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 InfluencesArchivism

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

Archiving

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

Theme Board

Brainstorming

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

schemeAccented 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

Collection

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

printHand 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

HucksFabric button

PippinButtons

Accessories

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.

Collection



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

Straight skirt 30 Grey






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

Straight skirt 30 Grey


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



Collection


Summer Shift dress 30 Monika Jha Shift dress



Polyester

Grey

Fabric UsedFront 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



Collection


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 BeltC=38,M=75,

Y=100,K=47Side 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



Collection


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” GaryFront View Back View



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

Accessories

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.

Straight Repeat

Half Drop Repeat

Brick Pattern Repeat

Mirror Repeat

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 .

Baluchar buttedar

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).

Paithani & pitamber

Paithanis are the beautiful and rich saris made at pattern or pathani in the state of hyderabad ( daccan) .These are exquisitely

fine silk fabric with guaze like texture ornamented with gold pattern woven in the texture of the cloth the borders and pallo

which woven separately as gold brocades are swen on to the sari . the color of the sari usually dark orange , red or yellow

with gold lines arranged in the check or in stripes. The inter –spaces are usually filled in with a figure depicting a goose with

an olive branch in its beak.

The borders and palloos are having very striking designs in bright and showy colours such as moss green, yellow, and bright

pink. The common motif of the design is the peacock supporting a big vase with sprays of brilliantly coloured flowers so

arranged to forma persian cone pattern. The vases with flowers are placed in between two pillars joined with the toran (arch).

The design is worked in silks of blue, red, and white colours on a field of pure translucent gold. The whole effect is gorgeous

and eminently artistic in its perfect harmon.

The craft is more allied to weaving than to embroidery. It is woven on both sides on a loom, unlike the ordinary form of needs

work that is done to be seen on one side of the fabric only gold & silk yarn stretched on the loom from the foundation and 4 -

24 shuttles are employed to produce the embroidered design. The latter drawn on paper, is placed under the length wise

threads and the shuttles passed through these as demanded by the pattern and the color. This is slow and laborious work and

may take as many as 8 days to produce a square foot of the loom embroidered fabric. In olden days paithanis were usually

woven to order for the royal family and the weaver took months to complete a single piece. Now days these are not woven.

Pitambars are bright colored silks five yards in length with gold borders on them. These are worn by men specially when

performing any of the religious rituals.

History notes that the paithani fabric found favour in the court of the 18 century th peshwa rulers. Madhavrao peshwa was

enchanted by dupattas in red, green, saffron, pomegranate and pink, proffering those with the asavali pattern of vines with

blooms. The nizam of hyderabad is said to have visited paithani looms, while his daughter-in- law niloufer even introduced

new designs to its border and pallav

In traditional paithanis, the three-ply fine sari had a 20/22 warp, with real gold zari used for its butis, border and pallav.

Originally, natural dyes from amla, henna, pomegranate, indigo and turmeric were used to dye the silk. The paithani sari’s

dhoop-chaon (light & shade) effect is achieved by intertwining two silk threads of different colours together through a basic

dobby weave, while multiple spindles or tillies achieve its intricacies without a jala or jacquard mechanical contrivance. On

adjacent looms, other butis spin into view-tara (star), mor (peacock), rui phool (flower), paisa (coin), pankha (fan), kalas pakli

(petal) or even chandrakor (moon). On the floor, youthful mirabai sherke fills her spindles with zari thread. At another loom,

amitha & sheela work at an intricate golden pallav of bangdi mor or a bangle- like peacock pattern.

Brocades of Banaras

So long as human brain will continue its superiority over computers, aesthetic sense will compel him to admire the out of

world beautywoven in silk (the queen of textiles) by the weavers of varanasi name “banarasi” has been derived from banaras-

a district in U.P. Generally, the product gets its name and fame from the name of its origin.

Varanasi banaras ,pre –hiostric holy city known as place of sacred shrines, learning and culture having thousands of ancient

temples and ashrams, magnificent ghats, multitude of devotees is said to have been built by gods on the bank of holy river

ganges.Varanasi is also known as “lyon of india” because of the banarasi silk which still continues to win the imagination of

princes and peasants alike due to its dazzling splendor and creative instinct of workmanship.

During mughal era, persian artists brought revolutionary development not only in design but also in shades of banaras sarees.

