Monika Jha

Dezyne E’cole College, Ajmer
2013-2014
This Project of Ms. Monika Jha has been checked and every aspect of the design developed has been seen and
overall grade is:-
Signature: Place:
Name: Date:

• Acknowledgment
• College Profile
• Fashion industry
• Synopses
• As A Fashion Designer
• Collection And Their Influences
• How A Collection Is Developed
• Case Study
• Office wear
• Capsule collection design for office wear
• Motif Development And Print Making
• Sari design project on Photoshop
• Corel Assignments
• Orbito Assignments
• Advance Drafting And Draping
Content

Acknowledgment
I am deeply grateful to all those whose guidance has been of tremendous value and enable me to complete this project
successfully.
I am thankful to all my mentors of Dezyne E’cole College who gave me an opportunity to show my ability by working on this
project on the esteem organization and also helped me come up with various innovative ideas.
Monika Jha
BSc. Fashion Technology

College Profile
Creating fashion doesn’t just entail a vivid imagination and instinct for creativity. It also involves many decisions and myriad
techniques, focused on a central idea. Dezyne E'cole Fashion Design course builds a strong foundation in terms of design
sense, conceptualisation, independent research, creative application and individual artistic expression.
Fashion design runs the gamut from eveningwear to sportswear, women's wear to menswear, and kids wear to knitwear.
Students are asked to choose their area of interest and sharpen their creative ideas. Students are also introduced to various
historic fashion and art movements as exemplars and how these influence contemporary fashion. This is the very reason why
fashion houses, designer labels, luxury brands, apparel retail brands and ready-to-wear fashion industries seek our students.

• Student would have an opportunity to specialize in their area of interest in men’s wear / women’s wear.
• The student would have an opportunity to display their final project through a public presentation.
• Industry Experts and professionals in design and art related fields would be invited to interact with students.
• Students will undertake industry visits to fashion studios, apparel and textile manufacturing industry, craft locations and
fashion retail markets to understand the context of their learning and its ultimate application.
• Students will visit museums, exhibitions, trade fairs, and fashion events to have a first-hand experience of art, design and
fashion.
• Students would be encouraged to participate in fashion promotional events, competitions and seminars for a hands-on
experience.
Through this program students will undergo an in-depth industry experience, which includes industry internship followed by a
final design project. Other real time projects with due industry involvement, integrated within the curriculum, will impart to
students hands on experience of professional practice.
The intense one years of study culminates in a graduation fashion show called PORTFOLIO. At this gala event, our students’
creative fashion collections are staged at Kaleidoscope .This event helps the student to showcase their design skills to the
industry.

Synopsis
This project has been compiled as a final submission of the techniques learnt in fashion technology 2nd year and few from 1st
year. We learnt many things during our study period. Draping, garment construction, design development print making CAD.
We are handling a case study, where we have designed a collection for a young girl inspired by the Kachin tribe Burma .Just
unfold the pages to see my work!
Monika Jha
Bachelors In Fashion Technology

Fashion Industry
Within the sphere of technology industries, design technology is perhaps the fastest growing today. With new technologies
emerging rapidly and industries changing complexion, more and more job opportunities are up for the taking. It is estimated
that India will have a shortfall of five lakh people in the design sector by 2010- 11, but not all graduates will be employable.
Thus bringing the gap between talent and the skills required by the industry is important. Today, only one in every four
designers is employable and only 10% of the design graduates manage to get employment in the design industry. Hence the
students should understand the basic requirement of the industry and exhibit that ability.
The high expectations of the design industry are how clear is your concept of pattern engineering, along with the latest cad
systems which work on simulation stitching where the students do not require cloth to stitch and check their designs. Students
of fashion should have a good knowledge of cutting on the drape and cutting on flat, good fabric knowledge along with a
comprehensive knowledge of dress library only then a student of fashion can sketch a design, check the cutting, fittings and
finishing. The fitting is done today on the computer virtually by feeding the measurements of the client in the computer and
then the cutting methodology has to be done which is further simulated, that is artificially stitched on the computer.

This eases the work, as it expedites the work and reduces cost as no cloth is needed. This technology has been adopted by the
major garment manufacturing industries as the lead time of production is too less. These skills are taught at Dezyne E'cole.
The fashion industry is exploding and everyone, it seems, is vying for a part in the action. To get ahead in the business and sit
with the ranks of Ralph Lauren and Calvin Klein, you as an aspiring designer should have some of the same qualities as the
world’s top designers. Here are some of the qualities you'll need to succeed as a designer:
• Strong Business Sense - A great fashion designer has excellent business skills. You understand budgets, marketing, and
sales concepts that are vital to getting designs produced and sold.
• Good Communication - A number of people are involved in the creation of a garment, and as designer, you must be able to
effectively communicate to everyone involved what he or she expects.
•Sense of Competition - You continually strive to do better than your peers to come up with quality innovative designs
quickly.
•Highly Creative - You have a great sense of style and are constantly coming up with new ideas for fashions.
•Strong Drawing Skills - Excellent drawing skills mean you can easily sketch your ideas onto paper to start the production
process
•Good Eye for Materials - You have an eye for the materials of a garment, as well as the elements that make it unique, such
as color and fabric.

• Strong Sewing Skills - You can construct the garments you design. You understand what materials work best in the designs
you are developing.
• Team Player - Great fashion designers work well as part of a team. Designing a garment for production involves the work
of many, from pattern making to sewing to shipping. As designer, you must be able to work well with all involved.
• Knowledgeable of Current Fashion Trends - You follows trends and have a good eye for anticipating what your audience
will respond to next.
• Strong Visualization Abilities - Good fashion designers can visualize a garment before ever putting an idea on paper. You
can see the finished product well before production and can put your ideas into words and onto paper so others can grasp the
idea as well.

As A Fashion Designer
As a part of this fashion industry I am training my self through formal education in bachelor of science in fashion technology
BSc FT and industry oriented diploma program. During my course of study , I learn about the fashion industry and its
history and how it evolved as it is today during this period of time , my mentors help me to understand the art of constructing
a garment into reality through different method like draping and garment constructing through drafting to design and develop
we must have and ideal dress form for the size we need for our client . Draping worked as a very helpful method of
developing a garment . While working with draping we created many basic and innovative garments, and during my study I
have mastered the art of fabric draping on toil and have created garment with the use of darts , dart manipulation techniques,
other 3D art like origami , knotting, and fabric manipulation.
I also worked on 2D pattern engineering for garment construction where I learn the construction and development of kids
wear, women’s wear and men’s wear. In kids wear, I learn the construction of basic child's bodice block, sloper sleeve block
and innovative garments like jumpsuits, rompers, frocks etc. for kids of different age group, innovative sleeves like puff
sleeve, ruffle sleeve, cap sleeve, kimono sleeve, magyar sleeve, skirts like tier skirt, circular skirt, handkerchief skirt, gored
skirt, tulip skirt, hip rider skirt, collars peter pan, ruffle, sailor, stand collar, etc. I also developed women’s basic bodice block,
sleeve block and other innovative traditional like kameez, patiala salwar, churidar salwar, contemporary and western wear like
skirts, dresses tops and tunics. Also in my course of men’s garments, I develop basic men’s bodice block, men’s shirt, classic
shirt, casual shirt, work wear shirt innovative garments , trouser and other traditional men’s wear garments like Nehru Kurta,
Kalidar Kurta, Alighari Pyjama. Apart from these garments study I also learn the skill of grading ,marker making, layout and
specification of all garments created by me.

.
As the technological advancement are taking place , cutting of cloth is no more by hands instead cad machine have replace
them. We too learned the same through the use of orbito CAD, a 2D computer aided drafting for garment construction during
my study, I mastered my skills with industry oriented 2D CAD orbito. This software allow us to develop all those pattern that
we made on paper pattern. Grading ,grain names , specification ,cutting line ,side seam etc. like information can also be
specified in this software. This software is very helpful in industry where the production in mass amount and in less period of
time is very important .

When we design or create a garment, we also need to decorate the fabric using various techniques of surface design. A very
popular method of surface design is printing, hence knowledge about how they are done and how from which material this
process is completed. Embroidery is also a very known and beautiful art of decorating piece of textile or a garment , hence I
studied and practice different type of embroidery. We learnt and study about traditional Indian embroidery and also practiced
some decorative stitches and embroidery.
Another technique of surface design is the fabric manipulation, it is a very beautiful art in which the fabric manipulated in
different form to produce beautiful texture and some times 3D effect. In my college campus, I study and learnt many
beautiful method of fabric manipulation form which some of them are presented in further chapter of this project portfolio.
During my study, I practice some of the surface design technique, like the art of embroidery, where I learnt various
decorative stitch type use in the traditional embroidery around the world, I also, practice many embroidery like kantha and
phulkari. Some of the printing and dyeing we practice during our study include, the block printing, tie and dye ,brush
painting on fabric for the batter understanding of how they are produce. Apart from their techniques I also mastered in the
art of fabric manipulation, in which I practice some, including box pleat manipulation technique. Slash and spread technique,
wave pleat manipulation, dart manipulation technique and other.

Without a fabric, these design can never be transformed into reality hence we study the type of textile, its properties and how
it is produce. A design must have knowledge about the fabric they want to use in their design and also its properties. As a
designer it is also important for me to study then textile, its processes and its properties. So that I can apply and use them in
my design according to my need , in this study I learnt different weave types and fabric type, (woven ,non woven and knitted
and other decorative textile), looms ,finishes etc.
When we design a garment , can not directly drape it on dress form or stitch it, hence drawing our basic idea on paper is the
best way to see how the design would work on form and if it need some correction and addition to be done, it is easier t do it
with the help of a pencil only. To master illustration and also to study how other design created their design and collection. I
studied various Indian and western designers work to understand the way a dress can be created.

