This project report summarizes Dimpal Chouhan's print development project for her 2nd year diploma in fashion design at Dezyne E'cole College. The report includes an acknowledgment, introduction of traditional Indian motifs like paisley, conch, peepal leaf, temple, kalash, creeping vine, and flower motifs. It also discusses traditional Indian sarees, types of sarees worn in India, hand drafting exercises, nature drawings, print development techniques, and designs created using different shapes and motifs. It concludes with fabric and color boards showing the selected saree design.
This document is a project report submitted by Monika Mehra, a second year student of fashion design, towards the partial fulfillment of her diploma. The report discusses traditional Indian motifs and their symbolism that are commonly used in Indian textiles. It provides detailed descriptions and examples of specific motifs like paisley, conch, peepal leaf, temple, kalash, creeping vines, flowers, and lotus. It also discusses types of sarees worn across different regions of India and includes content, nature drawings, and print development exercises done by the student using these traditional motifs.
Dimpal Chouhan, a second year student of fashion technology, submitted this project report on ORBITO CAD as a partial fulfillment of her diploma. The report documents her work developing traditional Indian motifs using CAD software. It includes sections on developing motifs through techniques like repetition, collage, and using shapes. Motifs explored include paisley, peepal leaf, temple, kalasha, creeping vine, flower, lotus, rudraksh, buti, tree of life, sun tree, peacock, hansa, and fish. The report aims to showcase Dimpal's skills in replicating traditional Indian textile patterns digitally.
Phulkari is a traditional embroidery art from Punjab involving intricate needlework on odhni (head drapes or shawls). It originated with the migrant Jat people from Central Asia and was transmitted orally, resulting in regional variations. Phulkari is linked to important events in a woman's life and signifies more than just clothing. There are two main types - Bagh, where embroidery is so dense the base color disappears, and Chope which involves embroidery along borders. Motifs draw from everyday life and include flowers, fruits, and animals. The art continues to evolve today in its patterns, products, and techniques.
This document discusses the traditional Phulkari embroidery craft of Punjab. It originated in the 15th century and was done by women in their homes using silk threads to embroider flowers and motifs on cotton fabric. It was seen as a sign of love and was given as gifts for special occasions like marriages. However, after the India-Pakistan partition in the 20th century, the art form declined as it was mostly a domestic craft passed down generations. Now it has seen commercialization but lost some personal charm. The document explores traditional colors, patterns and the history and importance of Phulkari in Punjab culture.
Bridal durries from Punjab- An opportunity to empower womenVIVEK SIKKA
This document summarizes a study on bridal durries (rugs) woven by rural women in Punjab, India. It outlines the objectives to understand traditional and contemporary motifs, the status of weavers in one village, government schemes, and potential to increase skilled weavers. The study found that weavers were unaware of market demands but some women expressed interest in weaving as an income source if given orders. Government schemes had low participation. Successful models like Fab India working with artisans were discussed. It was concluded that schemes have had limited success and women weavers' potential remains underutilized due to lack of education, market access, and support framework.
Phulkari is a traditional embroidery art form from the Punjab region of India and Pakistan. It involves using silk thread to embroider colorful patterns and motifs on cotton fabric using darning stitches on the reverse side of the fabric. Complex embroidery works that cover the entire fabric surface are called baghs, while simpler works with embroidery only on edges are called chobes. Phulkari was traditionally done by women and featured in trousseaus and ceremonial clothing. Common motifs included flowers, animals, and objects from daily life. Over time the craft has evolved in terms of materials used and applications to items like clothing, home decor and more.
This document describes the different types and styles of Phulkari embroidery from Punjab, categorized by region, design, and motifs. Phulkari can be distinguished based on whether it uses scattered motifs or fully covered "Bagh" designs. Eastern Punjab is known for Bagh styles using motifs repeated to cover the entire shawl, often in red, orange, or brown, whereas western Punjab features scattered motifs combined with other techniques like mirror work in brighter colors. The document outlines many specific Phulkari styles defined by their motifs, patterns, sizes, colors, and regional origins within Punjab.
Mata ni Pachedi is a traditional craft of painting narratives of the Goddess Durga on cloth that has been practiced for over 300 years by the nomadic Vaghri tribe in Gujarat, India. The paintings depict Durga in the center surrounded by gods, devotees, and animals. Only three colors are traditionally used - maroon, black, and the natural color of the cloth. The paintings tell stories and myths from religious texts and were originally hung as temporary shrines. Though now mainly block printed, Mata ni Pachedi remain important cultural artifacts celebrating Goddess Durga.
This document is a project report submitted by Monika Mehra, a second year student of fashion design, towards the partial fulfillment of her diploma. The report discusses traditional Indian motifs and their symbolism that are commonly used in Indian textiles. It provides detailed descriptions and examples of specific motifs like paisley, conch, peepal leaf, temple, kalash, creeping vines, flowers, and lotus. It also discusses types of sarees worn across different regions of India and includes content, nature drawings, and print development exercises done by the student using these traditional motifs.
Dimpal Chouhan, a second year student of fashion technology, submitted this project report on ORBITO CAD as a partial fulfillment of her diploma. The report documents her work developing traditional Indian motifs using CAD software. It includes sections on developing motifs through techniques like repetition, collage, and using shapes. Motifs explored include paisley, peepal leaf, temple, kalasha, creeping vine, flower, lotus, rudraksh, buti, tree of life, sun tree, peacock, hansa, and fish. The report aims to showcase Dimpal's skills in replicating traditional Indian textile patterns digitally.