Gold thread from france, silk yarn from china and dye stuffs from germany were introduced to produce more delicate

marvelous in rich innovations of the age. The infusion of east and west gave new dimensions to the textiles industry of

varanasi. During british rule, east india company introduced these fabric in european

Pochampalli

The well known tie and dye process consists in dyeing the required portion of cotton yarn and protecting the other portion

which are to remain white by tieing them . with cotton yarn from taking the colour are those spote which are visible after the

dyeing process and the removal of the tieing material.

The warp is spread longitudinally in shut form and the design is marked on it . the portion is remain with is tied with cotton

thread white , the portion to be dyed left exposed. The work of tieing proceeds untiled the whole design is completed tie warp

then immersed in the dye bath and dye.

The colour impregnated on the exposed portion which are repeatedly cold water and dried . the tie work is further repeated to

produce a darker shade in the selected portion which are left loose this time . the tie dyeing of the weft is done similarly but

the weft is placed on semi circular peg board. Here again the design is marked and the tieing commences pick by pick. After

the completion of tie dyeing of warp & weft, weaving is undertaken. The warp is placed in position on the loom in a slanting

form and the picks are inserted one by one. Great care is taken to see that the pieces fall in the correct are richly decorated

portion . each piece is given individual attention by regulating it in its correct adjustment of the design . design used in

pochampalli are traditional once . design such as temple , model, parrot , elephant , peacock, swan, etc. In geometrical forms.

Pochampalli

Madhubani printing

India is a country in with rich traditional and religious which is reflected in the expression of folk art . due to diversified

talents , interests and inspiration, each state has special identity for its unique folk printing. The art of madhubani printing is

the traditional style development in the surrounding villages of madhubani in mithila region , bihar. Madhubani is solely done

by the women of region, through to day men are also involved the meet the demond . the work is done on freshly plastered or

a mud wall ,. for commercial perpose , the work is now being done on paper and cloth etc . the painting are basically of a

religious nature they appear in the special rooms in their homes and on main village walls, etc for commercial or ritualistic

purpose. Figures from nature & mythological are adopted to suit their style cotton wrapped around a bamboo stick from the

brush. The colours applied are prepared by the artists. The skill is handed down through generations, & hence the traditional

designs & patterns are widely maintained.

Significance of madhubani wall painting

Madhubani painting is a traditional folk art of rigion of bihar . madhubani means a “forest of honey” , it is a place near

durbhanga district in north bihar . so under this mithilanchal region these place famous for their beautiful folk arts , which are

named after these place & called madhubani painting .The painting on the wall have deeper thames & narrative as they are the

stories told themselves sari in the panels. Apart form their decorative purpose, they also constitute a form a visual education

like picture book from which one learn about ones heritage. Some outstanding things are done in the mudhbani area . they

have native & simplicity, which perhaps, attracts soothes, please and eyes.

As lord ramah in wedding procession entered mithila , the vspectacle mythological tales & flora & funna of

mithila comes alive as the wall decorations show. These beautiful expression of human talents, carried down through tradition

and custom are till today related to wedding decorations & bridal parahemalia . this from the art commonly known as

“madhubani painting “, after village in the durbhang district in bihar where almost every home is decorated with painting

made for ceremonial occasions.

Madhubani printing Rituals

Paintings on the wall are communal act done by all the women of a family or group of women as part of rituals & festivals.

The themes were taken from native mythology, legends & history. This resin has been swept of many religious emotions,

including buddhist and tantric each leaving its own imprint through .In their ritual , the aspirations of the people to have the

connection of the gods become a vogue sense of connection with the supreme god from whom men and women are separated.

The mythological stories of the heroes and heroines of the epics “ramayana “& mahabharata “ were also inherited by the folk;

the madhubani , through the recition of these epic stories during the yearly festivals.

Color use for painting:

Color of painting is used according to religious symbolism initially all vegetable dyes were used for the painting but today

they have accessed to the variety of poster color used according to their needs& to enable them for more experiments with

color. These paint have a narrow range of colors ;generally (pink), yellow ,blue, red , parrot green. But colors used in

madhubani painting are usually deep red, green, blue, black, etc. Beside deep colour they also apply light pink yellow and

lemon.