Collection And Their Influences
Archivism
In a fashion context, archivism refers to the way in which designers look back to previous collections for inspirations. In
particular the original aesthetics of a well established label may be revisited decades later, with collection referencing the
same design influences and detailing. For example Italian nobleman Emilio Pucci was popular throughout the 1960’s for his
use of wild , colorful patterns taken from renaissance paintings, filigree, feathers, animals, stained glass, windows and
ceramic tiles. He designed simple belted dresses, bodysuits, boat necks tops and pants in silk jersey. These iconic bold prints
continue to be reference today, with creative directors such as Mathew Williamson bringing the label up to date for the
modern costumer. Designers such as Karl Lagerfeld for Chanel and John Galliano for Christian Dior continue to reference the
fashion houses iconic statements, playing with scale, logo and accessories. These designers continue to update the signature
of the past. These fashion sources fluctuate in importance and influence due to trend directions and fashion ever changing
aesthetics. Many designers change direction from season to season or combine additional source materials and influences to
refresh their signatures or styles. It is useful to see how other designers derives influence.
Karl Lagerfeld Karl LagerfeldEmilio Pucci

Conceptual influence
The origin of contemporary ,conceptual fashion may well be credited to the Japanese designers Rei Kawakubo, Yohoji
Yamamoto, Issey Miyake. For decades these designers have been producing the most intriguing, provocative fashion by
creating new ways of cutting and constructing. Conceptual collections are often beautiful timeless, ageless and dislocated
from most visual narratives, however they can also be challenging abstract or unrelenting in identity, diminishing their
influence on fashion trends. There is usually little or no decoration to obscure the essence of the proportions, cut, finishes, or
quality of fabric used. Beauty derives from the garments’ core components and constructions.
Issey Miyaki Issey Miyaki Rai Kawakubo Rai Kawakubo

Global Influence
International developed the world and influence knowledge Japanese Kimono, Chinese Cheongsams, Indian Sari, Tartans,
Jacquard, Ikkat, Paisley, Russian Prints, Norwegian Snow Flacks Knit Design went on refining and developed into new
fashion collections.Two such examples are Kenzo and Dries Van Noten. Kenzo has champions an multicultural narrative,
placing Russian Floral Prints.
Dries van
noten Kenzo Kenzo
Dries van
noten
Dries van
noten

Political Influence
Fashion reflects society and designers will often reference political change oin their collection. Messages through the clothes
that we wear can be subversive and can be bold statements to create a reaction. Katharine Hamnett famously did this when
she invented the slogan t-shirt in the 1980’s. These now iconic t-shirts were basic white with large bold black lettering
featuring socio political massage such as antiwar statements. She intended for her slogan to be copied and read by people all
over the world. Hamnet has now move on to the global problems of ethics in the fashion manufacturing process, she is one of
the designers responsive for introducing organic cotton to the masses.
A number of designers have set a fair trade and ethical labels, such as People Tree and 123, who publish manifestos to
promote their beliefs.
Katharine Hamnett

Functional garment like military wear and expedition clothing,
work wear and utility clothing fall under this category of design
there performance erogenous of the wearer , activities and
environment are paid attention while designing-&- work are
example here.
Sports wear
• Functional garment such as military wear and expedition
clothing have long influence fashion designer.
• Military clothing has attractive many designer such as Robert
Cary Williams , Calvin Klein . They got attracted by its
camouflage and silhouette. Calvin Klein created military inspire
parka worn over neat single breasted suit. With the shirt and tie
• The safari jacket , riding jacket, cargo pants bicker jacket ,
trench coat (long coat) Burberry launch the trench coat after
clothing the British army in the first world war today the trench
coat is considered world war stable and has been and its
inspiration dress, evening wear and children wear.
• In the early 1980’s American designer Norma Camali Launched
traditional sweat shirting as a fashion fabric. This was successful
and came a new style of clothing. Sports wear brand “puma”
collaborated with designer “Alexander McQueen” Fred Berry
has worked with common designer. Garcon to design the
refreshing polo shirt Adidas created y3 Yohji Yamamoto . y3 Yohji Yamamoto Calvin Klein
Form and Function

levis Traus
Work wear
• Work wear come in the year late 18th century by levis Traus Be created the first work wear know as denim.
• This denim is used in unlimited fashion stories and is a high end fashion.
levis Traus levis Traus levis Traus

Futuristic Influence
This means taking fashion in anew direction. Example Coco Chanel designed garments by removing the age old corsets of the
Edwardian Period development of modern clothes keeping into mind the client needs.
US designer Geoffrey Beene is a futuristic designer and he has been the main person for the modern women wear design.
In 1950’s and 1960’s French designer Pierre Cardin, Andre Courreges, Pacco Rabanne designed futuristic space age fashion
taking reference from science friction rather than historical and traditional sources.
Cardin was the first couturier to launch readymade garments as reflected by demands of society.
Andre Courreges, Andre Courreges, Andre Courreges,

Elements of design are visual components of design. These are basic things to know before developing a collection.
These Elements are:-
• Line
• Shape
• Form
• Color
• Texture
• Value
Elements of design

• Lines are used to create a shape, pattern, movement or an optical illusion with thick, thin, smooth, long, short
characterization.
• Lines are of different kinds:-
1. Straight Line
2. Curved Line
3. ZigZag Line
4. Composite Line
• Lines are used in different ways in any garments like:-
1. Structural Lines
• Style Lines
• Hemlines
• Necklines
• Plackets
• Collars
• Cuffs
2. Decorative Lines.
• Tucks
• Darts
• Prints
• Embroidery
Lines

Shape
• Two-dimensional flat forms, having only length and width, are usually described as shapes.
• Shapes are of different kind like:-
1. Geometric shapes:- Geometric Shapes are the shapes that can be drawn using a ruler or compass.
Mechanical shapes, whether simple or complex, produce a feeling of control or order.
2. Organic shapes:- Organic Shapes are freehand drawn shapes that are complex and normally found in
nature.
• Shapes are used in following ways in any garment:-
1. Hemline
2. Sleeves
3. Embroidery Design
4. Prints.
Lettuce Hemline(Organic shapes)

Form
• Form may be described as any three dimensional object.
• Form can be measured, from top to bottom (height), side to side (width), and from back to
front (depth). Form is also defined by light and dark.
• It can be defined by the presence of shadows on surfaces or faces of an object. There are
two types of form, geometric (man-made) and natural (organic form).
• In garments it is used as a silhouette, it is outer edge of the garment. Commonly used
silhouette are :-
1. Wedge
2. Triangular
3. Hourglass
4. Rectangular
Wedge Triangular Rectangular Hourglass

Color
• Color can play a large role in the elements of design with the color wheel being used as a tool, and color
scheme providing a body of practical guidance to color mixing.
• Color is used in any garment with the help of color wheel and color key.
• Various color schemes are:-
1. Monochromatic
2. Polychromatic
3. Single complementary
4. Double complementary
5. Achromatic
6. Neutral
7. Split complementary
8. Analogous

Texture
• Both a tactile and visual surface quality which may be rough or smooth, soft or hard with resultant light being
reflected unevenly by the surface
• Texture can be added to attract or repel interest to an element, depending on the pleasantness of the texture.
• Texture is used according to the texture wheel in any design.

Value Scale:
The designer uses subtle illusions with the use of blending of colors.
Visual effects of values:
Lighter tones make form advance and appears larger.
Dark values appear to recede and reduce in size.
Asymmetric use of contrast distorts proportion and makes one side appear
brighter than the other side.
Strong contrast are used to remove the attention from an undesirable feature.
When use together light tone make dark tones appear darker and dark tones
make light tones appear lighter. Light grey looks light when used with black
and grey looks darker when used with white.
High Value
Intermediate
Value
Low Value
• Light is a supportive medium with the amount reflected by a surface is
known as value.
• Value changes can be achieved by adding black or white to the color.
• Tint:- When we add white color in any pure hue.
• Tone:- When we add gray color in any pure hue.
• Shade:- When we add black color in any pure hue.
.
Value

Principles of Design
• Principles applied to the elements of design that bring them together into one design.
• Every design demands arranging of its components in manners which are best dictated by certain principles.
• These principles of design guide the arrangement of elements of design to make it a good piece of art.
• It is important for any artist or designer to arrange the element in a pleasing manner. Hence, knowledge and understanding
of these principles is important.
• Elements of design are:-
1. Contrast
2. Unity
3. Rhythm
4. Balance
5. Proportion

Contrast
• Contrast means difference in elements.
• It is obtained by each and every element as shown below.
Is Is Not
Line Shape Form Line Shape Form
Color Texture ValueColor Texture Value

Unity
• Unity means that arrangement exists among the elements in a design, they look as though they belong to one family.
• It contain following things:-
1. Simplicity
2. Repetition
3. Proximity( Grouping)

Rhythm
• It is a timed beat which needs to be sensed by our eyes in any visual
composition.
• Rhythm is not anything to be heard by ears, in any visual composition.
• It may contain following things:-
1. Repetition
2. Gradation
3. Radiation.
Repetition:- Repetition occurs when line, shape, value, color is repeated and used
more in any composition. It can be regular or irregular.
Types of regular repetition:-
1. Straight repeat – The design repeats exactly in the same way.
2. Horizontal mirror repeat – The design makes a mirror repeat in the horizontal
direction.