Phulkari is a traditional embroidery art from Punjab involving intricate needlework on odhni (head drapes or shawls). It originated with the migrant Jat people from Central Asia and was transmitted orally, resulting in regional variations. Phulkari is linked to important events in a woman's life and signifies more than just clothing. There are two main types - Bagh, where embroidery is so dense the base color disappears, and Chope which involves embroidery along borders. Motifs draw from everyday life and include flowers, fruits, and animals. The art continues to evolve today in its patterns, products, and techniques.
This document discusses the traditional Phulkari embroidery craft of Punjab. It originated in the 15th century and was done by women in their homes using silk threads to embroider flowers and motifs on cotton fabric. It was seen as a sign of love and was given as gifts for special occasions like marriages. However, after the India-Pakistan partition in the 20th century, the art form declined as it was mostly a domestic craft passed down generations. Now it has seen commercialization but lost some personal charm. The document explores traditional colors, patterns and the history and importance of Phulkari in Punjab culture.
Bridal durries from Punjab- An opportunity to empower womenVIVEK SIKKA
This document summarizes a study on bridal durries (rugs) woven by rural women in Punjab, India. It outlines the objectives to understand traditional and contemporary motifs, the status of weavers in one village, government schemes, and potential to increase skilled weavers. The study found that weavers were unaware of market demands but some women expressed interest in weaving as an income source if given orders. Government schemes had low participation. Successful models like Fab India working with artisans were discussed. It was concluded that schemes have had limited success and women weavers' potential remains underutilized due to lack of education, market access, and support framework.
Phulkari is a traditional embroidery art form from the Punjab region of India and Pakistan. It involves using silk thread to embroider colorful patterns and motifs on cotton fabric using darning stitches on the reverse side of the fabric. Complex embroidery works that cover the entire fabric surface are called baghs, while simpler works with embroidery only on edges are called chobes. Phulkari was traditionally done by women and featured in trousseaus and ceremonial clothing. Common motifs included flowers, animals, and objects from daily life. Over time the craft has evolved in terms of materials used and applications to items like clothing, home decor and more.
This document describes the different types and styles of Phulkari embroidery from Punjab, categorized by region, design, and motifs. Phulkari can be distinguished based on whether it uses scattered motifs or fully covered "Bagh" designs. Eastern Punjab is known for Bagh styles using motifs repeated to cover the entire shawl, often in red, orange, or brown, whereas western Punjab features scattered motifs combined with other techniques like mirror work in brighter colors. The document outlines many specific Phulkari styles defined by their motifs, patterns, sizes, colors, and regional origins within Punjab.
Mata ni Pachedi is a traditional craft of painting narratives of the Goddess Durga on cloth that has been practiced for over 300 years by the nomadic Vaghri tribe in Gujarat, India. The paintings depict Durga in the center surrounded by gods, devotees, and animals. Only three colors are traditionally used - maroon, black, and the natural color of the cloth. The paintings tell stories and myths from religious texts and were originally hung as temporary shrines. Though now mainly block printed, Mata ni Pachedi remain important cultural artifacts celebrating Goddess Durga.
Phulkari is a traditional embroidery style originating from Punjab. It involves using the darn stitch on the reverse side of fabric with colored silk thread to create intricate patterns. Motifs are inspired by nature and depict rural Punjabi life. Passed down orally, Phulkari was traditionally done by women as a leisure activity but is now a major industry. While machine production has made it more accessible, traditional hand-stitched Phulkari using local cotton and natural dyes remains highly valued. Phulkari is most often featured on fabrics like odinis and suits for weddings but is now also used on contemporary styles and home decor.
Akshay sharma,BS.c-Fashion Technology,+2 years Diploma dezyneecole
(1) The document discusses designing a saree collection for an Indian Airlines air hostess between ages 28-30. (2) It provides details on various traditional Indian saree styles like Banarasi, Chanderi and styles of draping a saree. (3) The design process developed 10 saree designs incorporating traditional motifs from regional Indian sarees and using suitable fabrics. (4) A final draped saree design is presented along with its specifications.
An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
This powerpoint presentation is created by Gyanbikash.com for the students of class eight from their English first part NCTB textbook for multimedia class.
This document summarizes crafts from the Punjab region of India, focusing on Patiala. It describes the traditional embroidery craft of Phulkari from Patiala, giving details on its origins, classification, motifs, materials used, and process. Phulkari embroidery involves blocking fabrics with wooden blocks and then doing intricate embroidery on the reverse side with silk thread in various stitches like darning. The village of Tripuri in Patiala is highlighted as a major hub for Phulkari craftspeople. Punjabi jutti making and parandhi crafts are also mentioned as traditions of Patiala.
This document is a project report submitted by Harsha Parihar, a 2nd year student of fashion design, for their saree design project. It provides an introduction to sarees worn across India, describing different styles, types of sarees based on region, fabric used, and common motifs. It discusses components of sarees like fabric (silk, cotton, georgette etc.), types worn in northern, central, eastern, western and southern India. It also summarizes traditional Indian motifs and their significance in different cultures.
What is Phulkari?
#Phulkari is an embroidered with silk flowers on the cloth, we can say also Phulkari is the art of Make flower with threads on any type of cloths which is helping to make the most attractive and also gives a shaded effect to the fabric. It widely used in ceremony in North India. we are makeing phulkari since 1947
The document provides background information on Chamba Rumal embroidery from Himachal Pradesh, India. It discusses the history of the region and the development of the embroidery art form between the 11th and 12th centuries AD. It describes the traditional motifs, themes, stitches, and materials used in Chamba Rumal embroidery including figures of deities, animals, plants and vibrant colors. The embroidery became known for its fine, delicate craftsmanship and depictions of miniature paintings from the Kangra Valley region.
