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.

1. SAREE DESIGN PROJECT
Harsha Parihar 2nd Year Advance Diploma in Fashion Design
Conforming to NSQF Level 6 Validated by NSDC and Ministry of Skill Development
Dezyne E’cole College

2. SAREE DESIGN PROJECT

3. Project Report
On
SAREE DESIGN
At
Dezyne E’cole College
Ajmer
Submitted Towards the
Partial fulfillment
Of
NSQL Level 6
By
Harsha Parihar
106/10, civil line, Ajmer
Ph. 0145-2624679, 9829024839
www.dezyneecole.com
2016-2017

4. ACKNOWLEDGEMENT
I would like to convey my gratefulness to Dezyne E’cole college and for the guidance, study skill
and knowledge which I learn.
I am thankful to my mentors who give me this opportunity of making the project and help me
to show my work ability through this project.
Harsha Parihar
2nd Year Fashion Design Diploma
Conforming to NSQF Level 6 of NSDC

5. Dezyne E’cole College
Civil Lines, Ajmer
www.dezyneecole.com
This project report of Miss Harsha Parihar student of 2nd Year Advance Diploma in Fashion
Design, confirming to NSQF Level 6 of NSDC, has been checked and graded as
_____________________________________________________________
Thanking You
Harsha Parihar
Principal
(seal & signature)

6. INTRODUCTION
The word sari described in Sanskrit as strip of cloth, called śāṭī and is having different
names of it in different regional languages.
The Earliest Depiction of the sari can be traced in the Indus valley civilization the
depiction of the sari in the Indian subcontinents the status of an Indus valley priest
wearing a drape fabric. The sari evolved from a three-piece ensembles comprising the
antariya, the lower garment; the uttariya, the upper garment and a veil worn the
shoulder .
The culture of India refers India. Traditional clothing in India greatly varies across
different parts of the country and is influenced electively to the thousand of distinct and
cultures of all religions and communities present in by local culture, geography and
climate. Popular style of draped garment such as sari which is 8meters in length and 2 to
4 feet in breath that is wrapped around the waist. in this project we will came across the
different types of sari worn in India, there various style of draping, their specialties and
their motifs.

7. TYPES OF SAREE WORN IN INDIA
Indian subcontinent has developed, over the centuries its own unique sari
style and varieties, distinct on the basis of fabric ,weaving style or motif.

8. TYPES OF SAREE WORN IN INDIA IN DIFFERENT STYLE

9. DIFFERENT STYLE OF DRAPING

10. Northern styles
Banarasi Uttar Pradesh
Tanchoi Uttar Pradesh
Central styles
• Chanderi Saree- Madhya
Pradesh
• Maheshwari Saree- Maheshwar,
Madhya Pradesh
Eastern styles
• Jamdani sari of Bangladesh
• Taant sari - Bengal
• Baluchari sari Bishnupur, West
Bengal
• Murshidabad silk Murshidabad ,
West Bengal
• Dhaniakhali cotton west Bengal
• Kaantha sari Bengal
• Batik Bengal
• Sambalpuri silk and cotton sari
Sambalpur, Odisha
• Ikkat silk Bargarh Odisha
(orissa)
• Manipuri Tant sari Manipur
Western style
Paithani sari Maharashtra
Bandhani sari Gujarat, Rajasthan,
Pakistan
Kota doria Rajasthan
Patola Gujarat
Bagru Rajasthan
Gharchola sari Gujarat
Southern style
Mysore silk Karnataka
Chirala sari Andhra Pradesh
Kanchipura sari Tamil Nadu
Thirubuvanam Tamil Nadu
Coimbatore cotton Tamil Nadu
TYPES OF SAREE WORN IN INDIA