3. Vertical mirror repeat – The design makes a mirror repeat in the vertical direction.
4. Rotational mirror repeat – The design makes a mirror repeat both horizontally and vertically
making a full circle - 360º.
5. Vertical half drop repeat – Half drop repeat is also called a brick repeat. Here the design
is arranged like bricks in a vertical direction.
6. Horizontal half drop repeat – Here the design is arranged like bricks in a horizontal fashion

Gradation
• Gradation in art is a visual technique to create movement from one color to another,
from one shape to another, one texture to another.
• Space, distance, volume and curved or rounded forms are some of the visual effects
created with gradation.
• It occurs with a change in repetition with increasing or decreasing object.

Radiation
• It means radiating so many lines from a common point.
• It creates movement from that point to all that area where those radiations are
going.
• It is used in many ways in our garment like:-
• Gathers
• Knotting
• Shirring, etc.

Balance
• Balance is the distribution of visual weight of design elements
with in a composition.
Proportion
• Proportion refers to relative size measured against other
elements.

How A Collection Is Developed
To begin with any collection I need to study the market.
The need of the creation and style i.e. function of the garment has to be perfect.
Identify The Customer
Muse : Ideal or inspirational costumers are known as Muse. They are usually those figures who are known as the face to be
used for advertising and campaign.
Specific Market, Economic Influence, Market, Competitors Analysis, Social.
Customers today have more choice because of media infatuation with fashion, celebrity.
The collection should have more of story telling before you present the collection, we need to focus on creativity, wear
ability, if we need to succeed.
Research And Development
Themes and direction for collection is done here, they are done in the form of images, drawing, mood board, sourced
garments, fabric cutting, trims, etc.
Seasons are seen here, knitwear, summer wear, etc.
Beading specialist, embroiders, hand craft tailor and fashion print designer, help in the collection.
The Last is decided with the dress.

Archiving
For designing , a designer has to consider the discarded ideas can be put up in 3 dimensional collage to help in better
decision making . This acts as a personal data base .
Story board
• Story board contains fabric samples , fabric board .
• Color Board from the color forecasting .
• Archivism collage .
• Decorative elements and accessories .
• Idea generation
• Surface Design Techniques
• Toil
• Fashion Flats

Case Study
We have to make a collection for a college going youngster age group 16-25 years who has started her college going after
school education we need to design at least 6 outfit from the dress code of the Indian classic look salwar-suit you have the full
liberty to transform this outfit into as many trendy look you can think of keeping in mind college youngster

Clint Profile
My client is a 20 year college going girl. She is a extrovert and fun-loving person She has fair whitish complexion, 5.5feet
tall and have black hair and eyes . She has to attend her college fest in her college. She want the dress to be trendy

Archiving
Before designing the collection I studied the history of traditional Indian salwar suit and also studied how they worn on
earlier days

Theme Board
My Client’s demand for an elegant and young looking attire, took me to the Asian culture where I studied the cultures of
Kachin tribe in Burma

Mood board
Angrakha
Plazo Pants
Mandarin collar
collar
Cigarette pant
In my collection, I have decided to use the styles which is popular during this time period.

Colour Board
C=0,M=100,Y=100,K=0
C=0,M=0,Y=0,K=100
C=47,M=100,Y=0,K=0
C=100,M=90,Y=0,K=0
C=0,M=74,Y=7,K=0
C=75,M=90,Y=100,K=0

Colour Board
Monochromatic Colour
scheme
Accented neutral Colour
scheme
Complimentary Colour
scheme
In my design I am using accented neutral color scheme
C=0,M=95,Y=91,K=0
C=15,M=100,Y=100,K=9
C=9,M=100,Y=100,K=2
C=0,M=100,Y=100,K=0
C=0,M=0,Y=0,K=100 C=0,M=93,Y=55,K=0
C=56,M=0,Y=67,K=0

Material Board
I have decided to use these fabrics in my collection
Lace Fabric128gm
55%nylon+45cotton
Cotton Polyester Blend Double Georgette
Synthetic Blend
60% cotton 40%
polyester 60 gm. chiffon

Toil
Front View Side View Back View

Final look
Angrakha style
neck line
Pakistani kurta
Printed
Border
Hem with folding
Cigarette pant

Design Specification
SEASON DISCRIPTION SIZE DESIGNER PATTERN
Summer Salwar Kameez 30 Monika Jha Salwar Kameez
Fabric Used
Prints used
Geometrical tribal
print
Hand block printing
Border at hem
Yoke
Button use Shank button 18 line8 l
angrakha
style neck
Separate facing 1.5” Red 8 l
C=0,M=100,Y
=100,K=0
Front View Back View
FABRIC TYPE COMPOSITION COLOUR
Georgette 80%cotton
20%polyester
Red
chiffon Synthetic blend Red

Fashion Flats
Seam Plain or Top Stitch ¼ inch or 6mm
Hem Finished with Hemming Hand stitch(3mm-5mm)
Lining used for body lining Polyester blend lining Color Red
Shoulder Finished with Hemming Hand Stitch(3mm-5mm)
printing Hand block
Thread Polyester Cotton Blend Color Red
Button use Shank button 16 line

Decorative Elements
Shank button
Hucks
Fabric button
Pippin
Buttons

Office Wear
During my course of study I also learnt to design and develop official and formal wear for men and women. In office wear
designing we were taught to design many formal garments with different styles and silhouettes according to the client
demands and needs. But before designing it is really important to understand how a style developed and evolved, that is to
understand the history of that style and who introduced it and when. Hence to understand these facts I studied the history of
women office wear, in which I studied the collection and new styles introduced by Coco Chanel and Christian Dior. I studied
how these designers bring new changes in women wear style after the World Wars by removing the Edwardian periods old
age corsets.

Archiving
Before designing the collection I studied and understand the history of office wear how they were worn on earlier days.

Archiving
.
In my collection, I have decided to use the styles which is popular during this time period

Case Study
We are suppose to design for a young girl aged between 30-32 years, she is having rectangle shape body and needs an outfit
to be design for her office wear.
My client is a 33-35 girl. She has fair whitish complexion, 5.5 feet tall and have black hair and eyes . She is a working
women She want the outfit with trendy and comfortable.

Summer Shirt with skirt 30 Monika Jha Shirt and skirt
Cotton Polyester Blend 60%cotton 40%
Polyester
Blue
Fabric Used
Shirt Collar
hem finish with folding
Straight skirt
2 hole flat button Line 18 Blue
Hidden button
placket
1.5” Blue
C=100,M=99,
Y=26,K=39
Hidden Button
Placket
Side Pocket
Waist Dart
Slit on back 4’
SKIRT TYPE SIZE COLOUR
Straight skirt 30 Grey
C=49,M=40,
Y=40,K=4

Summer Shirt with skirt 30 Monika Jha Shirt with skirt
Polyester
Blue
Fabric Used
Peter -pan Collar
Dart at neck
2 hole button Line 18 blue
C=49,M=40,
Y=40,K=4
C=100,M=99,
Y=26,K=39
French placket
Pippin
Straight skirt
Side
Pocket
Slit on back 4’
SKIRT TYPE SIZE COLOUR

Polyester
Blue
Fabric Used
Jabot
Shank button Line 18 blue
Gathers
C=49,M=40,
Y=40,K=4
C=100,M=99,
Y=26,K=39
Straight skirt
Side Pocket
Slit on back 4’
Stand collar
Skirt type Size COLOUR

Summer Blazer & Cropped
trouser
30 Monika Jha Tuxedo Jacket &
Cropped trouser
Polyester
Blue
Fabric Used
Print used houndsthoot Black and white
Shank button Line 20 black
Cropped trouser
Side
pocket
Edge finish
with folding
Houndsthoot print
tank top
Collar
C=49,M=40,
Y=40,K=4
C=100,M=99,
Y=26,K=39
Bound button
hole
Vent
Front View
Back View
TROUSER TYPE SIZE COLOUR
Cropped trouser 30 Grey

Case Study
We are suppose to design for a young girl aged between 30-32 years, she is having wedge shape body and needs an outfit to be design
for her office wear

Summer Shift dress 30 Monika Jha Shift dress
Polyester
Grey
Fabric Used
Front cut on
princess line
waistband
Hem finish
with folding
Magyar sleeve
C=49,M=40,
Y=40,K=4

Polyester
Grey
Poly cotton 60%cotton 40%
Polyester
Grey
Belt on waist
Hem finish with
folding
Slit in back
Leg o’
mutton
sleeve C=49,M=40,
Y=40,K=4
C=49,M=40,
Y=40,K=4
Scarf

Polyester
Grey
Poly -cotton Synthetic blend Grey
Fabric Used
Hem finish
with folding
Leg o’ mutton sleeve
Mandarin collar
Slit in back
Waist band 2.5”
Placket 1.5”
C=49,M=40,
Y=40,K=4

Polyester
Grey
Fabric Used
Hem finish
with folding
cape sleeve
Peter – pan collar
Slit in back
Waistband 2.5”
C=49,M=40,
Y=40,K=4

Case Study
We are suppose to design for a young girl aged between 30-32 years, she is having hourglass shape body and needs an outfit to be
design for her office wear

Summer Top & skirt 30 Monika Jha Top & skirt
Polyester
Brown
Fabric Used
Leg o’ mutton
sleeve
Hem finish with folding
Skirt belt
C=38,M=75,
Y=100,K=47
Bound Button
Hole

Summer One piece 30 Monika Jha One piece
Polyester
Brown
Fabric Used
Leg o’
mutton sleeve
belt
Shank button Line 18 Brown
C=38,M=75,
Y=100,K=47
C=51,M=73,
Y=84,K=73

