student of Dezyne E'cole College ,fashion design department ,www.dezyneecole.com. this is a portfolio of final year work of her in fashion Design

1. TRADITIONAL
INDIAN
SAREES AND
MOTIFS
Varsha Karadia
2nd Year Diploma In Fashion Design
Conforming To NSQF Level 6 Of NSDC
Dezyne E’cole College , Ajmer

2. A Project On
SARI DESIGN PROJECT
Submitted To
Dezyne E’cole College,
Civil Line,
www.dezyneecole.com
By Varsha Karadia
2nd Year Diploma In Fashion Design
Conforming to NSQF Level 6 of NSDC

3. Dezyne E’cole College
106/10 Civil Lines
Ajmer-305001, Raj
Tel. 0145-2624679
www.dezyneecole.com
This project report of Ms. Varsha Karadia student of 2nd Year Fashion Design Diploma, NSQF Level 6 of NSDC, has been
checked and has been graded as ______________________________________________________________
Thanking you,
Principal
(seal & signature)

4. I am Varsha Karadia, student of Fashion Design department of Dezyne E’cole College. I would
like to thank to all the mentors who had helped me to complete this project.
I also thank Dezyne E’cole College for giving me this opportunity to make this project and
helped me to understand the technical working of fashion designing
Acknowledgement

5. A sari or saree is a female garment from the Indian subcontinent 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, baring
the midriff. There are various styles of sari draping.
DIFFERENT WAYS OF DRAPE SAREE

6. Bengali style Nivi drape Nauvari saree Mekhela chadori style
Chhattisgarh style Madurai style Parsi drape Tamil Nadu style
DIFFERENT WAYS OF DRAPE SAREE

7. TRADITIONAL INDIAN SAREES

8. A banarasi saree is a saree made
in varanasi. The finest sarees in India and
are known for their gold and
silver brocade or zari, fine silk embroidery.
The sarees are made of finely
woven silk and are decorated with
intricate design through weaving. Their
special characteristics are Mughal inspired
designs such as intricate floral
motifs, kalga and bel.
There are four main varieties of Banarasi
saree, which includes pure silk (katan),
organza (kora)
with zari and silk, georgette, and shattir,
and according to design process, they are
divided into categories like, jangla,
tanchoi, vaskat, cutwork, tissue and
butidar
BANARASI SAREE

9. Chanderi sarees are produced from
three kinds of fabric i.e. pure silk,
chanderi cotton and silk cotton.
Traditional coin, Flora art, Peacocks and
geometrics are woven into different
chanderi patterns. The sarees are
among the finest sarees in India and are
known for their gold and silver brocade
or zari, fine silk embroidery.
The weaving culture or tradition has
been available from the 13th century. In
the beginning, the weavers were
Muslims, later weavers from Jhansi
migrated to Chanderi and settled there.
During the Mughal period, the cloth
business of Chanderi moved to its peak.
CHANDERI SAREE

10. Sambalpuri Saree is a traditional
handwoven ikat or sari where in the warp and
the weft are tie-dyed before weaving. It is
produced in the, Sambalpur district of Odisha.
The saree is a traditional female garment in
the India consisting of a strip of unstitched cloth
ranging from four to nine metres in length that
is draped over the body in various styles
Sambalpuri fabrics reflect an original style of
craft known as Baandha. Traditionally,
craftsmen created Baandhas with images of
flora or fauna or with geometrical patterns,
landscape and flower pods are being designed.
Baandha fabric is created using a tie-
dye technique. The yarns are tied according to
the desired patterns to prevent absorption of
dyes, and then dyed. The yarns or set of yarns
so produced is called 'Baandha'
SAMBHALPURI SAREE

11. A Paithani saree is a gold and silk sari. In the
revival of Paithani weaving, the production
was oriented towards export requirements,
while saris were produced only for
sophisticated buyers. Paithani evolved from
a cotton base to a silk base. Silk was used
in weft designs and in the borders, whereas
cotton was used in the body of the fabric
Paithani is characterised by borders of
an oblique square design, and a pallu with
a peacock design. Plain as well as spotted
designs are available. Among other varieties,
single coloured and kaleidoscope-coloured
designs are also popular. The kaleidoscopic
effect is achieved by using one colour for
weaving lengthwise and another for weaving
width wise
PAITHANI SAREE

12. Kanchipuram Silk is a type of silk saree made in
the Kanchipuram region in Tamil Nadu, India.
The sarees are considered as the Southern
Indian version of Banarasi saris.
Kanchipuram saris woven with heavy silk and
gold cloth are considered to be special and are
worn on occasions and festivities. Saris are
distinguished by their wide contrast borders.
Temple borders, checks, stripes and floral
(buttas) are traditional designs found on a
Kanchipuram sarees. The patterns and designs
in the kanchipuram sarees were inspired with
images and scriptures in South Indian temples
or natural features like leaves, birds and
animals
KANCHIPURAM SILK SAREE

13. BANDHANI SAREE
Bandhani is ancient art practiced by people mainly
of Rajasthan and Gujarat. Jaipur, Bikaner, Ajmer,
and Jamnager are among the important centers
producing odhnis, saris and turbans in bandhani.
Textile bandhani work involves tying and dyeing of
pieces of cotton or silk cloth. The main colours
used in bandhani are yellow ,red, green and black.
Bandhani work create beautiful patterns.