This document is a project report submitted by Divya Vijayvargiya, a 2nd year student of Fashion Design Diploma at Dezyne E'cole college, towards the partial fulfillment of her diploma. The report discusses traditional Indian motifs such as the lotus, sun tree, fish, tree of life, temple, elephant, conch, tortoise, and parrot motifs. It provides details on the symbolism and historical significance of each motif and the traditional Indian textiles where each motif is commonly found.
The document provides information on various topics related to Kutch, India:
1. It introduces the region of Kutch and discusses its famous embroideries created by local women.
2. It provides a map showing Kutch's geographical location and surrounding areas.
3. It describes the many tribes and communities that have settled in Kutch over centuries and maintained their traditions, including Jats, Harijans, Ahirs, Rabaris, and others.
4. It gives details on foods, costumes, culture, and crafts including embroidery, wood carving, and silver engraving practiced in Kutch by different communities.
This document provides information on various types of embroidery techniques found in Asia, including mirror work, soof embroidery, kharek embroidery, pakko embroidery, rabari embroidery, jats embroidery, and mutwas embroidery. The summary highlights that these embroidery styles originate from communities in places like Gujarat, Rajasthan, Sindh, and Kutch and involve the use of mirrors, geometric patterns, and motifs inspired by nature, mythology, and daily life. The embroidery is used to create various products like clothes, bags, caps, and home decor items.
This document provides an overview of Banjara embroidery, including:
- Banjara embroidery originated from the nomadic Banjara tribes of Andhra Pradesh and is characterized by vibrant colors, ornate patterns, and delicate mirror work.
- The Crafts Council of Andhra Pradesh has worked to preserve and develop Banjara embroidery, providing training to women in the Yellamma Tanda village.
- Banjara embroidery faces threats from modernization but trade fairs provide opportunities to market the craft and generate income for artisans.
This document summarizes an assignment on patterns in Jamdani textiles from Bangladesh. It introduces Jamdani as a fine muslin textile produced in Dhaka for centuries, and discusses some traditional patterns like Terchha (diagonally striped floral sprays) and Panna Hazaar (a thousand emeralds with gold and silver threads). The student was asked to identify different Jamdani patterns but found it difficult, so included images of seven patterns like Pannahazar and Butidar, as well as unnamed beautiful designs. It concludes that Jamdani production has been revived through organizations supporting weavers and designers creating new patterns, and Jamdani symbolizes aristocracy with growing demand for quality
Indian Textiles - A Journey to Our HeritageSean Singh
We live in a country with one of the richest, most diverse textile heritages in the world. Lakhs of weaver families across the country weave the tanabana of our ancient stories every single day, and the movement for giving handlooms and handcrafted textiles their due recognition is gaining momentum with every new design collection and every #IWearHandloom or #100sareepact selfie on your social media feed.
In an easy to comprehend, simplified format, this visual guide aims to help everybody- from novice to avid Fabindia shopper to student to designer - recognize Indian textiles with a swift glance and also know (a lot more than) a thing or two about where the textile comes from and what it is worth.
Jamawar shawls originated in the 18th-19th centuries in Central Asia and Persia. They are intricately woven using tapestry techniques with patterns incorporating nature motifs. Jamawars are woven from fine cashmere or pashmina wool into elaborate designs using numerous colors. They can take years to complete and showcase the skills of Kashmiri artisans. Jamawar shawls were traditionally worn by Indian royalty and nobles and remain a popular fashion item today while preserving Kashmiri cultural heritage.
This document is a project dissertation submitted by Ms. Nidhi Nayak on Chikankari, a traditional embroidery art from Lucknow, India. It provides an introduction to Chikankari and discusses its origins in Persia and development in Lucknow. The dissertation also examines the history of Chikankari, describes the various stitching techniques used, and outlines the traditional production process of block printing designs, embroidery, and washing the finished textiles.
This document provides an overview of Ikat textiles produced in different regions of India. It discusses the history and production processes of major Ikat styles including Patola of Gujarat known for its intricate double Ikat designs, Pochampalli Ikat of Andhra Pradesh produced using fly shuttle looms, and Bandha Ikat unique to Odisha which utilizes natural dye techniques and motifs inspired by the Jagannath cult. The document also examines the SWOT analysis of the Ikat industry and provides strategies to strengthen production and markets for these traditional textiles.
Kantha embroidery originates from West Bengal and is an important symbol of the skills of rural women there. It has evolved from being used for quilts, clothing, and other household items to being incorporated into modern fashion designs. Kantha embroidery is thought to date back to the 1st-2nd century AD and involved reusing old fabrics. Rural women drew inspiration from daily life, depicting scenes of people, animals, and plants. A teacher named Shamlu Dudeja helped revive and promote Kantha embroidery in the 1980s to empower women. There are several different stitches used including those for quilts, ceremonial items, book covers, and more.
Jamdani sarees are a fine weave fabric known for their intricate hand-woven patterns and motifs. The name Jamdani originates from Persian and means "flower vase". It was popular during the Mughal period but declined under British rule. The creation of Jamdani involves supplementary weft technique where designs are manually woven using thin bamboo sticks and colored threads. Common motifs include flowers, peacocks, and geometric patterns. Jamdani sarees can take up to a year to produce and are considered one of the most prized fabrics in the world.
The document provides information about the traditional Kalamkari printing technique from India. It discusses that Kalamkari involves using natural dyes and a multi-step process to create designs on cotton fabric by hand painting or block printing. There are two main styles - the Srikalahasti style which uses freehand drawing and the Machilipatnam style which uses carved blocks. Only plants sources are used to create the red, blue, yellow and other colors. The detailed document outlines the history of Kalamkari and the specific processes and tools involved to create the intricate patterns and motifs for which it is known.
