This document discusses various traditional motifs used in Indian sarees including paisley, rudraksh, floral, mythological, geometric, animal and bird motifs. It provides examples of saree types that commonly use each motif, such as paisley motifs being used in Banaras brocades and West Bengal sarees. The document also describes how to stylize motifs by stretching, slimming, thickening or rotating them. Different placement techniques for motifs on sarees are outlined as well. Traditional weaving styles from various Indian regions are showcased including those from Hyderabad, Gujarat, Orissa and more.

1. D
R
A
P
I
N
G
Tasmiya Siddiqui
Advance Diploma Fashion Technology
Dezyne E’cole
Art Of Draping

4. ARCHITECTURAL MOTIFTRADITIONAL TEXTILES MOTIFS
Concept - Concept of saree is tradational percian
motif these flowers of egypt are very spritual.
These motifs are mostly seen in their jwellary
and spritual fabrics.
Concept
colour
Embroidery
Embroidery used in this dress are with
silk thread on silk blink fabric.
c70,m56,y84,k71
c53,m78,y73,k78
c23,m100,y100,k27
c15,m33,y58,k0
ArrangementOfMotif
Streching ,
Sliming and
or Thickning
Of Motif.
The variation obtain
as a circle divide with
straight and curved lines
may develop simple and
intricate design.
1 Grouping
2 Repeating
3 Overlapping
4 Turning
Egyptian lotus motif
SUIT DESIGN
PROJECT
36”
36”
SeatLength
SeatLength
SeatLength
1/3
ofLength+1”
½
Round
Leg
½
RoundBottom
+1/2”
1/3
of Total Length
1/4
of Total Length
½
RoundBottom
½
Round
Bottom
CHURADAAR PYJAMI
On
Fold
Total Length-36”
Round Leg -14”
Round Bottom-12”
Seat Length-13”
Cut 4 Piece
Cut 2
piece
Full Length-23.1”
Cap Height-6.3”
Bicep Circumference-12.4”
Elbow Circumference-10.6
SLEEVE
MEASUREMENT
OnFold
FullLength
Cap Height
½ Bicep
Circumference
½ Elbow
Circumference
36”
7”
3”
KAMEEZ
MEASUREMENT
Full Length-36”
Round Chest- 34”
Shoulder-3”
Neck Depth-7”
Round Waist-26”
Round Hip-36”
Back Neck-9”
OnFold
5”
3”
FRONT BACK
36”
Length of dupatta 95”
width of dupatta-30”
width of border-3”
circular motif- 3”
Design Detaling
Tasmiya Siddiqui
Advance Diploma Fashion Technology
Dezyne E’cole

5. Trims
Vardhman Thread Ykk Zipper
Pantone 138 C Pantone 7526 C
Pantone 720 CPantone 5797 C
Printed Chiffon and cotton checks
Chiffon
Composition
DesignOnCAD
Back View
Composition
Composition
Fabric Color Ways
Upper Part
Seam Line
Front View
Side View
Cap sleeve
Back
Attached with
Upper & Lower
Part
Round
Neckline
Front
Circular
Hemline
Assymetric
curved dart
Composition
Fabric
Trims
Vardhman Thread
Color Ways
Pantone 174 C Pantone 7832 C
Printed Chiffon
Chiffon
Composition
DesignOnCAD
Front View
Back View
Side View
Upper Part
Seam Line
Composition
Ykk Zipper
Attached
with gathers
Upper & Lower
Part
Back
Front
Gathers
Uneven
Hemline
Composition
Fabric
Trims
Vardhman Thread Ykk Zipper
Color Ways
Pantone 138 C Pantone 7526 C
Pantone 720 CPantone 5797 C
Printed Chiffon
Chiffon
Composition
DesignOnCAD
Front View
Back View
Side View
Lower Part
Seam Line
Gathers
Yoke
Aline Flared Dress
Uneven
Hemline
Belt(2”)
Attached with
Upper & Lower
Part
Asymmetric
Neckline
Front Back
Composition
Composition
Fabric
Trims
Vardhman Thread
Color Ways
Pantone 364 Pantone 463 C
Printed Chiffon
Chiffon
Composition
DesignOnCAD
Front View Back View
Side View
Upper Part
Seam Line
Composition
Ykk Zipper
Attached
with gathers
Upper & Lower
Part
BackFront
Gathers Uneven
Hemline
Tasmiya Siddiqui
Advance Diploma Fashion Technology
Dezyne E’cole
Garment Construction Through Cad