14. Bhagalpuri silk or Tussar silk is a dying style
of silk sarees and other clothes
from Bhagalpur, Bihar in India. This material is
used for making sarees named as Bhagalpuri Sari
BHAGALPURI SILK SAREE

15. Kalamkari is a type of hand-painted or block-
printed cotton textile, produced in parts
of India and Iran. Its name originates in
the Persian , which is derived from the
words qalam (pen) and kari (craftmanship),
meaning drawing with a pen
kalamkari, where in the "kalam" or pen is used for
free hand drawing of the subject and filling in the
colors, is entirely hand worked. This style
flowered around temples and their patronage and
so had an almost religious identity - scrolls,
temple hangings, chariot banners and the like,
depicted deities and scenes taken from the Hindu
epics - Ramayana, Mahabarata, Puranas and the
mythological classics
KALAMKARI SAREE

16. Textile The weaving done is intricate with geometric
design with no motif on the body of the sari.
weaving is done with a fine silk warp and cotton
weft. Line use as a vertical stripes, and large checks
are woven to shape the pattern.
Motifs are inspired from the temple carving of the
palace built by Rani Ahilayabai holkar. The
architectural carvings done on the fort walls such as
Kangura (chevron) Madhya Pradesh
MAHESHWARI SARIS OF MADHYA PRADESH

17. They are woven in the village on the outskirts of kota
city . Also popularly known as Masuria Malmal.
(Masuria means Mysore, the place where this
particular weave cloth originated). The specialty of
these saris is its transparency and weightlessness.
These saris are worn during summers. Cotton yarn of
different thickness along with silk yarn are used for
weaving as cotton provide strength and silk gives
transparency. The yarns are of different thickness
they help in creating geometric patterns, after the
weaving the cloth is dyed or in few cases the yarns
are dyed in different colours and then they are worn
together.
KOTA DORIA SARIS RAJASTHAN

18. TRADITIONAL INDIAN MOTIFS

19. TEMPLE MOTIF
The temple motif consists of rows of large triangles found
along ethnic and tribal sari borders, as well as in the end
piece of Dravidian and some central Deccan saris.
Temple motif symbolize –
Protection against the evil eye, Fertility symbol, The round
clay pot explicitly involved in this capacity in weddings,
religious rituals involving female goddesses – Lakshmi and
Durga.
Different names in different regions-
Daant ( teeth ) – In the north- east, West Bengal and
Bangladesh.
Kumbb, Kumbba or Kumbbam – in Orissa and Northern
Andhra Pradesh
Techniques – the temple motif are usually woven into the
ground fabric of the sari in the interlocked- weft technique.

20. A motif’s past meaning and history are usually discovered from sources
that nothing to do directly with the textile. In traditional rural India
almost every aspect of life has A special significance and this is
translated into symbolic expression in clothing and other forms of
personal adornment the stylization and blending of various motifs have
been influenced over the centuries by different emperors who have ruled
India. Lot of intermingling of Islamic, Buddhist, Persian and European art
is seen today in the Indian motifs made on textile with printing, painting,
dyeing, weaving and embroidering may serves as protective function. In
traditional rural India every aspect of life has a special significance and
this is translated into symbolic expression in clothing and other forms of
personal adornment.
Traditional Indian Motifs and their Significance

21. Paisley is a droplet-shaped motif of Indian and
Persian origin. It also resembles a mango so its
called mangai motif. In Persian the design is
known as ""boteh jegheh“
The modern French words for paisley are boteh.
In Pakistan, paisley designs are widely termed
the carrey design. Carrey in Urdu means mango
seed. In Punjab, this pattern is referred to as an
"Ambi". Ambi is derived from the word Amb
which means mango in Punjab
PAISLEY

22. It is again a Persian origin which came to India through Mughal.
It is mostly preferred by the designers or the craftsmen for filling
the empty area with free flow designs. Creepers with flowers,
leaves, buds, and fruits makes a heavy creeping wine pattern
and fruitful.
Creeping vine symbolize –
The vine of wish fulfilment, Health and prosperity, Welcoming
auspicious element ( such as Lakshmi, the goddess of wealth and
good luck ). Keeping out inauspicious ( such as malignant sprits
and the evil eye ).
Different names in different regions-
Bel – which refers to both a floral vine in general and fruit
bearing tree.
Traditional textile –
They are depicted on the clothing of medieval north Indian
sculptures, such as on these border of the lungi worn by a tree
goddess ( Vrikshaka )from the Deccan.
Vines were also printed onto fabrics excavated at al- Fustat,
Egypt
CREEPING VINE