This document provides an overview of traditional Indian motifs that are commonly used in Indian textiles and saree designs. It describes motifs such as paisley, conch, peepal leaf, temple, kalasha, creeping vine, flower, lotus, and rudraksh. For each motif, it provides details on the symbolism and textile traditions where the motif is traditionally used, such as in Phulkari, Chikankari, Kashidakari, and others. The document serves as a reference for the traditional motifs of Indian textile art.
The document discusses Central Asian motifs that have influenced Indian art, including Persian paisley and tree of life patterns, Buddhist lotus motifs, Islamic geometric designs, and symbols of fertility. Birds are a common motif representing the connection between the physical and spiritual worlds. Motifs related to sun and fire worship like solar discs and swastikas appear in textiles from various Indian regions. Central Asian influences incorporated symbolic shapes and integrated order and unity in their designs.
Phulkari is a traditional embroidery style originating from Punjab. It involves using the darn stitch on the reverse side of fabric with colored silk thread to create intricate patterns. Motifs are inspired by nature and depict rural Punjabi life. Passed down orally, Phulkari was traditionally done by women as a leisure activity but is now a major industry. While machine production has made it more accessible, traditional hand-stitched Phulkari using local cotton and natural dyes remains highly valued. Phulkari is most often featured on fabrics like odinis and suits for weddings but is now also used on contemporary styles and home decor.
Akshay sharma,BS.c-Fashion Technology,+2 years Diploma dezyneecole
(1) The document discusses designing a saree collection for an Indian Airlines air hostess between ages 28-30. (2) It provides details on various traditional Indian saree styles like Banarasi, Chanderi and styles of draping a saree. (3) The design process developed 10 saree designs incorporating traditional motifs from regional Indian sarees and using suitable fabrics. (4) A final draped saree design is presented along with its specifications.
An Indian traditional craft Phulkari practiced in Punjab from generations. People from all over the love this hand crafted skill by the women in punjab
This powerpoint presentation is created by Gyanbikash.com for the students of class eight from their English first part NCTB textbook for multimedia class.
This document summarizes crafts from the Punjab region of India, focusing on Patiala. It describes the traditional embroidery craft of Phulkari from Patiala, giving details on its origins, classification, motifs, materials used, and process. Phulkari embroidery involves blocking fabrics with wooden blocks and then doing intricate embroidery on the reverse side with silk thread in various stitches like darning. The village of Tripuri in Patiala is highlighted as a major hub for Phulkari craftspeople. Punjabi jutti making and parandhi crafts are also mentioned as traditions of Patiala.
This document is a project report submitted by Harsha Parihar, a 2nd year student of fashion design, for their saree design project. It provides an introduction to sarees worn across India, describing different styles, types of sarees based on region, fabric used, and common motifs. It discusses components of sarees like fabric (silk, cotton, georgette etc.), types worn in northern, central, eastern, western and southern India. It also summarizes traditional Indian motifs and their significance in different cultures.
What is Phulkari?
#Phulkari is an embroidered with silk flowers on the cloth, we can say also Phulkari is the art of Make flower with threads on any type of cloths which is helping to make the most attractive and also gives a shaded effect to the fabric. It widely used in ceremony in North India. we are makeing phulkari since 1947
The document provides background information on Chamba Rumal embroidery from Himachal Pradesh, India. It discusses the history of the region and the development of the embroidery art form between the 11th and 12th centuries AD. It describes the traditional motifs, themes, stitches, and materials used in Chamba Rumal embroidery including figures of deities, animals, plants and vibrant colors. The embroidery became known for its fine, delicate craftsmanship and depictions of miniature paintings from the Kangra Valley region.
This document is a project report submitted by Divya Vijayvargiya, a 2nd year student of Fashion Design Diploma at Dezyne E'cole college, towards the partial fulfillment of her diploma. The report discusses traditional Indian motifs such as the lotus, sun tree, fish, tree of life, temple, elephant, conch, tortoise, and parrot motifs. It provides details on the symbolism and historical significance of each motif and the traditional Indian textiles where each motif is commonly found.
The document provides information on various topics related to Kutch, India:
1. It introduces the region of Kutch and discusses its famous embroideries created by local women.
2. It provides a map showing Kutch's geographical location and surrounding areas.
3. It describes the many tribes and communities that have settled in Kutch over centuries and maintained their traditions, including Jats, Harijans, Ahirs, Rabaris, and others.
4. It gives details on foods, costumes, culture, and crafts including embroidery, wood carving, and silver engraving practiced in Kutch by different communities.
This document provides information on various types of embroidery techniques found in Asia, including mirror work, soof embroidery, kharek embroidery, pakko embroidery, rabari embroidery, jats embroidery, and mutwas embroidery. The summary highlights that these embroidery styles originate from communities in places like Gujarat, Rajasthan, Sindh, and Kutch and involve the use of mirrors, geometric patterns, and motifs inspired by nature, mythology, and daily life. The embroidery is used to create various products like clothes, bags, caps, and home decor items.
This document provides an overview of Banjara embroidery, including:
- Banjara embroidery originated from the nomadic Banjara tribes of Andhra Pradesh and is characterized by vibrant colors, ornate patterns, and delicate mirror work.
- The Crafts Council of Andhra Pradesh has worked to preserve and develop Banjara embroidery, providing training to women in the Yellamma Tanda village.
- Banjara embroidery faces threats from modernization but trade fairs provide opportunities to market the craft and generate income for artisans.