11. TYPES OF SAREE WORN IN INDIA

12. COMPONENT OF SARI
CREPE SARI
Crepe are comprised of yarn which have been highly twisted before weaving,
giving the texture a specific appearance and significant suppleness. A
lustrous fabric with a superior drape. Silk crepe has a wonderful drape, and
light in weight provide comfort.
CHIFFON SARI
Chiffon is alight weight plain-woven texture with work like weave that gives it
transparent appearance. It is primarily made from cotton, silk or
manufactured strands like nylon and polyester, chiffon is most commonly
used to weave sari .
SILK SARI
The fabric has a shining appearance, however has intruding on pattern of
weave because of its regular fiber. The triangular crystal like structure
permits the texture to refract the lights, thus creating different hues in
various lighting.
KOTTA SARI
Kotta Dori is exceptional mix of cotton and silk in a square check design. The
silk gives the sparkle while cotton gives quality to the texture. the name Kota

13. COMPONENTS OF SARI
COTTON SARI
Cotton is one of the most skin friendly fabric. Cotton sari allow our skin to
breath easily, this feel comfortable .during summer days a cotton sari can
keep body cool and the lightweight factor of the sari give comfort to use in
daily wear.
GEORGETTE SARI
Georgette sari is lightweight, easy to carry. The thread if georgette is very
thin, it give light and floating appearance. Georgette fabric give beautiful
drape and accentuates the body curves. Many famous designer SATYA PAUL,
TARUN TAHILLANI have experimented with georgette sari and give them
ethnic twist by using Indian embroidery.
CHIFFON SARI
Chiffon is a kind of fabric that is made from polyester and other material like
silk, rayon or nylon are also used for making this fabric. Chiffon is light in
weight and is weaved in meshed pattern using high-twist yarn giving a
slippery feel to the fabric somewhat transparent in nature.

14. History and function of motif
The establishment of trade routes to and from the Indian subcontinent
brought many non-indigenous motifs to be integrated with the traditional
Indian motifs have been influenced over the centuries. Lot of intermingling of
Islamic, Buddhist, Persian and European art is seen today in the Indian motifs.
A motif’s past meaning and history are usually discovered from sources that
have nothing to do directly with textiles. Motifs made on textile with print,
painting dyeing weaving and embroidery may serve as protective function
Motifs take a variety of forms according to the craft technique employed.
Motifs made on textile with printing, painting , dyeing, weaving and
embroidering. The motifs following the weave of the fabric are reflected in
stylized geometric forms Phulkari embroidery or Kasuti embroidery. The free
flowing naturalistic form of Kashmiri embroidery.

15. Brocades of Varanasi/banarasi
Banarasi brocade saris are from Varanasi/Banaras, a
small town in Uttar Pradesh. The holy city of Banaras,
on the banks of river ganga. The brocaded fabrics from
Banaras are considered to be one of the finest saris in
India and are known for their gold and silver brocade
or 'zari'.
Textile: The banaras brocades are woven in silk with
profused use of metal thread on the endpieces and
the field of sari. The zari thread is known as kalabuttan
consist of finely drawn gold, silver ar base metal
thread, wound round a silk thread. The famous
brocaded textile of Varanasi is called kinkhwab woven
with coarse but durable silk known as “mukta ” which
is heavy enough to take brocading with silk gold or
silver thread. A silk and zari sari work brocade of lighter
material and less ornamentation is known as pot than
or bafta.
Motif : These saris are made of finely woven silk,
decorated with intricate design such as paisley butti.

16. Chanderi Saris Madhya Pradesh
Chanderi silk sari is thin and transparent like organza
and is made from silk thread, cotton thread and zari
a highly twisted yarn is used to make the fabric, so
crisp. Colored silk thread of fine quality and has
intricate design developed all over and end pieces of
the sari few narrow zari bands. It is produced in a
town called chanderi in Madhya Pradesh. Chanderi
sari are very light weight and ideal for summer
Textile :
The sari is woven in a blend of cotton and silk. It is
woven in pastel colours with small buties and a
narrow gold border. The endpieces generally has fine
lines in zari yarn.
Motifs: The motifs are simple gold coin, mango, brick
and beads (rudraksha) in the form of small buties.