Summer Top with skirt 30 Monika Jha Top with skirt
Polyester
Brown
Synthetic blend Brown
Fabric Used
Stand collar
Leg o’ mutton
sleeve
Hem finish
with folding
Skirt belt
Shank button Line 18 Brown
C=38,M=75,
Y=100,K=47
C=51,M=73,
Y=84,K=73

Summer Top with skirt 30 Monika Jha Top with skirt
Polyester
Brown
Fabric Used
Radiating Dart
Cape Sleeve
Hem finish
with folding
Skirt Belt
C=38,M=75,
Y=100,K=47
Side Pocket
Single Folded
Boat Neck

Case Study
We are suppose to design for a young girl aged between 30-32 years, she is having hour Pear shape body and needs an outfit to be
design for her office wear

Summer Tunic 30 Monika Jha Tunic & cropped
trouser
Polyester
Grey
Polyester
Off- white
Fabric Used
Stand collar
Full length
sleeve
Finish hem
with folding
Thigh
length
tunic
Wing seam
C=49,M=40,
Y=40,K=4
Placket 5”
C=0,M=0,
Y=0,K=20

trouser
Fabric Used
Jabot collar
Wing seam
Full length
sleeve
Finish hem
with
folding
Thigh
length
tunic
C=49,M=40,
Y=40,K=4
Polyester
Grey
Polyester
Off- white
C=0,M=0,
Y=0,K=20

trouser
Fabric Used
Finish hem with
folding
Stand collar
¾ plain
sleeve
Angrakha
style neck
Thigh
length
tunic
C=49,M=40,
Y=40,K=4
Separate facing 1.5” Gary
Polyester
Grey
Polyester
Off- white
C=0,M=0,
Y=0,K=20

Summer tunic 30 Monika Jha tunic& cropped
trouser
Fabric Used
Finish hem with Heming
collar
Full plain
sleeve
Pointed
placket
Thigh length
tunic
2 hole button Line 20 black
C=49,M=40,
Y=40,K=4
Polyester
Grey
Polyester
Off- white
C=0,M=0,
Y=0,K=20

Fashion Flats
Seam Plain or Top Stitch ¼ inch or 6mm
Hem Finished with Hemming and folding Hand stitch(3mm-5mm)
Lining used for body lining Polyester blend lining As per Colour
Shoulder Finished with Hemming Hand Stitch(3mm-5mm)
Thread Polyester Cotton Blend As per Colour
Button use Shank button Plastic material

Motif Development And Print Making
History 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. 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.
A motif’s past meanings and history are usually discovered from sources that have nothing to do directly with textiles.
Natural surroundings, religion, achievements of an individual, are usually the driving force behind the human psyche that
leads to the development of particular motifs. Motifs made on textiles with printing, painting, dyeing, weaving and
embroidering may serve as protective function i.e. gaurding the wearer against the evil eye and other misfortunes; For
example, hunters use animals and harmful insect motifs such as scorpion, to protect the wearer from the live creature.
Another function the motifs may relate to is fertility – the ability to produce off springs and thus survival. In agricultural
communities, fertility and wealth are closely linked, as the harvest is directly responsible for the communities well being. For
example: Pomegranate (Annar) with its abdunance of seeds is featured on marriage bed-covers in central Asia and is also used
in the Phulkari embroidery of Punjab. Pineapple motifs are used in island nation of Phillipines to devote fertility. Cowrie
shells, woven, embroidered or used otherwise also denote fertility. Many motifs have religious commutations like the kalash
motifs, lotus, swastik motifs, rudraksh, Islamic motifs of mihrab (arch) and the moon and star.
Motifs take a variety of forms according to the craft-technique employed. The motifs following the weave of the fabric are
reflected in stylized geometric forms eg. Phulkari embroidery or kasuti embroidery. The free flowing forms of embroidery
achieved in kashmiri embroidery gives rise to a naturalistic form. A star may appear as a solid five or six or eight pointed
figure when embroidered; but appears as an arrangement of triangles if woven.

Shamanism
The prime example of decoration endowing the wearer with the magical force of the creature it symbolizes is the shaman.
Originating in the hunting societies of the palaeolithic 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 and
invest him with its powers and spirits is common, as is the hanging on his vestments of all manner of symbolic accoutrements
amulets which in Islamic countries contain Koranic verses, bells to arouse the soul, trophies of the hunt, towels, with stylized
antler motifs embroidered in red. The embroidered decoration on his clothing is in sacred white reindeer thread and is often
of skeletal patterning – ribs and bones – symbolizing his figurative death and subsequent rebirth. Mystical animals found in
archaic embroidery are those linked with shamanism such as the jaguar, an animal who hunts at night and who in the
Americas was the shaman’s familiar. The bear in many northern cultures was believed to be a human ancestor and guardian. It
was revered by the Ainu, whose appliqué patterns portray the bear, and by the Giliak of Siberia. For their festival, when the
men of one clan about to marry into another are invited to kill the bear, clothing is worn with embroidered spiral patterns that
symbolize the animal. Stags, like birds, were believed to transport souls between earth and heaven: most shamanistic ritual is
accompanied by the use of hallucinogenics, especially magic mushrooms, and a state of transcendence, or trance, was linked
to the stag. Creatures believed by some people to be incarnations of the soul, such as lizards or toads or bees and particularly
birds, were also mystical.

Central Asian Motif
The majorities of textiles are and always have been made by women. Natural forms such as flowers, stars, or an article from
everyday home – life may suggest the wish of a weaver or embroidered to put into the work some meaningful element of her
environment. Over centuries, many central Asian motifs have been incorporated in the Indian art.
Persian motifs of Paisley, tree of life and rounded containing birds or beasts is commonly used on various Indian
textiles.Buddhist motifs such as the endless thread of fortune and the lotus are the favorite among weavers and embroiders.
While interpretation of motifs in textile decoration must always be speculative, since meanings change with the cultural
context, a variety of motifs have broadly similar symbolic connotations wherever they are applied. Symbolism of common
Central Asian motifs has been discussed, along with their appearance on Indian textiles.
The bird:- A common motif is understood to mediate between this world and the world of spirits. The cock, usually stylized
as a head and comb, represents the beginning of the day and dispels the spirits of darkness. The cock and other bird motifs are
seen in the phulkari embroidery of Punjab. Double headed birds of prey e.g. eagle signify power and mobility amongst the
Turkish tribes. Parrot, Peacock and Geese motifs are commonly used on Indian textiles and are discussed later.

The Sun:- The ancient cult of worship of the sun and fire as life giving forces was widespread in the region and gave rise to a
variety of motifs such as solar discs and swastikas. Such motifs appear on phulkari and the ikat sarees of Orissa, Gujarat and
Kantha embroideries

The Pomegranate:-In Central Asia, Pomegranate, cowrie shells and tulip flowers are used as a symbol of fertility. Cowrie
shells are commonly used in the Gujarat and Rajasthan embroideries and are also seen embroidered on phulkaris.
Pomegranate flowers are seen in phulkari embroideries. Tulips are not seen in Indian art.

Tulip Flower:-A flower of particular significance in Central Asia is a sign of coming of spring – the season known as eulnek
meaning the blossoming of the fields. The tulips bloom abundantly when the snow melts. Babur, the ousted chieftain of
Central Asia, who became the first Mughal emperor of India, was a lover of nature, who kept or meticulous dairy of his
observations. In this he identifies sixteen different varieties of tulip in the hills around Kabul. As a decorative motif tulip is
symbolic of abundance, spring and fertility, and is commonly embroidered on the Turkmen women’s gown or chyrpy and on
suzani i.e. the wall banging.

Triangle Motif:-People of all faiths, Muslims, Buddhists or Nestorian Christians have deep rooted animistic beliefs and share
the concept of the amulet (tabiz) which safeguards the wearer or the household. Charms take many different forms, but the
triangle is the most common made of felt, it is hung over the doorway of the hut. Thus can be compared to the toran of
Gujarat. Woven embroidered or knotted, it makes the twin flank trapping of the wedding camel. Small embroidered or bead
work triangles are also stitched on to the clothing. The triangle signifies trinity – the three fold nature of the universe in terms
of mind, body and spirit. Bead work is also famous in Gujarat and is known as the moti-bharat.
Decorative embroidery:- It is also used as a protective element in itself often forming symbolic patterns, it is worked around
the edges and openings of the garment i.e. the hems, pockets, necklines, through which the harmful forces attack the body.
Vulnerable areas like the front bodies, head and nape of the neck are dressed in heavy embroidery. Shiny objects such as
coins, metal disk, mirrors (shisha),incorporated in the embroidery are believed to avert the evil eye or reflect and hold its
image thus absorbing the destructive powers. Blue beads are embroidered, woven or braided into fabric as a protective device.
Heavily embroidered bodies with mirror work are seen in Gujarat and Rajasthan.