This document summarizes an assignment on patterns in Jamdani textiles from Bangladesh. It introduces Jamdani as a fine muslin textile produced in Dhaka for centuries, and discusses some traditional patterns like Terchha (diagonally striped floral sprays) and Panna Hazaar (a thousand emeralds with gold and silver threads). The student was asked to identify different Jamdani patterns but found it difficult, so included images of seven patterns like Pannahazar and Butidar, as well as unnamed beautiful designs. It concludes that Jamdani production has been revived through organizations supporting weavers and designers creating new patterns, and Jamdani symbolizes aristocracy with growing demand for quality
Indian Textiles - A Journey to Our HeritageSean Singh
We live in a country with one of the richest, most diverse textile heritages in the world. Lakhs of weaver families across the country weave the tanabana of our ancient stories every single day, and the movement for giving handlooms and handcrafted textiles their due recognition is gaining momentum with every new design collection and every #IWearHandloom or #100sareepact selfie on your social media feed.
In an easy to comprehend, simplified format, this visual guide aims to help everybody- from novice to avid Fabindia shopper to student to designer - recognize Indian textiles with a swift glance and also know (a lot more than) a thing or two about where the textile comes from and what it is worth.
Jamawar shawls originated in the 18th-19th centuries in Central Asia and Persia. They are intricately woven using tapestry techniques with patterns incorporating nature motifs. Jamawars are woven from fine cashmere or pashmina wool into elaborate designs using numerous colors. They can take years to complete and showcase the skills of Kashmiri artisans. Jamawar shawls were traditionally worn by Indian royalty and nobles and remain a popular fashion item today while preserving Kashmiri cultural heritage.
This document is a project dissertation submitted by Ms. Nidhi Nayak on Chikankari, a traditional embroidery art from Lucknow, India. It provides an introduction to Chikankari and discusses its origins in Persia and development in Lucknow. The dissertation also examines the history of Chikankari, describes the various stitching techniques used, and outlines the traditional production process of block printing designs, embroidery, and washing the finished textiles.
This document provides an overview of Ikat textiles produced in different regions of India. It discusses the history and production processes of major Ikat styles including Patola of Gujarat known for its intricate double Ikat designs, Pochampalli Ikat of Andhra Pradesh produced using fly shuttle looms, and Bandha Ikat unique to Odisha which utilizes natural dye techniques and motifs inspired by the Jagannath cult. The document also examines the SWOT analysis of the Ikat industry and provides strategies to strengthen production and markets for these traditional textiles.
Kantha embroidery originates from West Bengal and is an important symbol of the skills of rural women there. It has evolved from being used for quilts, clothing, and other household items to being incorporated into modern fashion designs. Kantha embroidery is thought to date back to the 1st-2nd century AD and involved reusing old fabrics. Rural women drew inspiration from daily life, depicting scenes of people, animals, and plants. A teacher named Shamlu Dudeja helped revive and promote Kantha embroidery in the 1980s to empower women. There are several different stitches used including those for quilts, ceremonial items, book covers, and more.
Jamdani sarees are a fine weave fabric known for their intricate hand-woven patterns and motifs. The name Jamdani originates from Persian and means "flower vase". It was popular during the Mughal period but declined under British rule. The creation of Jamdani involves supplementary weft technique where designs are manually woven using thin bamboo sticks and colored threads. Common motifs include flowers, peacocks, and geometric patterns. Jamdani sarees can take up to a year to produce and are considered one of the most prized fabrics in the world.
The document provides information about the traditional Kalamkari printing technique from India. It discusses that Kalamkari involves using natural dyes and a multi-step process to create designs on cotton fabric by hand painting or block printing. There are two main styles - the Srikalahasti style which uses freehand drawing and the Machilipatnam style which uses carved blocks. Only plants sources are used to create the red, blue, yellow and other colors. The detailed document outlines the history of Kalamkari and the specific processes and tools involved to create the intricate patterns and motifs for which it is known.
This document provides an overview of traditional Indian motifs that are commonly used in Indian textiles and saree designs. It describes motifs such as paisley, conch, peepal leaf, temple, kalasha, creeping vine, flower, lotus, and rudraksh. For each motif, it provides details on the symbolism and textile traditions where the motif is traditionally used, such as in Phulkari, Chikankari, Kashidakari, and others. The document serves as a reference for the traditional motifs of Indian textile art.
The document discusses Central Asian motifs that have influenced Indian art, including Persian paisley and tree of life patterns, Buddhist lotus motifs, Islamic geometric designs, and symbols of fertility. Birds are a common motif representing the connection between the physical and spiritual worlds. Motifs related to sun and fire worship like solar discs and swastikas appear in textiles from various Indian regions. Central Asian influences incorporated symbolic shapes and integrated order and unity in their designs.
This document is a project report submitted by Tanuja Sahu towards fulfilling the requirements of a 2nd year diploma in fashion design. The report discusses the traditional Indian saree, including its history, common motifs, and types of sarees worn in different parts of India. It also covers print development techniques for applying motifs to fabrics and includes designs developed by the student.
Kriti Tolani's project report summarizes her process for developing a fashion collection inspired by traditional Indian art and craft. She researched various art forms from different Indian states and was particularly drawn to traditional embroideries. She created a storyboard about reviving dying Indian traditions. Her motif combines elements from Kashida paisleys, Kantha embroidery, Gujarati mirror work, and other techniques. She developed a toile and final dress applying the motif to a skirt using traditional Indian stitches. The report documents her design process from influences to final creation in fulfilling her course requirements.