Brush used for painting

A suitable surface of the wall , the requisite paints and finally, some brushes are require for painting. When the paints are

ready , the artist apply two kinds of country brushes, neither of which has yet been commercialized. For outlines & tiny

details a small bamboo twig is used , its end begins slightly frayed , so that the fiber is like hair, while for putting on the

largest washes of small piece of cloth is tied to a twig, popularly known as “ pihua”. The women with very limited resources

use indigenous colour that they can make themselves & finally bamboo sticks wrapped in cotton use for painting .

Material use for paint

As this tradition was initialized with a purpose of decorating the exterior of the house , the walls & the floors are always

served as the canvas . To bring the maximum effect the walls & floore of the house was coated with cow dung and mud paste

. When it dried it will give a perfect dark background to the bright painting done with white rice paste. Later they were

noticed by the urban people & the art moved to hand made papers as the painted walls could not be moved to their living

rooms. But to bring the same

Symbols Used In Madhubani Painting:

The highly symbolic paintings were used “Khobargas” (Bridal Chambora) where couples spent the first few days of the

married life. Here there will be divine couples like Shiva-Parvati, Radha-Krishna.

Animal Forms:There are images of birds & animals with natural phenomena. Then sign of fertility & prosperity for good luck like

elephant, fishes, tortoise, parrots, pea-cocks etc.

Human Forms:In this paintings include various Gods & Goddesses. The subject matter varies according to the occasion. God –Goddess such

as Vishnu-Lakshmi, Shiva- Parvathi, Rama-Sita, Krishna-radha etc.

Other Forms:In other forms, the flora, fauna, myth & legend, social customs m& expressions giving ritualistic symbols are painted. In

these paintings include flower (Lotus tree, bamboo forest etc.)

Kalamkari

The graceful kalamkari designs are symbols of skillful, talented craftsmen, who design them. Block making plays a crucial

role, in printing a kalamkari fabric, as it needs to be sharp. If the block is not good, the colours may spread around the cloth.

The craftsmen who make these blocks take utmost care in carving them. Generally teak wood is used for engraving blocks.

The wood selected should have no holes & cracks, and surface of the block is evened. The design to be carved is outlined on a

paper sheet, which is stretched out evenly on the wood and gently tacked into place along the edges. A metal instrument,

shaped like a pencil the sharp pointed edge, is lightly hammered along the lines of the pattern. This causes the transfer of the

outline on to the wooden surface, and the block maker begins to etch the design. Although kalamkari is practiced in other

areas such as kalahasti, the degree of commercialization & marketing linkages are in much greater evidence at

machilipatnam. The kalamkari block printing produces a variety of designs on bed sheets, wall hangings, sarees, lungis,

napkins etc. Many islamic patterns are prominent among the designs of machilipatnam.

The kalamkari block printing produces a variety of designs on bed sheets, wall hangings, sarees, lungis, napkins etc. Many

islamic patterns are prominent among the designs of machilipatnam

the designs produced are of three types, which are evolved to suit the needs of its consumers. The shamiyana covers and

prayer cloth are painted with typical persian designs, which are known as gulabadami, gulahati, cherangmorkmath,

gulbechadar bagal, jaimaaz etc. Some of the products intended for export to western countries, are palang posh (bed sheets),

door curtains, & tablecloth. Flowers, bird, & animal forms are the commonly used designs.

The industry of dyeing and printing with local vegetable colours known as “kalamkari” work. Kalamkari work is being

carried on at machilipatnam from time immemorial.

The printed cotton fabrics are of three types

• Block printed

• Block printed and hand painted

• Hand painted only

designs are first outlined and then filled in by colour blocks. Only for indigenous colours are used. The effect is

marvelous. Sarees, door curtains, bed spreads are made.

Kalamkari is the most ancient industry in India. Sri Kalahasti in A.P is famous for Kalamkari hand printing. They are

exclusively hand printed to be used as tapestries and hangings in temples. Here, vegetable dyes of deep rich shades are used

with strong outlines in brown and black. All of which produced a bold and striking effect. Flowing water as from river is

desirable to clear it of starch as no washing material is used. It is next given a myrobelum solution bath to make black dye

permanent. The Outlines of the drawing are traced out by free hand from memory or copied from an old piece with charcoal

sticks made from tamarind twig. The final lines of the picture are drawn with a sharply pointed bamboo stick using Kalam, a

mixture of molasses and iron filings. The artist first fills in the background colours, then the various figures where red is the

background. It is made a deeper shade by first applying alum to the cloth surface. Over this figures also in red are made but

more subdued so that reds don’t much. The areas not covered by red, though faintly tinted can be bleached by the use of alum

to enable them to take on other colours like blue, yellow, green.