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

18. Lucknow Chikankari Sari
Chikankari is the white thread embroidery done on
muslin or mulmul. Chikankari was nurtured in Uttar
Pradesh and primarily in Lucknow. It originated as a
court craft, today it is practiced and an important
commercial activity. Chikan (chakeen) means delicate
pattern on fabric. The colours of chikankari sari are
very subtle and pastel shades which can never goes
out of style.
Textile embroidery: The embroidery is done on fine
muslin or mulmul fabric with untwisted white cotton
or silk thread. Chikankari is the shadow work To create
the light and shade effect, herringbone stitch is
executed from the wrong side of the fabric which
creates shadow of lighter colour on the right side, flat
stitches like stem stitch and herringbone stitch, raised
stitches like bullion and French knots and pulled
thread work or jali.
Motifs: The motifs are inspired from nature’s flora
including flowers, creepers and paisley .

19. Kanchipuram Saris Tamil Nadu
It produces brocaded silk of superb texture, color and
luster. The raw silk yarn is washed in the waters of
Kanchipuram. It is the water which give lustrous sheen.
The main items of production are the silk saris with
solid brocaded borders(korvai). Kanchipuram saris in
the south indian style have a pallav and borders that
contrast in colour to the main field of the sari. The
desihn on the body of the sari are woven with gold
thread and the motifs range from figures and temple
gopuras (towers) along the borders.
Textile : The sari is woven in pure mulberry silk and
gold zari on hand operated pit-looms. The colours
used are red, saffron, , orange, emerald, heena green
maroon, peacock blue , ocher, rmustard, deep green,
maroon, aubergine, etc.
Motifs: the sun, jasmine ,thandavalam, pattu, floral,
chariots, swans, peacocks, parrots, lions, coins
mangoes and leaves.

20. Ikat/ Bandha of Orissa
The women of Orissa dresss in saris of blue, red and
magenta and other deep colours, with ikat pattering.
Ikat or bandha of Orissa has woven, blurred, and gems
coloured motifs in silk and cotton. The dominant
motifs in this craft include animals and birds, with the
traditional design being fish and conch shellas wellas
bolmala, chandankora, and sachipar.
single ikat either warp or the weft threads are tied
prior to weaving
Double ikat: both the warp and the weft threads are
tied and dyed when woven together these threads
from both the sides mesh exactly at certain point to
form a motif or pattern.
Combined the warp and the weft may exist in different
parts of a fabric, occasionally overlapping.
Motifs: elephant, peacock, flowers, shells, butterfuly

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

22. Bandhani
Bandhani is ancient art practiced by people mainly of
Rajasthan and Gujarat. Jaipur, Bikaner, Ajmer, and
Jamnager are among the important centers producing
odhnis, saris and turbans in bandhani.
Textile bandhani work involves tying and dyeing of
pieces of cotton or silk cloth. The main colours used in
bandhani are yellow ,red, green and black. Bandhani
work create beautiful patterns.
Gharcholu: a popular bandhani textile produced in
gujarat is called gharchola or gharcholu, a traditional
odhani or saris Hindus worn on auspicious occasions.
The tie-dyed textile in cotton or silk is red in colour and
the layout is a checkerboard created with woven gold
threads. Each square within the check contains a
different tie-dyed motif like dancing lady, parrot,
elephant, peacock, flowering shrub and geometric
forms