6. Composition
Fabric
Vardhman Thread
Color Ways
Pantone 794 C Pantone 125 C
Plain cotton
Chiffon
Composition
DesignOnCAD
Front View
Side View
Upper Part
Seam Line
Composition
Ykk Zipper
Trims
Back View
Back FrontYoke
one piece
short dress
Composition
Fabric
Vardhman Thread
Plain and printed cotton
Chiffon
Composition
DesignOnCAD
Side View
Lower Part
Seam Line
Composition
Trims
Color Ways
Pantone 137 C Pantone 785 C
Pantone 642 CPantone 9854 C
Front View
Back View
Back Front
one piece
short dress
Armhole
princess
style line
Ykk Zipper
Composition
Fabric
Trims
Vardhman Thread
Color Ways
Pantone 464 C
Composition
DesignOnCAD
Front View
Back View
Side View
Composition
Front
Back
cap sleeve
cap sleeve
Round hemline Round hemline
cotton
Plain cotton
Composition
Fabric
Vardhman Thread
Striped fabric cotton
Cotton
Composition
DesignOnCAD
Side View
Seam Line
Composition
Trims
Color Ways
Pantone 137 C Pantone 785 C
Front View Back View
Back
Front
Kimono
sleeve
t-shirt
Garment Construction Through Cad
Tasmiya Siddiqui
Advance Diploma Fashion Technology
Dezyne E’cole

7. FUCHSIA RED
PALACE BLUE LUCITE GREEN
SUPER LEMON
LAVENDER VIBRANT GREEN
SLATE GRAY
SALMON ROSE
ROSE DUST
PANTONE
2328
PANTONE
16-1026
PANTONE
18-4043
PANTONE
18-4043
PANTONE
14-0754
DARK CITRON
PANTONE
16-0436
PANTONE
15-3817
PANTONE
16-5804
PANTONE
14-1307
PANTONE
16-6338
FASHIONDESIGNER
TASMIYA SIDDIQUI
PORTFOLIO
BEAUTY
OF
CURVES

8. This dress is made for a person whose age is 20-25. she has a good height
and a mature body with a fair completion her height is 5.7. Feeling of mo
-dernityare shown by girl by her silhouette and the way she carry the dress
and her carefree attitude. A dress is about curves and curves are shown by
folds of fabric to bring out sensual curves. It shows feeling of softness,
delicacy. Cuts of dress express feeling of sensuousness proper fitting of dress
makes her look attractive makes her silhouette beautiful accessories are
very beautiful and delicate which reflect light. Hair color are deep black
which suits her completion and dress type her hairs are with soft curls and
medium height. Shoes are high heel but not very slopy.eye color is little
lighter other dress and eye makeup is little darker to dress lipstick is dull and
little lighter and highlited fromdark shades of same color. Color of dress may
differ from party ware to casual ware for party ware vivid color aroused and for
casual ware deep and dark color are used. Fabric for my dress vary from party
ware to casual ware silk, satin, net, chiffon, georgette, with very light gsm and
for casual ware spandex and Lycia type of fabric which gives perfect fitting.
s
t
o
ry
b
o
a
r
d
h
a i r s
lip
colour
nailpolish
shoes
texture
f
a b r ic
f o l ds
a
ss esor
i
e
s
c
ol
o r
e
y
e m a k e
u
p
m
a
t
e
r
i
a
l
hairs with soft curls and
and black color
matching dull lip color
with dark lip liner
light color eye shade
with dark highligher
matching dull nail polish
retro red 147
high heel without slope
self texture and net
fabric folds on silk, satin
and velvet
stone assessories
suitable color
velvet, georget,and silk

9. MY CREATION

10. LAYOUT

11. Tasmiya Siddiqui
Advance Diploma
Fashion Technology
Dezyne E’cole

12. origami dress
Tasmiya Siddiqui
Advance Diploma Fashion Technology
Dezyne E’cole

13. Submitted to
Dezyne E’cole College towards the
partial fulfilment fot the awards of
Advance Diploma in Fashion Technology
By
TASMIYA SIDDIQUI
Advance Diploma in Fashion Technology
ProjectAdvisor
Mrs. PRIYANKA SAXENA
Dezyne E’cole College Ajmer
2009-2011

14. tremiendous values and has enabled me to complete this project
successful.
MRS.VINITA MATHUR,Director of Dezyne E’cole College, Ajmer
who has given me an opportunity to work on my project in their
Organisation.
Finally I am grateful to a those who have help me come out with
such a volume in this from.
ACKNOWLEDGEMENT
I am deeply greatful to all those whose guidance has been of
TASMIYA SIDDIQUI
Advance Diploma in Fashion Technology