A sari is a traditional garment worn by women in India that consists of an unstitched drape of fabric ranging from 5-9.5 yards. It is tied and folded in various styles according to local customs. The sari has a long history in India and its vibrant colors and intricate designs vary regionally. It remains an important part of Indian culture and a means of creative self-expression.
Project saree design project
Student of Dezyne E'cole College,Fashion Design Department,
www.dezyneecole.com .She has completed her two years technical programme in fashion design .
Traditional Indian saree motifs are influenced by religion, culture, nature, and history. Some common motifs include peacocks symbolizing immortality; parrots representing courtship; lotuses depicting eternal life; jasmine and mangos signifying fertility; trees of life connecting all living things; and conch shells used in Hindu philosophy. Motifs like elephants, rudraksh beads, and fish also carry symbolic meanings and have been prominently featured in Indian textile artwork for generations.
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 of motifs and designs, weavers and designers had also taken inspiration from their environment.
The document appears to be a portfolio submitted by Lakshika Rajpurohit for their one year diploma in fashion design from Meridian Academy of Design. It includes sections on Lakshika's project report on women's wear, their experience at Meridian Academy, color theory and schemes, pattern drafting, garment construction techniques, embroidery styles, and samples of Lakshika's designs. The portfolio demonstrates Lakshika's skills and knowledge gained in areas important for fashion design such as design, textiles, patternmaking, and construction.
This document summarizes the design process for a capsule collection focused on the protea flower. It includes sections on research, influences, concept, look book, creative research, elements and principles, mood board, material board, and working on the dress. The collection was inspired by the protea flower and its unique tropical appearance. Research included looking at conceptual and archival influences from other designers. The concept centered relationships in human life represented through the colors of a rainbow. A crinoline skirt was created using wires to hold the shape, taking inspiration from fashion history.
Mamta Manwani. ,Fashion Design Second year Diploma Student of Dezyne E'cole C...dezyneecole
This document is a project report submitted by Mamta Manwani towards her two-year diploma in Fashion Design from Dezyne E'cole college. The report discusses the traditional Indian saree, including its history, different styles of draping, and common motifs seen in saree designs. It provides details on the origins and evolution of the saree from ancient India and describes some major regional varieties such as the Banarasi, Jamawar, Lucknowi Chikankari, Tanchoi, Kanchipuram, and Mysore silk sarees. The report is intended to fulfill requirements for Mamta's diploma program in fashion design.
Sheikh Anjum Firdoush , Diploma Fashion Design Second Yeardezyneecole
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Dimple Chouhan ,Fashion Design ,Dezyne E'cole College
1.
2. Project Report
On
Print Development
At
Dezyne E’cole College
Submitted To
Dezyne E’cole College
Towards
The Partial Fulfillment Of The
2nd Year Diploma In Fashion Design
Confirming NSQF Level-6 Of NSDC
By
Dimpal Chouhan
Dezyne E’cole College
2017-18
Print development
3. I Am Dimpal Chouhan tudent Of Fashion Department 2nd Year Diploma Fashion Technology Of Dezyne E'cole College, Would Like To
Express My Gratitude To Each And Every Person Who Has Contributed In Stimulating Suggestions And Encouragement Which Really
Help Me ToCoordinate My Project.
I Also Thank Dezyne E’cole College Who Provided Insight And Expertise That Greatly Assisted The Project. Also A Special Thanks To My
Teacher, Parents And Colleagues Who Have Blessed Me With Good Health. Because Of Which I Worked More Efficiently And Better.
Dimpal Chouhan
2nd Year Diploma Fashion Technology
NSQF LEVEL – 6 OF NSDC
ACKNOWLEDGMENT
Print development
5. CONTENT
. Traditional Indian Motif
•Introduction Of Indian Motifs
•Paisley Motif
•Conch Motif
•Peepal Leaf Motif
•Tample Motif
•Kalash Motif
•Creeping Vine Motif
•Flower Motif
•Lotus Motif
•Rudraksh Motif
•Buti And Buta Motif
•Tree Of Life Motif
•Sun Tree Motif
•Peacock Motif
•Hansa Motif
•Fish Motif
•Parrot Motif
•Elephant Motif
•Tortoise Motif
•Hunting Scene Motif
2. Traditional Indian Saree
•Introduction Of Indian Saree
•History Of Indian Saree
•Ways Of Wearing Saree In India
.
3. Types Of Saree Worn In India
•Brocade Saree
•Jamawar Saree
•Lucknowi Chikankari Saree
•Tanchoi Saree
•Kinkhwab Saree
•Kacheevaram Saree
•Mysore Silk Saree
•Konrad Silk Saree
•Bagru Block Printed Saree
•Kantha Saree
•Pochampally Saree
•Kerala Saree
•Paithani Saree
•Bandhani Saree
•Patola Saree
•Kota Doria Saree
•Muga Silk Saree
•Taant Saree
•Maheshwari Saree
•Baluchari Saree
•Sambalpuri Saree
•Chanderi Silk Saree
Print development
6. Content
4. Hand Drafting
•Exercise on repetition
•Print development
•Printdevelopment
•Print development
•Print development
•Print development
5. Nature Drawing
6. Design Created Using Different Types OfShapes
7. Print Development
•Simplifying The Motif
•Pattern In A Shape
•RegularRepetition
•Brick Repetition
•Half Drop Repetition
•Stripes Repetition
•Overlapping Repetition
•Grouping Repetition
8. Motif Collage
9. Print Development By CorelDraw
• Papyrus flower
• Flower in a shape
• Regular repetition
• Brick Repetition
• Half Drop Repetition
• Stripes Repetition
• Overlapping repetition
• ScatteredRepetition
• GroupingRepetition
10. Saree Design
• Stripes Repetition
• Half Drop Repetition
• Brick Repetition
• Regular Repetition
• Overlapping Repetition
• Scattered Repetition
• Grouping Repetition
11. Swatch Board
12. Colour Board
13. Fabric Board
14. Fabric Selected
15. Selected Saree
16. Thank You
Print development
7. 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.