23. Lotus has been a very popular motif almost all over the
world. The lotus has a lot of relevance in the Hindu
religion, goddess Laxmi the goddess of financial well holds
a lotus in her hand. so the flower symbolize her. also lord
Krishna's feet is compared to lotus.
Lotus symbolize –
Multiplicity of the universe, Religious , Fertility, Fecundity,
Prosperity and wealth.
Textile –
It is likely that the fecund aspect of the lotus, the spiritual,
is emphasized when it is depicted on traditional saris, in
particular wedding saris.
Some ethnic printed saris in the western region feature
stylized lotus pods.
The chhaabi bhat pattern in patola.
Eight pettaled lotus flower in the Orissan kbandua
wedding sari .
Different names in different regions-
Padma , kamala
LOTUS

24. The concept of a Tree of life as a many-branched tree
illustrating the idea that all life on earth is related and
considered to be one according to science, religion,
philosophy, mythology and other areas. The tree being a
living thing with so many other life from the bottom to
the top gives a lively feeling to the viewer which explains
the humanity in a very simple way.
Motif symbolize –
Tree of life is a symbol of fertility and protection for both
tribal and caste Hindus.
Textile – the tree of life motif appears in Kashmiri
carpets. Trees in general as opposed ethnic saris in
Raigarh district, eastern Madhya Pradesh.
TREE OF LIFE

25. THE SUN TREE MOTIF
The assamese sun tree motif such an archetypal pattern of the
north eastern region that many Assamese textile are
recognized as such just on the basis of this design. It depicts
two birds, animals or flowers, facing each other on either side
of a tree whose branches spread above them.
Different names in different regions-
Among the Thailand Tai, the motif is known as bong of swan
design.
Textile – China and northern south - east Asia create sun tree
like motif in their traditional textiles.

26. All these motifs are related to sea and water bodies so people
who live in the coastal areas use it most of the times. (For ex.
Kantha of Bengal). These are some of the symbolic motifs which
is always used by the traditional craftsmen and artisans
especially Hindus.
It is believed that these motifs symbolize lord Vishnu in his
Dashaavatharam. Fish for Matsya avatharam, Tortoise for Kurma
avatharam.
Conch which is nothing but the Shank that lord Vishnu holds in
his hand.
Some of these motifs are also used by some other countries like
China and Japan but the reason is different.
Fish for its beauty and free flow body and tortoise due to their
long lifespan, slow movement, sturdiness, and wrinkled
appearance which is an emblem of long life and stability in
many cultures around the world
FISH, TORTOISE, CONCH

27. BUTA AND BUTI
Another motif which is found in saree is the small buti and large
buta, which were depicted as flowers , spring and bushes. Buta
usually created in rows along end piece.
Different names in different regions-
The Persian/Turkish carpet motif similar to the Indian kalga
depicted in Indian sarees have been called boteh and buta.
Textile – the rows of geese is depicted on the textile worn by a
fifth century Ajanta figure could also be classified as buti. But
that design was probably printed not woven.

28. THE PEACOCK
A beautiful and an inherently long-established symbol of the
Indian culture since historic times, the Peacock motif has graced
several forms of art and architecture, and has been a matter of
pride and prestige for centuries. Even today, the Peacock motif
is a popular symbol which is widely used for several different
creative expressions.
Peacock motif symbolize –
Immortality, love, courtship, fertility, rebirth, regal pomp, war
and protection.
Textile – A peacock motif embroidered on a kantha sari from
West Bengal.

29. THE PARROT
The parrot do not have the historical and iconographic. It has
not depicted in ancient , classical of even medieval India
architecture.
Parrot symbolize –
A messenger of lovers and associations with courtship ,love
and passion.
Textile – they have the appearance of a block printed design. As
most of the textiles depicted in Ajanta seem to be of western
India origin.
The parrot has been depicted in elaborate coloured – silk
embroideries created for Rajput courts, for nomadic ethnic
groups such as Rabari.

30. THE ELEPHANT
The symbol of elephant has appeared throughout Indian
history since Mature Indus Valley times when it was
depicted on seals and as terracotta figurines excavated
from Mohenjo-Daro.
Its head was part of a mythical beast called a Makara.
Elephant symbolize –
The elephant is considered an auspicious animal,
traditionally associated with water and fertility, and with
royalty and regal power.
They are often depicted with Lakshmi.
Textile – elephants have been depicted on the expensive
traditional saris of Tamil mubbhagam, Guajarati gbarchola
and patola and Banaras kincabs.

31. THANK YOU
Varsha Karadia
2nd Year Diploma In Fashion Design
Conforming To NSQF Level 6 Of NSDC
Dezyne E’cole College , Ajmer