15. CONTENT
Traditional Indian Motif
Concept Board
New Motif Development
Material Board
Saree Layout
4.SALWAR KAMEEZ PROJECT
Layout Of Draft Of Salwar Kameez
Salwar Kameez
5.CONCULISION
6.BIBLOGRAPHY
1. INTRODUCTION
2. TRADITIONAL MOTIF USED IN INDIAN SAREES
3.SAREE PROJECT
Paisley Motif
Rudraksh Motif
Floral Motif
Human Motif
Geometric Motif
Mythological Motif
Animal And Birds Motif
Tempel motof

16. INTRODUCTION
Design is backbone of graphic art, design that is a part of art actually a part of our life
Personality and influences the enjoyment of everything to do and of everything to select.
Textile designs developed from three sources the quality of the fibers, the size and type of
yarn and the way they are combined if more than one is used. The process by which they are
woven and any ornament incorporated during the weaving and the Ornamentation applied
after the weaving.
Design is classified into two types:
Structural and Decorative
Designs: Structural design is a form of construction that is built into the cloth during the
Process of its manufacturing. Decorative design is applied to the surface of the cloth to
ornament it. Like weaving knitting, lace making printing, dyeing, embroidery, appliqué and
painting.
Motif: the most important factor in any design, determines the family to which the
Pattern belongs. This is the basic image –a rose, a square, a clown a paisley
Layout: It describes the arrangement of the motif- whether it is spaced widely or closely
On the ground, in neat order or apparently at random, or in rows that form stripes.
Color: designs are so classified when a particular dye- indigo, madder or Turkey red
Say –is the strongest element of their look.
Naturalistic designs / conversational:
This depicts real objects in a natural manner. Flowers, animals, plant forms,
Stylized designs/ floral designs:
These distort real objects. In this natural designs are simplified, exaggerated, rearranged or
even distorted to achieve the purpose of the design.
a) All over non-directional
b) Allover set
c) Baskets, flowerpots and vases
d) Bouquets and nosegays

17. Geometric designs:
These are based on pure forms of the circle, rectangle and triangles etc. Geometric motifs
include stripes, dots, checks, and plaids
Abstract designs:
These have little or no reference to real object. Abstract implies an element of impression and
a greater freedom than is found in most geometric designs. This type of design is used in
modern art.
Ethnic designs:
The ethnic styles have their day in western design and then submerge, to reappear
Examples are American Indian look, batik and Indonesian look,
Egyptian look, Mexican design and paisley, tie and dye patterns.
Art movements and period styles:
Designs like these are often the links between cloth and the fine arts. Examples are Jacobean
looks and super graphics.
7 Repeats in Motifs
• Side repeats pattern.
• Half drop pattern
• Brick pattern
• Border pattern
• Spotted pattern
• Striped pattern
The Half –Drop repeat:
In half drop repeat given size will not come just straight across to the next repeat, but will
move up or down half of one repeat in the vertical direction.
Brick pattern: It is structured, as a brick wall Might be build. The repeat line up perfectly
Horizontally
Border designs:
Most border designs are composed of units or series of units or lines repeated at
Intervals over the given area.
Stripe pattern: They can be anything from plain stripes, all exactly the same width, to
After doing this project I got knowledge about traditional textiles of India whole India
In fabrics I personally like silk fabric of different variety or in surface design techniques
Like weaving in colors I like traditional Indian colors in motifs I like kalash and paisley
Motifs or in textiles I like ikat patola
Placement of motifs
Step-1 Draw a motif by difference sources.
Step-2 Simplify to motif with straight line or curve line using a ruler or a compas
Step-3 Stylising a motif by stretching, sliming, or thickning.
Step-4 Rotate the motif.
Step-5 The variation obtain as a circle divide with straight and curve line may develope
simple and intricate design

18. PAITHANE SAREE
OF HYDRABAD
IKAT SAREE
CHANDEREE SAREEBROCADE OF BANARS
MAHESHWARE SAREE OF
MADHYA PRADESH
STYLIZE MOTIF
RUDRAKSHA MOTIF
Rudraksha motifs are mostly used in all types of saree but
specially used in pochampally saree of Orissa and rajasthan

19. silk saree
Paisley moifs originaed in maxico,America are mostly used
in all types of saree but Rajasthan, Brocade of Banaras,
West Bengal, Kashmir, and Uttar Pradesh.
PAISLEY MOTIF
KANTHA SAREE OF BENGOL
PAOLA SAREE OF GUJRAT
CHANDERI SAREE OF
MADHYA PRADESH
SILK SAREE OF
MAHARSATRA
BROCADE OF BANARS
STYLIZE MOTIF

20. KALASH MOTIF
Kalash motifs are mostly used in all types of
saree but specially use in gujraty and rajasthane saree.
STYLIZE MOTIF
DIFFERENT TEXTILES KALASH
MOTIF SAREE