Techniques of Kalamkari: Take camel or buffalo or cow dung equal to one fourth the weight of the grey and mix it with water. Dip grey cloth in mixture

and leave for twelve hours. Then remove the cloth and wash it in running water and spread the cloth on green grass at the

banks of the canal. Go on sprinkling water on the cloth as and when it gets dried till evening. As the sun rays fall on the cloth

gradually it gets bleached. Repeat the process for three more days by which time it gets fully bleached. Finally wash the cloth

in water and dry.

Application of Myrobelums: Take 25-30 gms/ltr myrobelums. Soak them a night in water. Afterwards crush the myrobelums and extract the juice. Then

treat the bleached cloth by hand and dry. Now the cloth is ready for printing.

Preparation of black colour solutionBlack colour solution is prepared with iron pieces, old jaggery and well water. Take iron pieces, old jaggery and water in

2:1:10 ratios respectively. First burn the iron pieces. After getting cold clean the pieces of bricks and then wash well. Powder

the old jaggery. Keep iron pieces and old jaggery powder in an earthen wear pot and pour well water. Close the lid. Open the

lid weekly once and mix the solution by hand. After three weeks take out the iron pieces and use the black colour dye for

printing. Used iron pieces can be reused for the preparation of black colour solution.

Block Printing

Prepare the black colour paste by taking black colour solution and gum Arabica crystals in 1:1 ratio. Print outlines with black

colour paste. After completing the printing outlines with black, print alum (patika) paste where ever the red colour is required.

For preparing the alum paste take one kg of alum and boil for 30-45 min in about 5 liters of water. After boiling about 2.5

liters of alum solution is obtained. Mix 2.5 kegs of the gum Arabica paste in the solution and use for printing. if the brown

colour is required mix the black colour paste and alum paste in the ratio as per the requirement of the shade. After completing

printing, dry the cloth.

Washing: Wash the printed cloth in flowing water. Thorough washing should be done. While washing care should be taken to avoid the

folding of the cloth other wise their is a possibility of formation of stains while developing. Then dry the cloth.

Developing: Use copper vessels for developing. Take 0.5 to 1gm/ltr aliyerrine and prepare the solution with boiling water. Take water for

developing at material to liquor ratio 1:20. Add the solution to the developing bath. Add jaji leaves to obtain uniform ground.

Dip the above in the bath at 40 degree C and work. Raise the temperature gradually to boil with in one hour while turning the

cloth in the developing bath. Red colour develops at the portions wherever were the alum is is printed and brown colour

develops where ever the mixture black and alum is printed. then wash the cloth and dry.

Kashida of Kashmir

The word Kashmir can be splitted as “Kas” means “Water channel” and Mir means “mountain”. However Kashmir means

“rock through” in the regional language. The northern most state of India, Jammu and Kashmir is known for its beauty.

Kashmir embroidery has become world renowned, largely through its superb shawls. All facts of Kashmir ’s incomparable

beauty seam to be reflected in its needle work. Embroidery here is known as Kashida.

History:

The shawl industry flourished by Sultan Zavri-ul-abiden during 15 century. He the brought craftsmen from Persia to revive

the existing art. The demand for Kashmir shawls increased during Mughal rule. However, the shawl industry decreased by the

end of 19th century probably because of increase in the cost, change in fashion trend, all over the world.

Types of stitches: Kashida embroidery of Kashmir is worked in several different forms. They are:

Zalakdozo: It is a chain stitch done with hook and on almost anything from the choice shawls to the roughly used floor

coverings, in long and flowing designs.

Vata- Chikin: Buttonhole stitch used only in thick fillings seen in landscapes, garden and crowded scene.

Doria: Open work done on all type of fabrics.

Talaibar: Gold work done on brocades and silks.

Jall: All over embroidery designs are worked in trellis pattern.

Skikargarths: Hunting scenes.