Traditional Indian Motif And Their Significance
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. Some traditional motifs of India and their significance is discussed in this
chapter. The names of these motifs have also been mentioned in various languages where Hindi is H; Tamil is Ta, Telgu is Te;
Kannad is Ka, Marathi is M, Oriya is O and Gujarati is G.
The temple motif consists of rows of large triangles found along ethnic and tribal sari borders, as well as in the endpieces of
Dravidian and some central Deccan saris. They are usually woven into the ground fabric of the sari in the interlocked-weft
technique, so making the triangles point in the weft direction of the fabric, never the warp.
Temple Motif
A kumbha design on a Gond sari from
Koraput, Orissa

The temple motif consists of rows of large triangles found along ethnic and tribal sari borders, as well as in the endpieces of
Dravidian and some central Deccan saris. They are usually woven into the ground fabric of the sari in the interlocked-weft
technique, so making the triangles point in the weft direction of the fabric, never the warp.
The temple motif has different tranditional names in different parts of India, none of which translate into ‘temple’. In the
north-east, West Bengal and Bangladesh it was commonly called daant (teeth). In West Bengal and eastern Deccan, especially
Orissa and northern Andhra Pradesh, it is called a kumbb (B), Kumbba (O) or kumbbam (Te), a reference to the round clay
storage pot and its contents (usually rice or water). Although the daant, like the kungri of Gujarat, may have originally been
added for protection against the evil eye, the kumbba is a fertility symbol. The round clay pot is explicitly involved in this
capacity in weddings, religious rituals involving female goddesses (especially Lakshmi and Durga), and on domestic wall-
paintings that welcome Lakshmi into the house or keep our evil influence.
In Dravidian India this border design usually refers to flower buds (nottu or mokku in Tamil), However, flowers themselves
are fertility symbols, a fact which reinforces the relation of this design with fecundity. In northern Karnataka five pointed
spikes are embroidered and woven into local saris in an effort to keep away the evil eye. Kanchipuram weavers who speak
the northern Tamil/Telugu dialect use the term karavai (saw) for serrated borders, which suggests a protective association.
Current evidence indicates that the temple motif is of pre-Islamic, possibly tribal, origin adopted by caste Hindus.

Today, the creeping vine motif is primarily associated with expensive figured textiles that have Islamic connections . Muslim
religious rules against depicting animals encouraged such a motif in the textiles of Mughal and other Muslim elite. Yet
although it became an ‘establishment’ design on expensive fabrics from at least Mughal times, the creeping vine has a longer
and more psychologically subtle history.
It first appears in Shunga-period stone railings at the Stupa of the Saints at Sanchi as a stylized and somewhat 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’ (Sk, kalapalata, lata, or kalpavalli), which is said to denote the life force that is shared
by all living things – so linking the gods with men, animals and plants. It was believed to grant the wishes of all those who
revere it, which makes it a highly suspicious symbol. Linguistically, this close connection between the vine and the life force
is seen in the fact that the Indo-Aryan world lata means both ‘creeper’ (the plant) and ‘entanglement’ (the action or resulting
situation). The alternative name for this motif, bel, refers to both a floral vine in general and a fruit-bearing tree (Aegle
marmelos).
The creeping vine was commonly carved around the doorways of temples and other important buildings throughout the first
millennium AD. The gateway, or threshold, is still a significant Indian symbol, as temporary gateways are often made to
welcome visiting dignitaries to a town or even a household, and many rural women still paint their thresholds and doorframes
with designs aimed at welcoming auspicious elements (such as Lakshmi, the goddess of wealth and good luck) and keeping
out the inauspicious (such as malignant spirits and the evil eye). The fact that vines often graced the gateways of ancient,
classical and medieval Hindu temples, symbolically leading the worshipper to the spiritual realm, is an indication of their
iconographic importance. Even as late as the nineteenth century, objects made as wedding gifts often depicted the vine design
as a symbol for health and prosperity.
The Creeping Vine

Vines are depicted on the clothing of medieval north Indian sculptures from about AD 1000, such as on the border of the lungi
worn by a tree goddess (Vrikshaka) from the Deccan. Vines were also printed onto fabrics excavated at al-Fustat, Egypt.
So much time has elapsed since the rise of this motif around classical temple doorways that its symbolic significance in
traditional north Indian saris has probably been lost. Yet in Central Asia and Eastern Europe, people traditionally embroidered
red vegetal and floral designs onto the cuffs and collars of their 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. Could a similar motivation have been behind
the introduction of this design into India’s garments? And was the vine in the edges of the tenth-century Vrikshaka’s lungi
more than just a pretty embellishment?

Various types of floral forms abound in Indian saris. Flowers have played a major role in Hindu and early Buddhist
iconography, and many designs were then used by the Muslims. Although the Islamic depictions seem to have been purely
decorative, various Hindu representations were often symbolic of good luck, health and prosperity. It is in this aspect that,
even today, garlands of flowers are still so extensively used in South Asia, being given to honour guests and deities (during
puja and festivals), as well as to the bride and groom during the marriage ceremony.
Flower Motif

As a group, flowers also represent the female principle. In some Indo-Aryan languages, the usual name for flower, phool,
additionally refers to aspects of female anatomy, so their common depiction in saris is probably no coincidence. According to
some students of Indian iconography, they are also explicitly used in rural domestic art as fertility symbols, especially the
chrysanthemum, lotus, jasmine and plantain. The jasmine flower (ta, malli, H, chameli, jai) has long been a popular floral
motif, known to have embellished textiles given to the seventh-century north-Indian king Harsha, as well as being commonly
found on traditional Tamil and north-Indian jewellery datable to the nineteenth century.But flowers are not always linked with
the feminine. 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 flowers, 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 pointed-petalled pumpkin
flower, which is a symbol of protection and good luck during harvest time (mid-January).
Apart from the lotus, which is considered separately, flowers are not as commonly depicted in the historical and
archaeological record as might be expected. Early Indus Valley pottery from Kot Diji and Kalibangan explicity depicts large
six-petalled floral forms, but few other representations are found until Shunga times, when six-petalled flowers appear in the
headdresses of women portrayed in terracotta plaques. Flowers are infrequently painted in the Ajanta murals; there, most
textile motifs are geometric. When they do appear in classical Indian art, such as on the north gate at Sanchi (Andhra, late
first century BC) or in Gupta-period sculpture, they appear to be purely decorative.
Various types of flowers are depicted in traditional saris. In many Deccan saris, narrow bands of repeat supplementary-warp
figuring are generically called phool(a), even if the design is not strictly floral. The patterns in these bands tend to range from
small circular geometric motifs (0.3 to one centimeter) called jai-phoola (jasmine flower) in Orissa, to large (1.5 to 2.5
centimetre) four- to eight-petalled flowers often called rui phool (cotton flower). Although these supplementary-warp bands
appear never to have been depicted in India’s art, some of their geometric shapes are found in seals as early as the Indus
Valley period.”

Related to the phool design is the rudraksha, a circular geometric motif consisting of V-shaped radiating lines from an
unmarked centre. Typical of south-eastern Deccan and Orissa saris, this motif is believed to have Shaivite associations
because the wrinkled Rudraksha seed is made into rosaries for counting and repeating mantras by Shaivite devotees, in
particular the Shaiva Sidhanta school. The name rudraksha literally means ‘eye of shiva’. Larger versions of this design in
Tamil Nadu saris are called pavun (Ta/Te, the sun).
A kolam design called the ‘lotus pattern’. The kolam is a floor painting traditional to Tamil Nadu that is created by using rice
powder. It is auspicious diagram consisting of interconnecting lines based on a gridwork or ‘points’.

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 members 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-petalled depiction
in mandalas representing the multiplicity of the universe.
Gupta-period and later sculptures of Vishnu asleep upon the serpent Ananta drifting on the eternal sea of milk, where he
dreams the universe into existence, feature a lotus blossom issuing from Vishnu’s navel, upon which Brahma sits. This is a
symbol of the creation of the material universe, with Brahma as the creator and the universe represented by the lotus flower.
Leading on from such symbolism are concepts of fertility and fecundity. The concept is emphasized by both the multi-
petalled flowers and depictions of the lotus pod, which contains hundreds of seeds that scatter to the wind. Consequently, the
lotus symbolizes prosperity and material wealth, which is why it is so intimately associated with the goddess Sri Lakshmi,
who is often just called Padma or Kamala (both meaning ‘lotus’).
It is likely that the fecund aspect of the lotus, the spiritual, is emphasized when it is depicted on traditional saris, in particular
wedding saris. For instance, some of the ethnic printed saris in the western region feature stylized lotus pods; the chhaabi
bhat pottern in patola are, according to one source, depiction of an eight-petalled lotus flower with tendrils spreading out to
from a basket as well as the Orissan kbandua wedding saris.
The lotus symbol appears to be of Indo-Aryan origin, for although many water-related motifs are found in Indus Valley
artifacts, the lotus is conspicuous by its absence. Sri Lakshmi , with whom the lotus is so intimately connected, is believed to
have early proto-Indo-European beginnings ( that is, to come from the tribes from which the Indo-Aryans descend). A
goddess (Sri) associated with regal power and wealth was worshipped by these pre-Indo-Aryan (and, later, Indo-Aryan)
tribes. This association with royalty and wealth is later seen in many Gupta-period coins that feature Lakshmi with a lotus
flower on one side and the reigning monarch on the other.
Lotus Motif

Today most rural domestic art created throughout the subcontinent is expressly made in order to welcome Lakshmi into the
house. Whether it is a Tamil kolam, Orissan kumbha or Bengali alpona, the fundamental message is the same: let good
fortune enter; and both the kolam and alpona can be depicted as multi-petalled lotus blossoms.

