design. Other
popular Indian traditional
sarees of the northern
region of India include the
amru brocades tissue
sarees, shikargarh
brocades etc.

Konrad silk
saree
Also called as the
temple saree, Konrad
south Indian saree is a
special weave form the
state of Tamil Nadu.
The original purpose
for the weaving of
there saree was to
adorn the deities of the
temple, which gives the
saree its name and
uniqueness. The special
features of this saree is
that it consists of wide
borders and they are
mostly adorned with
designs of elephants,
peacocks and other
natural things like
flowers and fems,
spread over the length
of the saree.
Mysore silk
saree
One saree that is really
popular in India which
belongs to the Karnataka
region is the Mysore silk.
It is one of the most
sought-after sarees of
south India and it has
every reason to be so
popular. The specialty of
these saree is that there
is a shimmering quality in
the material that reflects
with suitable hints. This
kind of silk saree has
gained popularity for its
bright and vibrant
colours, a soft and
breathable fabric, and its
pure sheen. It is popular
as a wedding saree.

Bagru block printed
saree
Bagru is known for natural dye
and hand block printing. Bagru is
the place of raiger and chhipa
community. Bagru is also known
for natural dyeing. Indigo dyeing
and wooden hand block printing
over textile articles. Artisans use
traditional vegetable dyes for
printing the cloth. Like, the color
blue is made from indigo, greens
out of indigo mixed with
pomegranate ,red from madder
root and yellow from turmeric.
Usually bagru prints hove ethnic
floral patterns in natural colour.
Kantha stitch saree
The pattern of the saree is
created using simple run
stitch on a silk or cotton
yard. The stitches are used
to create intricate pattern
allover these Indian
traditional saree, especially
on the pallu and the border
using colourful silk threads.

Kerala kasavu saree
The Kerala kasavu saree is made
with super-fine quality of cotton
fabric which is usually in shades
of white with golden zari border.
They come in colour such as off-
white, pure white and pale
yellowish white colour and have a
very sober appeal. The whole
yard of the saree is free of any
zari work, embroidery or print
but it is kept plain only with a six
inch golden border along with an
elaborate pallu that is its trade
mark other popular sarees
Balarampuram mundu veshti
sarees form Kerala Madurai silk
sarees, Chettinad sarees,
Coimbatore cotton south Indian
saree, and many more.
Pochampally
The name of these
Indian traditional sarees
comes form the small
town of pochampally in
Hyderabad, which is the
origin for this verity of
silk saree. The unique
pattern of the saree
comes form the
symmetrical size of the
weft and the warp of
the yarns that are then
resist dyed which gives
you the pre-fixed design
on the silk saree that is
then interlaced to get
the final look. Woven in
silk and in bright
coloures, these sarees
are widely produced in
Andhra Pradesh, Gujarat
and Orissa too.

Bandhani saree
It is a popular saree which is
made using the tie and dye
concept. This form of saree
weaving is carried out mostly in
the parts of Gujarat. The sarees
have small sport or dots that
are created using the resist
dying method which creates
elaborate and skillful pattern
with the coloured and
uncoloured prt in the saree.
They are further adorned with
shells or cowrie and are quite
popular across the country and
abroad too. The lahariya saree
of Rajasthan is also created
using the same concept.
Paithani saree
Named after a small village in
Aurangabad in Maharashtra
this the making of this saree
needs enormous skill and
labour as the expanse of
material that goes into its
weaving and creation makes it
just awesome. Through the
entire like parrots, trees, and
plants, which are woven along
the boder and on the pallu of
the saree. These india
traditional saree other wise
know as Parthian saree are
woven using pure silk threads
and given vibrant colour a long
with a touch of pure gold,
making the perfect for a
wedding.

Patola saree
One of the most time-
consuming and
elaborate sarees,patola
has a charm of its own.
It is crated using the
most complex weave
techniques with five
colour dessign that are
resist dyed carefully
into both warp and
weft threads before
woen into beautiful
pattern. The variation
in the deesign of the
patola saree range
from geometrical
patterrns to floral or
vegetable patterns as
well as the elephant
and the maiden motif.
Kota doria saree
Also known as Kota saree
these sarees are made in
the villages in Kota,
Rajasthan. The unique
thing about these saree is
that they are of a
transparent texture,
woven using very fine
cotton or cotton-silk
weave. The lightness of the
texture and weightlessness
makes these Indian
traditional saree ideal for
the summer months.
These saree have a graph-
like pattern all over the
length and are lightly
embellished with zari work
on the borders.

Muga silk saree
One of the most durable
and highly reliable silk
sarees form Assam, muga
silk sarees are popular
across the globe for their
natural sheen and aa
touch of golden colour
that is the natural shade
of the raw silk fiber. The
fabric is not dyed but
embellished with motif is
black rad ,green or bright
orange colours to set a
good contrast against the
golden backdrop.
Taant saree
The word ‘taant’ literally
translates to ‘made on the
loom’. It is considered to
be the pride of Bengal
handloom. Taant sarees
are made form cotton
fabric and have a very
crisp, smooth finish and
are light in weight.
Available in a wide range
of pattern and colours,
you can take your pick for
the summers.

Maheshwari
sarees
The motif of masheswari
sarees have been
derived form the temple
carving of the place built
by Rani Ahilyabal Holkar.
Rani lived near the
banks of Narmada.
Maheshwari saree are
woven by men as well as
women folks. The
weaving done in
intricate wit geometric
design with no motif on
body of the saree.
Weaving is done with
fine silk warp and cotton
weft. Line paly a vital
role as vertical stripes,
and large checks are
woven to shape up the
pattern.
Baluchuri
saree
The baluchuri sarees
are woven in the
town of baluchur in
Murshidabad, west
Bengal and are known
for their unique and
intricate designs. The
borders of these
Indian traditional
sarees serve as a
canvas depicting the
stories form the
Hindu mythology, the
Ramayana and the
Mahabharata, which
makes it a unique
creation.

Sambalpuri saree
Sambalpuri saree is a
traditional hand-woven ikat or
saree. Where in the warp and
weft are tie and dyed before
weaving. It’s produced in
Bargard, sambhalpur, balangir
district, baudh district of
Orissa. Smbalpuri sarees are
known for their incorporation
of traditional motif like shank
(shall), Chakra (wheel), Phula
(flower) all of which have deep
symbolism.
Chanderi silk
saree
Chanderi silk is made by
hand weaving. It is
considered as the fabric of
choice for sarees produced
for royalty, as it is light-
weight, of fine quality and
has intricate design
developed. It is produced in
a town called chanderi
which is located in the state
of Madhya Pradesh in India.
The colours of chanderi silk
are natural as well as the
ones that can be developed
form chemical processes.
Chanderi saree are very
light and ideal for summers.
The beauty of fabric lien in
its feel, simplicity and the
bonders and buttes. They
give a sophisticated look.

Kumkum
Dezyne E’cole College, www.dezyneecole.Com

Thank YouDezyne E’ Cole College
Kumkum
2nd Year Diploma Fashion Design (NSQF Level- 6 Of NSDC )

Kumkum ,Fashion Design ,Dezyne E'cole College

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Kumkum ,Fashion Design ,Dezyne E'cole College