23. Bagru print Of Rajasthan
Bagru is a small village in Rajasthan, which is known
for its mud-resist block prints. Bargu printing is one
of the traditional techniques of printing with natural
colour. the printer first processes the raw material
which is mainly cotton. Other natural fabrics are silk,
cotton and silk blends etc. The fabric is then printed
with mordants in paste form which is known as
‘dabu’ made of clay and gum. It is then dried and
dyed in natural dye. After dyeing the fabric is
thoroughly washed The mud resist paste is washed
off exposing printed motifs on white background
surrounded by the base colour. Hence, the resulting
effect of dark and deep background with light
coloured prints is achieved by resisting and
mordanting.
Motifs: The motifs are inspired by the 17th century
Persian motifs flowers, leaves geometric designs
include waves (lehariya), chess (chaupad), etc

24. Jamdhani Sairs of West Bengal
The Jamdani saris are from West Bengal. The jamdani
weaves flourished under the rich patronage of kings.
Textile The jamdani design could be made with cotton
or zari threads. The muslin used was so fine that it
could pass through a ring because of the fines of the
cotton yarn and the closeness of the weave. These are
made in combination of cotton with cotton, cotton
with silk and silk with silk. The technique of
interlocking the extra weft yarns for creating motifs in
the fabric is used in Jamdani saris. These are woven on
traditional handlooms.
Motifs: butidar, chamali, ganda, pan buti, kalka or
turang, chand, tara buti, jhalar, kurda, peacock.

25. Pathani Sari of Maharashtra
Paithani saris are woven in villages of aurangabad in
maharashtra. Paithani saris are heavy silk saris which
are preferred for wedding trousseau and festive wear.
The pallu(endpiece) used to have a broad band of zari.
At present the pallu band is ornamented with lotuses
and peacocks woven in very bright colours.
Textile : the intricate motifs are woven by interlock
twill tapestry weaving technique on traditional
handlooms.
Motifs: floral, paisleys, parrots, peacocks and lotus
flowers. Another motif seen on paithani saris is the
bird

26. TRADITIONAL INDIAN MOTIFS

28. Traditional Indian Motifs and their Significance
Daant
(teeth)
North East
West Bengal
Bangladesh
West Bengal
Orissa
Andhra
Pradesh
Kumbh or
kumbbam
A motif’s past meaning and history are usually discovered from sources that
nothing to do directly with the textile. In traditional rural India almost every
aspect of life has A special significance and this is translated into symbolic
expression in clothing and other forms of personal adornment the
stylization and blending of various motifs have been influenced over the
centuries by different emperors who have ruled India. Lot of intermingling of
Islamic, Buddhist, Persian and European art is seen today in the Indian
motifs made on textile with printing, painting, dyeing, weaving and
embroidering may serves as protective function. In traditional rural India
every aspect of life has a special significance and this is translated into
symbolic expression in clothing and other forms of personal adornment.
The Temple Motif Consist Of Rows Of Large Triangles Found Along Ethnic
And Tribal Sari Borders , as well as in the end pieces of Dravidian and some
central Deccan saris. The kungri of Gujrat, may have originally been added
for protection against the evil eye. The kumbba is a fertility symbol.
Technique: They are usually woven into the ground fabric of the sari in the
interlocked weft technique. So the triangle point in the weft direction of the
fabric, never the warp.

29. Temple Motif

30. THE CREEPING VINE
The creeping vine motif primarily associated with expensive associated with
expensive textiles that have Islamic connections. It became an ‘establishment’
design on expensive fabrics from Mughal times. It first appeared in shunga-
period railings at the stupa of the saints at sanchi as A stylized angular
representation of A lotus rhizome. From then on it becomes an important
Hindu architectural and sculptural device to be known as “the vine of wish
fulfilment. It is mostly carved around doorways of temples and vines are
depicted on the clothing of medieval north Indian sculptures such as on the
border of the fabric worn by a goddess Vines were also printed onto fabrics
excavated at al-fustat. Egypt.in central Asia and eastern Europe, people
traditionally embroidered red vegetal and floral designs onto the cuffs and
collars of the shirts and blouses to keep out evil spirits, and the Ancient
Greeks are known to have woven roses into their garments for the same
reason.
Symbol: the vines are design as a symbol for health, prosperity, fertily and
wish fulfillment