Another group of floral motifs found in saris is the small buti and large buta, which are depicted as flowers, sprigs 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 are usually woven in repeated rows across the
sari field while the buta are usually created in rows along the endpiece. Floral buti first appear in the artistic record in the
lungis worn by figures depicted in classical north- and east- Indian bronzes dating from the seventh to the ninth centuries.
The rows of geese (bansa) depicted on the textile worn by a fifth-century Ajanta figure could also be classified as buti, but
that design was probably printed, not woven. The appearance of the floral patterns depicted on the bronzes, however,
suggests that the buti of these early medieval textiles may have been woven in discontinuous supplementary-weft, for such
woven buti have remained a common element in eastern, north-eastern and south-eastern Indian saris ever since. The
depictions of free-floating textile design elements at Ajanta suggest block-printing and dyeing techniques rather than weaving.
Although it is highly likely that buti and buta are indigenous north-Indian designs, the words used to describe them are of
Persian origin. In fact, the Persian/Turkish carpet motif similar to the Indian kalga is called a boteh or bota. Many large kalga
depicted in Indian saris have been called buta in northern India. The use of a Persian rather than Indian name for this motif
may reflect the fact that built were commonly created on expensive figured textiles worn by the old Muslim elites. (Persian
was the court language of the early Mughals, which developed into Urdu, a Perso-Arabic language.)
Buta and Buti

It evolved from seventeenth-century floral and tree-of- life designs that were created in expensive, tapestry-woven Mughal
textiles, primarily patkas (sashes) made for the Mughal court. The early designs depicted single plants with large flowers and
thin wavy stems, small leaves and roots. In the course of time the design became denser, with more flowers and leaves,
giving rise to tree-of-life and mixed floral patterns issuing from vases or a pair of leaves. By the late eighteenth century the
archetypal curved point at the top of an elliptical outline had evolved. 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 name ‘paisley’ was derived, still commonly used in Europe
and the United States.
The Kalga or The Mango Motif

During the late eighteenth and nineteenth centuries, the kalga became an important motif in a wide range of Indian textile,
Perhaps because it was associated with the Mughal court. A double-suded block-printed cotton dupatta created in 1795
contains large kalga at either end, while many nineteenth-century saris in museums carry this motif, especially saris from the
north. It rarely appears in nineteenth-century south-Indian textiles, and is only found on traditional tribal and low–caste
textiles in the western region, which suggests it has a longer history in the west than elsewhere, indicating a possible western
Indian, if not Persian, origin.
In addition, the name kalga appears to come from the Urdu. The word qalb literally means ‘hook’, and this word and its
variants describe a range of curvilinear objects with hook-like ends, such as a goad, fishhook, or a hood covering a hawk’s
head. Another , possibly ancillary meaning may also be related to a series of Urdu words relating to Turkish and Persian
carpets, such as qalika (small rug), which presumably carried buteh designs.
The motif probably caught the attention of poorer and non-Muslim Indians because of its similarity in shape to the mango
fruit, and even today the kalga is often called a mango (Haam) by many rural Indians. The mango was a potent fertility
symbol.

Depictions of the heart-shaped leaves of the peepal tree (Ficus religiosa) are one of the earliest and most common motifs
found in Early and Mature Indus Valley pottery and seals, usually portrayed as if issuing from the heads of horned cows or
bulls. This association with cattle is probably significant because within historical times orthodox Hindus have venerated the
peepal tree as much as the cow. It is constantly grown near Hindu temples and villages for shade, and planting such a tree is
regarded as auspicious. Lord Buddha attained enlightenment under this tree (it is also known as the bo tree), which suggests
this event had symbolic associations with older beliefs of the time that incorporated this tree
Yet, subsequent to the Indus Valley period, few depictions of the peepal or its leaves have survived in Indian art.It mainly
appears in traditional textiles worn by high-caste Hindus, in particular Gujarati patola made for Nagar Brahmin and Jain
communities and in Dravidian unbleached cotton and zari muslins (kosara pudava). In the patola the design traditionally
called peepal patra bhat, although today it is increasingly called paan bhat, the paan bush also having heart-shaped leaves.
Paan leaves are used as part of the betelnut concoction that is passed around and chewed by participants in wedding and other
social events; and this name change indicates that the past, longstanding religious significance of the peepal tree may be
fading from popular memory
The Peepal Leaf

Throughout rural India the tree has been a symbol of fertility and protection for both tribals and caste Hindus. Both groups
traditionally have rituals that revere and protect trees, which were (and still are) a significant source of livelihood for the
community, although this is now being lost because of the severe shortage of wood in India caused by drastic deforestation.
Trees in general, as opposed to specific species like the peepal, are depicted in some Mature Indus Valley seals, although they
are not so commonly found in pottery artwork. The concept of the tree of life, which is used as a symbol for the
interconnectedness of all life, appears to have been in existence by the Gupta period. Cave 17 at Ajanta uses a tree and its
branches to link different scenes from the Buddhist Mabakapi Jataka painted on the walls, with the branches interconnecting
smaller, collateral scenes.
The Tree of life Motif

The tree of life is a metaphysical extrapolation of the basic concepts of fertility and protection. Specific trees supplied pre-
industrial India with food, medicines, timber, utensils and even cloth. Many of the rural rituals (and concepts) still being
practiced reflect this heritage.
Sanskrit literature talks about the mythical Forest of Bliss (Anandavana) from which Varanasi developed, while the depiction
of yaksbis and yaksbas (female and male tree spirits) was common in much sculpture from Shunga times onward. Even
today, many orissan tribal groups still protect specific areas of forest for important religious and social ritual occasions, and
the trees in these areas are not allowed to be destroyed.
Different tribal groups living in the same geographical area often revere different species of trees. For instance, in Koraput
(Orissa) the Hill Sora regard the sahanda (Tropis aspera) as most sacred, as its products saved the tribe from starvation after
the Deluge, while the Gonds regard the bel (Aegele marmalos) and other plants as sacred elements that helped create the
original tribe. Species-specific focus in local religious life is also found in caste Hindu society. For instance, temples in
Tamil Nadu are often associated with specific trees: the punnai tree (Calopbyllum inopbyllum) is the sacred tree at the main
temple of Mylapore; the kadamba (Adina cordifolia) at Madurai; the mango (Manifera indica) at Kanchipuram; and the
bamboo (Bambusa spp., Dendrocalamus spp.) at Tirunelvelli.
The tree of life motif appears in kashmiri carpets and kalamkari paintings.

The Assamese sun-tree motif is now such an archetypal pattern of the north-eastern region that many Assamese textiles are
recognized as such just on the basis of this design. It depicts two birds, animals or flowers, facing each other on either side of
a tree whose branches spread above them. The motif is rigidly symmetrical, highly stylized and angular, with a pointed roof-
like top to the tree, and its sides are often straight.
China and northern South-East Asia create sun-tree-like motifs in their traditional textiles. Among the Thailand, the motif is
known as a bong or swan design, after the birds portrayed at either side of the tree.
All of the Austro-Tai-speaking peoples are known to have migrated from central China (the Tarim basin) about two thousands
years ago. It may be significant that several Han dynasty (c, 200 BC-AD 200) silks also neither contain versions of this
design, although it is not depicted in later Chinese textiles. The Chinese sun-tree is an important feature of several early
Chinese cosmological myths, and it is depicted in much Han-dynasty art in addition to textiles.
The Sun Tree Motif

The peacock has had several associations that at first glance appear to be unrelated: immortality, love, courtship, fertility,
regal pomp, war and protection. Its traditional significance is probably lost, but nevertheless its depiction and symbolism has
a long and complex history.
Peacocks were painted on Mature and Post-Indus Valley burial pottery dated about 2000-1500 BC. That some of these birds
have horns and vegetation issuing from their bodies suggests that they might signify fertility or rebirth, while others carrying
tiny human beings inside their stomachs suggest that they are the bearers of the spirits of the dead to the other world. (In fact,
the peacock’s association with death and rebirth appears throughout Sanskrit literature). Peacocks reappeared in Buddhist
architecture and by the first century AD were incorporated into the developing Brahmanic Hindu pantheon. Shiva’s son,
Kartikeya (Kumara), was the god of war and lord of immortality and was depicted riding a peacock mount, suggesting that its
associations of death and rebirth were still viable at that date.
The peacock Motif

By the late first millennium AD, Karttikeya and his peacock were associated with the worship of Maha Devi, the Great
Goddess, and the group of violent goddesses known as the Matrikas. Like Shiva, these goddesses were part of the pre-Aryan
religion which became incorporated into Hinduism, and their attributes became concerned with life, death, rebirth and
fertility.
The peacock’s association 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. The sudden regeneration of plant life
brought on by the monsoon must seem like rebirth to farmers who go through the ‘death’ of the summer drought.
It is probably the bird’s courtship and fertility-related attributes that made it a symbol for courtship and love in both classical
and folk literature. The peacock’s association with royalty and regal pomp is almost equally old, however. It had regal
associations in western Asia in about 1000 BC, as it is referred to in the Bible’s Old Testament (the Hebrew name thukkiyyum
is believed to have been derived from the Tamil word tukai). Today the peacock is still an important symbol; it is India’s
national bird, and is a protected species.
A character in the crowd watching a procession, in a mural of the Mahajanaka Jataka, Part 1, Ajanta, left corridor, Cave One,
C. ad 475-500. He wears a tailored top decorated with rows of geese. Although it is impossible to say how the geese were
created onthis garment, they have the appearance of a block-printed design. As most of the textiles depicted in Ajanta seem to
be of western India origin, it is likely that the technique used to make this pattern also came from this region.