Print development
8. 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.
PAISLEY MOTIF
Print development
9. 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.
CONCH MOTIF
Print development
10. 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.
PEEPAL LEAF MOTIF
Print development
11. 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.
TAMPLE MOTIF
Print development
12. 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.
KALASHA MOTIF
Print development
13. Creeping Vine 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.
CREEPING VINE MOTIF
Print development
14. 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.
FLOWER MOTIF
Print development
15. 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.
LOTUS MOTIF
Print development
16. Rudraksh Motif
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 Medicaid 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.
Print development
17. Buti And Buta 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 ToCreate Butas. It Can Be Flower Or Paisley.
BUTI AND BUTAMOTIF
Print development
18. 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.
TREE OF LIFE MOTIF
Print development
19. 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.
SUN TREE MOTIF
Print development
20. 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.
PEACOCK MOTIF
Print development
21. 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.
HANSA MOTIF
Print development
22. 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.
FISH MOTIF
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23. 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 ToThe 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.
PARROT MOTIF
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24. 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.
Elephant Motif
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25. 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.
TORTOISE MOTIF
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26. 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.
HUNTING SCENE MOTIF
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27. 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.
THE TRADITIONAL INDIAN SAREE AN INTRODUCTION
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28. 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, lace, 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 Gyanandanandni Devi.
She was the wife of Satyendranath Tagore, first Indian ICS officer and
elder brother of R. N. Tagore, first Asian to win Nobel. After becoming an
IAS officer, Sateyndranath 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 Devi
started wearing with blouse, which gradually became the saree we know
today.
HISTORY OF INDIAN SAREE
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29. 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.
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Gujrati StyleNepali StyleMadisar StyleBrahmini Style Malayali Style
30. WAYS OF WEARING SARESS IN INDIA
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Nivi Style Bengali style Professionalstyle Tribal Style
31. 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 Basic 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.
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32. Lucknowi Chikankari Saree :
The Art Of Chikankari
Is Quite Popular In The Regions Of Uttar Pradesh. The Thread Work
With Fine Intricate Design Show Grace And Elegance. The Colour Of
Chikankari 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
, Makes it 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 Weft 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
Tanchoi, 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 Tanchoi Saree Is During The Cooler Months
Of Autumn And Winter Because Of The Warmth Of The Fabric.
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33. Kinkhwab Saree :
Kinkhwab 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.
Kancheevaram 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.
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34. 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.
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.
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35. 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
Colourfull Silk Threads..
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36. Pochampally Saree :
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.
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.
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37. 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 Border 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.
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 Uncolored Prt In
The Saree. They Are Further Adorned With Shells Or Cowries And Are
Quite Popular Across The Country And Abroad Too. The Lahariya Saree
Of Rajasthan Is Also Created Using The Same Concept.
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38. 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 Design That Are Resist Dyed
Carefully Into Both Warp And Weft Threads Before Woven Into Beautiful
Pattern. The Variation In The Design Of The Patola Saree Range From
Geometrical Patterns 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.
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39. 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 A 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
ToSet 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.
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40. 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.
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.
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41. 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.
PRINT
DEVELOPMENT
Print development
47. • Prepare a design for a vase with its height measuring 30cm. Width and outer shape of the vase are left to your choice. Prepare a
design based on the following units.
1) Decorative form of flowers, leaves, birds, etc.
2) Geometrical shapes may be used, if necessary.
DESIGN BY DIFFERENT TYPES OF SHPE
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Cearted using
48. • Construct a semi –circle of 10 cm radius. Organize a design in it . With the use of following units:
1) Two unequal circles.
2) A square.
3) Two equilateral triangles of equal size.
4) Two rectangles.
5) Two or three straight line , if necessary
DESIGN BY DIFFERENT TYPES OF SHAPE
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49. • Construct a square, 18cm as one of its side and organize the following units in it , to create a design
1) Three curved lines, each to touch two side of the square.
2) Three fish of different sizes.
3) Three unequal circle.
DESIGN BY DIFFERENT TYPES OF SHAPE
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50. • Draw a triangle ABCD with its base measuring 14cm and its attitude 14cm. Draw a semicircle, with center D of the bested AB as its
center on the other side of the triangle. In the whole outer shape, thus obtained. Prepares a design for an ‘ear pendant’.
organize the following unit in your design.
1) Decorative from of leaves, flower, fruits, bird etc.
2) Use geometrical shape .
DESIGN BY DIFFERENT TYPES OF SHAPE
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51. • Draw a semi circle of 24 cm diameter.
prepress a design for well decorative using the following motif.
1) Three curved line.
2) Three circle of different sizes.
3) Two triangle of different sizes.
4) Two different forms of fish.
DESIGN BY DIFFERENT TYPES OF SHAPE
Print development
52. • Draw an attractive shape for a hand-fan. The outer shape of the fan should not be less than 20cm in height or width excluding the
handle.
prepare the design, organizing in it the following unit.
1) Decorative form of flowers, leaves, birds, etc.
2) Geometrical shape any be used, if necessary.
DESIGN BY DIFFERENT TYPES OF SHAPE
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53. • Draw a circle with its radius measuring 10 cm. draw another smaller circle of 4 cm radius in such a way that it would touch the
circumference of the larger circle.
keeping the smaller circle black. Prepare a design in the remaining space of the whole outer shape, be organizing in it the
following
unit:
1) Three square of different size.