21. FLORAL MOTIF
SILK BROCADE SAREE
PAITHANE SAREE
OF HYDREBAD
BROCADE OF BANARS
CHANDERI SAREE OF
MADHYA PRADESH
CHANDERI SAREE OF
MADHYA PRADESH
Floral motifs are mostly used in all types of saree but specially use in
Gujrat, Rajasthan, Himachal Pradesh, Orissa, Maharastra, Uttar pradesh,
Kashmir, Punjab, Bengal, Bihar.
STYLIZE MOTIF

22. GEOMETRIC MOTIF
Geometric motifs are mostly used in all types of saree but specially use in
Orissa ,Gujarat, Madhya Pradesh,Rajasthan,Maharashtra
BROCADE
OF
BANARAS
PATOLA SAREE OF GUJRAT
POCHAMPALY
SAREE
OF ORISSA
MAHESHWAREE
SAREE OF
MADHYA
PRADESH
STYLIZE MOTIF

23. TEMPEL MOTIF
CHANDERI
SAREE OF
MADHYA
PRADESH
BROCADE OF BANARS
BROCADE OF BANARS
SILK SAREE OF MAHARSATRA
SILK SAREE OF MAHARSATRA
Tempel Motifs are used all over the world according to their
tradations like persian and egyptians used coin tempel motifs
in India is used all parts but specially Andra pradesh, Orissa.
STYLIZE MOTIF

24. SILK PERSIAN
TABREEZ WORK
BATIK
WORK
SILK EMBROIDERY
PAITHANE SAREE
OF HYDREBAD
PAITHANE SAREE
OF HYDREBAD
Animal and bird motif are using every region according to their
local style.These motifs are using in following places:Bihar,
Maharashtra, Jammu & Kashmir, Punjab, West Bengal.
ANIMAL AND BIRD MOTIF
STYLIZE MOTIF

25. MYTHOLOGICAL MOTIF
Mythological motifs are mostly used in all types of saree
these motifs are telling stories of God and Godesses specially
use in bihar,Andra pradesh, Orissa.
KALAMKAREE SAREE OF
MADHYA PRADESH
BALUCHARE SAREE OF
WEST BENGOL
PESHWA SAREE OF HYDRABAD
MAHESHWARE SAREE OF
MADHYA PRADESH
KALAMKAREE SAREE OF
ANDHRA PRADESH
BALUCHARY SAREE
BALUCHARY SAREE
BALUCHARY SAREE
MADHUBANY OF BIHAR
MADHUBANY OF BIHAR

26. HUMAN MOTIF
PAITHANE SAREE
OF HYDREBAD
MADHUBANE SAREE OF
BIHAR CHAMBA RUMAL SAREE OF
ORISSA
CHAMBA RUMAL SAREE OF
ORISSA
KALAMKARE SAREE OF
ANDHRA PRADESH
KALAMKARE SAREE OF
ANDHRA PRADESH
BALUCHARE SAREE
Human motifs are mostly used in all types of saree
but specially use in Bengal, Rajasthan and Bihar.

27. Biblography
In this project I got help from internet and from that
Google and yahoo are best among them some web
sites are there.
www.thebeautygirl.com
www.expat.or.id
www.jaintextiles.com
www.textilearts.com
www.baliblog.com
www.timorousbeasties.com
www.btsadventures.com
www.mexicantextiles.com
www.jaintextiles.com
www.dreamstime.com
www.goodreads.com
www.seasonsindia.com
www.bestindiansites.com
www.chillibreeze.com
www.pubarticles.com

28. Conclusion
Before doing this project I think there is no need to do this project but
After completing this project I realized I got the knowledge about all
traditional textiles, and all traditional designs of India. I got the knowledgeof
all textiles of India Motifs, Tradational Colors, Embroidery, etc.
Igot knowledge that Indian tradational motifs are Temple motif, flowers, lotus, buta,
kalga, peeple , sun, peacock, parrot, fish, elephant, tortoise, hunting scene, etc
Indian tradational motifs are Kalash, Flora, Fauna, Rudraksha, Geometric,Mythological
Paisley, Human, Tempel etc
At last I can say this project was very necessary for me
because I got a lots of knowledge and experience about Traditional Textiles. I got the
knowlwdge about all fibres, yarns, fabrics(natural and man made and their uses and
properties, and formation too.I learnt about all design techniques surface or decorative.
India has a diverse and rich textile tradition. The origin of Indian textiles can
be traced to the Indus valley civilization.
The first literary information about textiles in India is available in the RigVeda, which refers to
weaving. The ancient Hindu epics, the Ramayana and the Mahabharatamention a variety of
fabrics in vogue during those times. The Ramayana refers to the rich garments worn by the
aristocracy,