Depictions of the goose in Indian art prior to the Mughal period were common, but since then it has virtually disappeared. It
was often found in Hindu sculpture, painting and textiles, having connotations that were completely opposite to Western
Europe’s negative associations. The earliest depictions of these and other water-related birds appear in Mature Indus Valley
pottery, and over a millennium later they became an important symbol in Buddhist inconography, representing not only
spiritual purity, but also the travelling monks who spread Buddha’s teachings; the image of the goose flying from the water to
the sky made it an apt symbol for spiritual knowledge and dissemination, as well as for intellectual learning, knowledge in
general and creativity. In Vedic literature it was associated with the sun and the male principle of fertility and divine
knowledge.
It commonly appeared in Gandharan and Kushan sculpture, and later became incorporated into Brahmanic Hindu
iconography (it can often be seen in temple sculpture). Sarasvati, the goddess representing learning, culture and the arts, as
well as sound – literally, ‘the word’, language – has the goose as her vehicle.
A repeat design of geese is painted on the clothes of one of the Ajanta Cave figures, while some resist-printed medieval cotton
fragments from western India excavated at al-Fustat also show them.
With so much evidence of this motif’s popularity in the past, it may seem strange that it virtually disappeared after Muslim
rule solidified throughout India. Presumably this was because most elite groups adopted Islamic styles in their decorative
arts, which avoid zoomorphic representations. In the early years of the twentieth century the only evidence of geese and
water birds in traditional textiles is found in some Tamil saris and ethnic Orissan ikats.
The Goose and other Water Birds

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, or does it appears in the illustrations found in Jain manuscripts. This
dearth of historical representation suggests that it is a relatively recent addition to the traditional Indian textile repertoire,
although it appears to be common in north-Indian folk songs and art – for instance, the eastern-region Madhubani This
location has a direct link with the parrot’s symbolic function as a messenger for lovers and its associations with courtship,
love and passion. These functions are often mentioned in west-and north-Indian folk art and literature There, parrots are
depicted with Krishna and Radha, Hinduism’s most famous pair of lovers.
Despite its iconographic spread across north India, depictions of the parrot in Indian textiles are almost exclusively western
(mostly Gujarati). Over the part two hundred years it has been depicted in elaborate coloured-silk embroideries created for
Rajput courts, for nomadic ethnic groups such as the Rabari, and in the more expensive types of Gujarati wedding sari both
the patolu and the gharcbolu often often depict parrots, as occasionally do other bandhani fabrics.
The Parrot Motif

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 avtaar of Vishnu who, as the Preserver, is associated
with prosperity and material comforts. Matsya, the fish, is regarded as his first incarnation. Matsya was saved by Manu (the
first man) when a tiny fish, and because he cared for it until it became large enough to return safely to the sea, Matsya warned
him of the coming Deluge, advising him to build a boat in which to house many different plants and animals. Matsya is also
one of the eight inconographic symbols of good luck found in Hindu iconography.
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. It is also one of India’s earliest
numismatic motifs, and is found on punch-marked coins (karbapana) from both western and eastern India dating from at least
550-350 BC. 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, and it is often depicted in textiles
where fish form a major part of the diet, as in Orissa, or where Vaishnavism is important.
The Fish Motif

A sculpture of Ganesh on Mundesvari Hill, Shahabad district, Bihar, C. AD 400-500.The symbol of the elephant has
appeared throughout Indian history since Mature Indus Valley times when it was depicted on seals and as terracotta figurines
excavated from Mohenjo-daro. Since then it has appeared on early Indian coins and on Buddhist and Hindu architecture
through to the present day. During the classical and medieval periods its head was part of a mythical beast called a Makara,
which had a fish’s body and elephant’s trunk and was commonly found in depictions of river goddesses, especially
Ganga.Today terracotta elephants are created in rural India as gifts to local-community deities in return for such things as a
blessing, the recovery of an ill child, a good harvest, or for a happy union when the bride and groom are going through the
marriage ceremony.
The Elephant Motif

The elephant is considered an auspicious animal, traditionally associated with water and fertility, and with royalty and regal
power. In addition to their temporal power, the kings of ancient India were linked with the natural fecundity of the earth, and
they had to perform various spring rituals in order to ensure the success of the following year’s crops
An aspect of these rituals associated elephants with rain and fertility, and even today they are often depicted with Lakshmi,
shown standing between two elephants who are showering her with water. In addition, the sheer physical power of elephants
has traditionally been harnessed during war, natural disasters and for major construction projects, all of which, again, have
regal (central government) associations.
The elephant is also one of the few animals that is actually a god within the Hindu pantheon, namely the elephant-headed
Ganesha, the remover of obstacles and maker of good beginnings. Another of Ganesha’s attributes is perspicacity, learning
and memory, traits traditionally valued by traders and merchants. He is also regarded as a protector, which is why his form is
often found over or by doorways.
Elephants have been depicted on the more expensive traditional saris of Tamil Nadu, Gujarat and Banaras, such as the Tamil
mubbhagam, Gujarati gbarchola and patola, and Banaras kincabs as well as elephant-headed beasts (gajasinha) being depicted
in the clothes of women painted in late medieval Gujarati Jain manuscripts.

The tortoise (Koorma) 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. Koorma’s
association with the birth of the universe and Vishnu lead to Lakshmi, who issued out of the churning waters and became
Vishnu’s consort. Consequently, the tortoise has associations with prosperity and the creation of wealth. Tortoises are known
to have been part of the late, Upper Palaeolithic diet, and they were depicted on Early Indus Valley pottery from Kalibagan,
which 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. Today, tortoises are traditionally woven in the
supplementary-warp bands of east Deccan saris.
The Tortoise Motif

The conch shell is both a symbol of Vishnu and of Nada Brahma, god in the form of sound. It is one of the eight auspicious
symbols, representing temporal power, and as such was used in ancient India as a war bugle. One of its first known
depictions is in the Vaishnavite caves at Udayagiri near Bhopal (Madhya Pradesh, C. 13 401), and has been found in
Vaishnavite art from then on. In terms of textiles, the conch only appears to have been depicted on twentieth-century saris,
primarily on ikat-patterned Orissan ethnic saris made in the last fifty years.
The Conch Motif

The hunting scene usually features men, horses, elephants, tigers, rabbits, deer, peacocks, parrots, and other animals,
cavorting between entangling branches and leaves. This might seem an unusual design for a sari or any other textile made for
personal use, but it was found in eighteenth and nineteenth-century Banaras brocades and Gujarati bandhani, late sixteenth
and early seventeenth-century Bengali embroidered quilts made for the Portuguese marker, and in some fifteenth-century
resist prints excavatged at al-Fustat.
The origins of the hunting-scene design are obscure. It is easy to assume that these textiles were inspired by the elaborately
figured seventeeth-century Safavid lampas textiles whose designs are conceptually similar because they also depict hunts and
war, but the style of representation is completely different. The hunting scene prints excavated at al-Fustat suggest that the
roots of this design are much older. For instance, a print dated to the early fifteenth century depicts a horsewoman, dog and
mythological beast (gajasinba or elephant-lion) in conflict with a boar and are believed to represent a Gujarati myth
concerning the mother-goddess Khodiar, a warrior-goddess similar in type to Durga.
The Hunting Scene

Print Development
What is a print?
Print is a motif, design or a pattern created on the surface of the fabric through the application of dyes.
The art of printing color on to the fabric originated thousands of years ago. Remnants of printed fabrics have been found near
Thebes, Egypt that have been dated about 1600 B.C.
There are various ways in which the design or a motif appears and re-appears in a print.

Motif Specification
Frame Work
Base Work

Motif Slimming
Frame Work
Base Work

Motif Stretching
Frame Work
Base Work

Pattern Formation
For pattern Formation from the Motif we repeat them in basic Geometric shapes
like circle, square, rectangle, etc. From all of the I select hexagon For my design
to which I like to repeat in those repetition which we studied before.

Dacca Muslin
Dacca (now the capital of eastern Pakistan ) was ,for centuries ,synonymous with the finest muslins the world has ever
produced by hand or machine . Dacca weavers 'magic hands produced such exquisitely fine and delicate fabrics that the
poetic name “Ab-i-rawan”(flowing water ),”Baft-Hawa”(woven air ),and “shabnam”(Evening dew) were justifiable given to
them .Exhibits in some of our museum prove even today that a yard’s width of the muslin could eaisley pass through a lady’s
ring . One of them relates that a five yard piece of muslin could be packed in match box.

The value of dacca muslins is estimated by the number of warp threads in a given length of the material as compared with its
width . The greater the length and the number of the threads , with comparatively less weight , the higher would be the price .
Up to the beginning of the 19th century, the dacca muslin saris , one of the most artistic and beautiful specimens of hand loom
textiles, were counted amongst their valuable and cherished possessions by the women of Bengal .
The sari are generally grey, white or black with blue or black designs. Occasionally , the pattern are woven in with bright
colored cotton, or silver or gold threads. The daccca muslin with the woven –in pattern are known as “jamdani” patterns .
“anchal”or “pallos “ and the border are richly decorated. The rest of the sari is generally covered with numerous small
bootties . the common motif is the round design bootties, which suggest chameli(jasmine) flowers and around these are
woven the leaves that recall those of the sweet smelling champak. When the sprays of flower are spread all over the sari ,it is
called a “boottedar” sari, and when the sprays are grouped in diagonal lines , the sari is known as “terchha” . but when the
floral design forms a net-work which cover the entire field , then the pattern is known as “jatar” . sometime in jamdani
designs, the flower are clustered together.
The borders and the palloo ar anchal (end portion) of saris are generally decorated with distinctive figure design . the figures
chosen represent birds, animals, and human beings. Peacocks or “mayura” and herons or “hansa” seem to be popular as bird
figures in the design of dacca saris . also some of the motifs indicate the influence of mythological legends, as well as of the
local traditions. The designs are commonly accepted as of persian origin but many of the design depict incidents from the
hindu mythology.