2) Two unequal circle.
3) Five flower-form of different size
4) A bird-form ,if necessary.
DESIGN BY DIFFERENT TYPES OF SHAPE
Print development
54. • Construct a rectangle with two of its side measuring 24cm and 18 cm . Divide it into two unequal part with a straight or a curved
line.
prepare a design with the following units in the given rectangle:
1) Three kite-forms of different size.
2) Three circle of different size.
3) Any suitable shape you like.
DESIGN BY DIFFERENT TYPES OF SHAPE
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55. • Hold the paper given to you in a vertical position and draw a line of 18cm in the middle of it and parallel to the shorter sides of the
paper.
using this line as a diagonal, prepare a regular Hexagon.
on the two side of the Hexagon, which are parallel to the diagonal, construct two rectangle of 2 cm in width, form outsides of the
hexagon.
Prepare a design only in the hexagon using the following element.
1) Two straight line joining the opposite angle of the hexagon.
2) Three circle of different size, with a little width to their circumferences.
3) A square with some width.
DESIGN BY DIFFERENT TYPES OF SHAPE
Print development
56. • Hold the paper given to you in a vertical position and draw a straight line of 18cm in the middle of it parallels to the shorter side of
the paper. Using this line as a diagonal contrast a ruler hexagon. On the two side of the hexagon, which are parallel to the diagonal
construct two rectangle of 2 cm in width form outside. Divide the hexagon in six equal triangle by joining its opposite angles. In one
of the triangles in the hexagon prepares a design with decorating motif of leaves, flower, and stem. The two rectangle which are
outside the hexagon in one colour and repeat the same colour. Below the design, write in light hand in pencil the purpose for which it
can be used.
DESIGN BY DIFFERENT TYPES OF SHOPE
Print development
57. • Hold the paper given to you in a vertical position and construct a rectangle of 18cm in width and 20 cm in height for a cotton bag
design .
Draw a suitable handle to it outside the rectangle .
Prepare a design in the above figure using the following units :
1) Two equal rectangle
2) Two unequal circles
3) Three triangle varying in sizes
4) Give some width to any one figure you like from A,B,C.
5) If you so think, straight or curved line may be used with some thickness to beautify the design.
DESIGN BY DIFFERENT TYPES OF SHOPE
Print development
58. • Draw circle with its radius measuring 10cm. Prepare a design in it organizing the following unit.
1) A Straight line dividing the circle in two unequal part.
2) Three curved line touching the circle.
3) Two circle of unequal size.
4) A square with one side measuring 4 cm.
DESIGN BY DIFFERENT TYPES OF SHOPE
Print development
59. • Draw a square ABCD with one of its sides measuring 15cm produce BC and DC to P and G respectively outside the square, so the CP
and CG are 5cm each in length. Join PG thus the figure would appear like a kite.
prepare a design in shape by organizing the following unit.
1) A circle of any radius.
2) Three decorative form of a bird.
3) Decorative form of leaves, if necessary.
DESIGN BY DIFFERENT TYPES OF SHOPE
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103. COLOUR BOARD
Colour Is One Of The Most Vital Tool In The Hands Of Designer. If Is The
Most Perceptible & Prominent Aspect Of Any Designer, Hence Is Central
ToThe Success Or Failure Of A Design Scheme.
It Is Very Important That A Designer Has The Full Knowledge &
Understanding Of This.
Colors Are The Most Important Element Of Any Design. When We Search
For Any Formal Design We Can Found The Neutrals, Earthy And The
Urban Colors.
Generally We Can See The Bright Colors Are Not Used In Formal Designs
But The Variation In The Colors Are Used, Ex-tints And Shades Of Any
Bright Colour. Here Are The Various Color Schemes Which Can Be Used
In Any Formal Saree’s Design:-
Related Color Scheme
• Achromatic Color Scheme
• Monochromatic Color Scheme
• Polychromatic Color Scheme
• Analogues Color Scheme
• Neutral Color Scheme
• Assented Neutral Color Scheme
Complementary Color Scheme
•Single Complementary Color Scheme
•Double Complementary Color Scheme
•Triad Complementary Color Scheme
•Split Complementary Color Scheme
•Clash Complementary Color Scheme
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104. FABRIC BOARD
Murshidabad Silk Muga Silk Khadi Cottonkhadi Silk
Tussar Silk Poly Cotton Row Silk Taffeta Silk
Bhagalpuri Silk Cotton Silk Pat Silk Jamawer Woven
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105. FABRIC SELECTED
Formal Wear Is The Dress Which A Person Wears For His Working Hours. And Every One
Wants A Outfit For His Working Hours Which Is Comfortable And Stylish Too. Fabric Is The
Primary Need Of Any Garment. Fabric Properties Are Most Important For Any Fabric Ex-
Wrinkle Resistance, Stain Resistance And Breathable Etc.
In A Formal Saree As Uniform Wearer Always Want Stiff Fabric Which Can Hold The Saree
Pleats In A Elegant Manner And Don’t Causes Static Charge With Body.
As A Fashion Designer : I Will Used These Fabrics For Design A Saree
As Uniform:-
SilkBlends
Tussar Silk
Khadi SilkCotton
Muga Silk
Pat Silk
MurshidabadSilk
Bhagalpuri Silk
Poly Cotton
Taffeta Silk
Jamawer Woven
Note :- Khadi Fabrics Are Highly Demanded Fabric In These Days By The Professional. In
The Year 2016 Air India Selected Khadi Silk Fabric For The Uniforms.
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