31. The creeping vine

32. FLOWER MOTIF
Flower have play an important role in Hindu and early Buddhist iconography ,
and many design were then used by the Muslims. Islamic depictions seem to
have been purely decorative, various Hindu representations were often
symbolic of good luck, health and prosperity. the Tamil warrior god Maruka is
associated with a large number of different flowers, most of which are red.
Vishnu is also often depicted with a garland of five rows of flower, each row
representing one of the five senses. In the domestic art of Dravidian India, the
lemon flowers is used as protection from the evil eye, as is the protection and
good luck.
Flower are depicted in traditional saris. In many Deccan saris, narrow band of
repeat supplementary- warp figuring are generically called phool even if the
design is not strictly floral. The pattern in these bands tend to range from
small circular geometric motifs.
Symbol good luck, health and prosperity.
Textile embroidered, woven ,painted and applique.

33. Flower Motif

34. The Lotus Motif
One of the most complex and enduring symbols of both Buddhism and
Hinduism has been the lotus. The lotus flower is used in religious
iconography as the seat upon which member of the Hindu and Buddhist
Pantheons rest, representing their spiritual power and authority. It also
symbolizes the material world in all of its many forms, with its multi- petals
depiction in mandalas representing the multiplicity of the universe. This a
symbol of the creation of the represented by the lotus flower.
Lotus motif represents the life-giving power of water and is also associated
with the opening and closing of the petals. It is also the symbol of the
recreating power of life. The lotus is associated with purity and the goddess
Lakshmi the goddess of good fortune and abundance.
Symbol fertility , wealth, spiritual power and authority.

36. The Kalga Or The Mango Motif
It evolved from the 17th century floral and tree-of-life designs that were
created in expensive, tapestry- woven Mughal textiles. the kalgas created on
Kashmir shawls, which became a 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 at paisley, Scotland, that the
‘paisley’ was derived, still commonly used in Europe and the United States.
During the late eighteenth and nineteenth centuries the kalga became an
important motif in a wide range of Indian textile. The name kalga appears to
come from the Urdu. The word qalb literally means “hook”, and this word and
its variants described a range of curvilinear object with hook- like ends, such
as a goad, fishhook, or a hood covering a hawk’s head.
Kalka motif or paisley motif originated in Persia and Kashmir and has become
an interal image of the sub continental decorative motif. It can be compared
with a stylized leaf or flame.

38. The Peacock 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 were painted on Mature and Post-Indus Valley burial
pottery some of these birds have horns and vegetation issuing from their
bodice suggests that they signify fertility or rebirth. The peacock’s
associated with fertility may also partly derive simply from the fact that it
has a reputation for producing many young and that it heralds the coming
of the rains by dancing to attract a mate.
Symbol: fertility, rebirth.

40. Shamanism
Originating in the hunting societies of the Paleolithic era, shamanism
lingers in the arctic north. Korea, pockets of south-east Asia, aboriginal
Australia, Africa, among the Ainu and American Indian tribes and in South
America. The shaman is identified by his costume and its decoration. The
wearing of antlers to associate him with the animal world. The decoration
endowing the wearer with the magical force of the creature it symbolizes is the shaman.

42. The Fish Motif
The fish appears early in the archaeological record, and is painted onto early
Indus valley pottery at kalibagan as well as carved into Mohenjo-Daro seals
and pleaques of the mature Indus valley civilization. Fish are potent fertility
symbols throughout tribal and caste Hindu India, indicating abundance of
food, wealth and children as well as the generative powers of the
supernatural. The fish is also an avatar of Vishnu who, as the preserve , is
associated with prosperity.
Symbol prosperity, fertility , wealth and power.

44. THANK
YOU
Harsha Parihar 2nd Year Advance Diploma in Fashion Design
Conforming to NSQF Level 6 Validated by NSDC and Ministry of Skill Development
Dezyne E’cole College