Baluchar buttedar
Baluchar ,a small town near Murshidabad in west bangal has become a noted and a highly valued name in the handloom
textile history of india.the artisans of the locality produce very artistic figured silk saris known as Baluchar butedar. In these
saris the pallos were the most ornamented portions the field of the remaining portion of the sari was decorated with the small
butis of some floral designs or figure design of birds. The special feature of butedar is that the design used for the
ornamentation shows a strong influence of Mughal art .the weaver of balucher “Toranj”(also called Kalka or guldasta) which
is yhe most popular motif in the weaving embroidery and printing throughout India, under its present application “the mango
design” in the design of pallo, the famous ever popular “Toranj” as seen as through these are set in the frame. The border of
the frame is representation of a lady smelling a flower and straight combination of a small Toranj and flowering plants is
continued for the border of the whole sari.The wonderfull art of weaving fabric in baluchar islost forever and a few extint
scattered specimens in some museums of the perfection it had achieved.
In baluchar buttedar saris consisting of the butti design are woven with a silk weft in old gold white , red , crème ,orange
,yellow the ground colour usually being in a flaming red deep, purple or short with dark red and blues. The ground colour
may however occasionally be done blue but this was not very common in the past. The design of the field is generally made
up in the traditional sari of buttis, formal sprays both large and small set out on the sari ground like a mosaic each colourful
spring like a enamelled. Jewel glittering to look at, the colour harmonies an invariably soft and subtle and reposeful, with only
a muted whisper of frivolity, gaiety, glamour
The anchala or end-piece of the baluchar butedar sari is traditionally highly decorated the design consisting of kalkas ,flowing
plants the tree of life, animals, women conversing or in customery, poses,ladies ,with flowers men smoking the hooka or
showing riding all elaboratery detailed, but with the animals and male and female figures and even the life, highly formal and
stylized. The baluchar buttedar saries produced in british times show the introduction of European motif. The traditional
baluchar sari is mostly five yards in length and about forty-two inches in width. The end piece are design running the whole
width of the sari and are above twenty four to thirty two inches in height. It is there for not too much to imagine how a sari is
five yards long and forty-two inches wide could take as long as six month to produce .

Chanderi Sari
The muslin woven is chanderi , a place near gwalior(m.P.) Have eamed a name for themselves because of their fine quality.
Chanderi are mostly cotton with border and pallo woven in silk or gold threads sometime mix threads of silk and cotton are
used for weaving . the fabrics are known as “ garbha rashmi” . the pallo of these are very artistically ornamented with gold
threads while the ground of the sari is chacked with butties in centre of each check square. The borders of woven with double
threads which produce an effect of two colour one on each side . the sari are woven in nine yards length and are very much
valued by the maharastrian ladies.

Maheshwari sari
Tassar silk weaving is the traditional craft of madhya pradesh . it is practiced in khargone , guna and bilaspur &raighar
districts . besides kosa silk fabric , maheshwari &chanderi saris are the speciality of the state
Maheshwai, the tehsil head quarter of khargone dist. Situated on the banks of narmada river is the famous historical place . it
is also known for its traditional handloom weaving the credit of organinzing handloom weaving goes to the royal family of
holkars. Devi ahilya bai holkar , the then ruler of the state brought the wears from surat and mandawgarh (dhar dist. Of
present MP) and provided them all the facilities needed for the development of the weaving industry. The weavers’ class
included the maarus, salvis, momins, julahas, khangars and kolis.

Silk weaving was introduce in early 1940s to maheshwari, which was then known for its cotton sari . garbha rashmi sari
become famous with a vibration of silk checks on the cotton background , both in warp and weft. This type of sari was
famous even in the 19th c.The maheshwari sari are famous all over the country, especially in the state of mahashtra and M.P
The carving on the ghats of narmada influence the border and pallo design of maheshwari sari.AHILYA bai was taking so
much intrest in the maheshwari weaving that she used to develop design for the sari. The specialty of maheshwari sari is its
typical attractive border which looks alike from both the side.The check pattern become so famous that many other weaving
centers of maharashtra and coimbatore adopted it in their weaving. There are differently checks, which are known as gunji,
pakhi, popli,dowra, and chandtara etc. The material used for weaving is 80s count cotton yarn and 20/22 denier twisted silk
yarn. Typical maheshwari elements were the ankhi-muthda And at times, the fine tie-dye stripe used as an accenting line is
also known as kotari and refferd to as chutki in maharashtra.
The change over from cotton to silk warp has made it more difficult to retain the checks as the wastage was too high in case
of silk besides the inherent problems of dyeing small quantities of silk yarn.At present, about 1000 handlooms in both the co-
operative and private sectors are engaged in weaving maheshwari sarees. On an average, 400 sarees are produced a day. The
cost of a saree varies from rs 500 to rs 2000 depending on its quality, type of yarn used, nature and extent of zari work.

Patola
It was among the choicest exports from the great textile centre in surat along the caravan routes to the markets of
samarkhand, bohkhara, baghdad, basra, damascus & rome in the 15 & 16 centuries. The making of a patola is a difficult &
complicated the process. Its unique quality is that the threads of the warp & weft are separately dyed in portions in such a way
that the patterns on the finished product emerge in weaving. Patola manufacturer is restricted nowadays but a few rare, choice
pieces are still available. A type of patola technique is employed in other parts of india to produce saris, bedspreads curtains &
a variety of other fabrics.

The ahmedabad patola is a textile of a unique character. Mhesana district, in ahmedabad is noted for the beautiful material.
The methods of weaving in the ikkats of orissa, the pochampalli textiles & the patola are some what similar, but the patola
weaver has retained his geometric designs. Whatever patterns or floral motifs he may choose for his materials he prefers to set
them in geometric order. The order in the development of artistic work has always shown that geometric patterns coming the
earlier stages, while stylized and floral motifs follow later. We may thus conclude that the ikkats are the later innovations of
the patola style of weaving.
The riot of colour in the patola makes it gorgeous. The interesting point in these textiles is the fact that the yarn in the warp is
first dyed or block printed. According to the requirement of the motif. The design is achieved in the fabric almost with
miraculous effect with a simple operation of the wool. One of the loveliest contributions of the indian dyer ’s skill to the
world of textiles is the patola, a kind of double ikkats where in the warp & weft threads are first tie-dyed and subsequently
woven together, the dyed areas of the fibers coming together wonderfully to form the desired designs.
The patola technique is seen at its best in the silk weeding saris of gujarat &kathiwar the warp and the weft threads are
separately dyed by the bandhani process .The silk warp is first dyed in the lightest color & the dyer, keeping the mind design
to be produced.

Bandhani
Bandhanis or choonaris are the colourful sari and odhnis dyed by tie and dye process. These are popular amongst the women
of gujarat, kathaiwar, rajasthan and sindh. Premalatha jayakar in her article on tie dyed fabrics of india,” in “marg” refers
To bandhanis in the following words:-
“it is an auspicious garment. A symbol of youth and romance, love play & the “sohag” (wifehood) of hindu
women. It is a garment of laughter.”
Indian women are known for their love for bright colours. Also the tradition and the customs of wearing special colours on
different festivals, makes it necessary for them to become familiar with the art of dyeing at home. Thus besides the expert
professional dyers almost every indian girl learns by practice a good deal of the art of dyeing and bandhani work.
Bandhanis differ from patola as regards the stage at which they are dyed. Like patolas they are dyed by the tie & dye process,
which, however, is done after the fabric is woven. The fabric is folded over several times until reduced to a small thick square
or a rectangular piece. The piece is then damped and pressed on a block on which a design is carved. The impressed portions
are picked up by the finger nails (the nails are allowed to grow especially for the purpose and are used as a sort of pincers) &
are then tied up with cotton thread in a thickness sufficient to resist the dye.
It needs training and great skill to pick up all the layers at once and make it crinkle in a particular given manner. The
bandhanari or the woman who does the tieing up work works swiftly and ties up all the impressed portions without cutting the
thread but carries it over from one point to the next. The dyeing process is carried out in the same order as in patolas, starting
with the light colours & finishing with the dark ones. But each time, before a new shade colour is applied the tieing up
process has got to be repeated. Usually, the designs used are copies of a few traditional ones & by the practice of tieing up the
same design over & over again the bandhanaris become expert to such an extent that they are able to dispense with the
process of impressing the fabric with the design. It needs training and great skill to pick up all the layers at once and make it
crinkle in a particular given manner. The bandhanari or the woman who does the tieing up work works swiftly and ties up all
the impressed portions without cutting the thread but carries it over from one point to the next.

The dyeing process is carried out in the same order as in patolas, starting with the light colours & finishing with the dark ones.
But each time, before a new shade colour is applied the tieing up process has got to be repeated. Usually, the designs used are
copies of a few traditional ones & by the practice of tieing up the same design over & over again the bandhanaris become
expert to such an extent that they are able to dispense with the process of impressing the fabric with the design.
The motifs of the traditional designs used for bandhanis represents animals, birds, flowers and dancing dolls. When elaborate
designs are used the bandhanis are known as “gharchola”. In some of the expensive “gharchola” gold threads are woven in to
orm checks or squares, and then the designs are formed in each of the squares by the tie and dyed process. The “choonaris”
are very light fabrics, and the designs for these consist of dots or pin heads irregularly spread all over the field of the cloth.
Sometimes the dots are grouped together to form a design, and the design is known as “ek bundi” (one dot), “char bundi”
(four dots) and “sat bundi” (seven dots).

Monika Jha

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