Amli: Delicate filling in stitches in multi coloured threads in Kari shawls.

Motifs

Before commencing the embroidery work the selected design is traced on the fabric. The design, these are done by the

professional traces called naquashband (nakshaband) that follow the traditional technique even today. The design is outlined

with kalam; the pen greater percent of motifs are picked up from nature, which provide inspiration to naquabandi

A large variety of flowers of tremendous colours, shapes, size namely lilly, tulip, saffron, iris, bunches of grapes, apple,

almond, cherries, plums, birds like kingfisher, parrot, wood pecker, magpie, canary all appear in kashida. The chinar leaf is

the motif most abundantly used along with cyprus tree. Many beautiful coloured butterflies found in the sanctuary and valley

have occupied an important place in the kashida. Animal and human figure are not found commonly, probably the influence

of muslims. But depicted hunting scene popularly known as shikargarh available only in museums of srinagar. These motifs

are not used in the motifs of kashida of kashmir Indo-persian art around 17 & 18 century provided cone shaped mango motif,

the kaka, badami butta, buta. This is done in naturalistic, geometrical & in stylized forms.

Embroidery threads:Embroidery thread employed earlier was fine quality woolen yarn. Gradually woolen yarns were replaced by

rich &lustrous silk threads. The bright, gorgeous inexpensive art silk (rayon) thread has entered the industry by replacing the

expensive silk threads. Cotton threads of bright colours with good colour fastness are also used

Abundantly

Colours used:The embroidery is comprised of wide spectrum of colours of light and dark shades, such as crimson red,

scarlet red, blue,yellow, green, purple, black & brown. Earlier the yarns were locally dyed with indigenous natural colours.

But nowadays all the threads used in the industry are invariably mill dyed with synthetic dye staff.

Types of Woven Fabrics:

Shawls:

Pashmina Shawl:

these are superior quality shawls. They are made from wool of the Capra Hercus, a species of wild Asian mountain goat. So,

that the name given.

Do Shawl/ Double Shawl:

these are solids in pairs. Two identical shawls were stitched together so that when draped over shoulders wrong sides were not

visible.

Do Rookha:

Double side work in which there is no right & wrong side. Simple patterns were reproduced on both side, but sometimes with

different colours.

Kasaba Shawls:

Square in shape and produce on account of European demand. They are generally twill weave/ damask in plain work.

Jamewar Shawl:

Woven in wool and some cotton. The floral designs and brocaded parts are generally in silk.

Refoogari: (Darning):

It is worked with the same type of material as that of the base so that interweaving produces a fine texture in the fabric.

Embroidery on shawls:

The embroidery on shawl is done at different parts like border, corner, centre, allover scattered. They are:

Hashia: Border design, which runs all along the length of the shawl on either side.

Phala: t is done on both the ends of the article, popularly known as Pallu.

Tanjjir or Zanjir: Border with chain stitch running either above or below the Phala.

Kunj Butta: Cluster of flowers in the corner.

Butta: Generic name for the floral design.

Appliqué: Another variety of Kashmir embroidery, which is very unique done on carpets, shawls & woolen blankets.

Tapestry work: It is done with a blunt tapestry needle, were the material is stitched on a wooden frame with the tracing

kept along its side.

Zalakdozi: Resembles crochet. Various articles are prepared by hook embroidery and one of them is Namda, a felt carpet. .

Phulkari of Punjab

Phulkari is the most important world famous embroidery textiles from punjab. Phulkari are analyzed as “phul”, flower and

“kari”, work that is floral work or flowering. It is a special, traditional handwork mainly found in gurgaon, hissar, rohtak,

kurnal and delhi. However, in west punjab this embroidery is famous as “bagh” means garden, in which the entire surface of

the shawl is decorated with floral designs. Phulkari is an integral part of the life of punjabi girl. In any function, festival, get-

together functions one or the other type of phulkari or bagh is invariably used. It is believed to be auspicious, a symbol of

happiness, prosperity and suhag of a married

Woman. However, it is considered as a great treasure. The rough and coarse base material of phulkari symbolizes hard and

tough yet colourful life of punjabi women; the rich and glossy work with pat portrays her dreams and aspirations. It can also

be added here that, phulkari adds delicacy, elegance and grace to the heavy personality of punjabi women chaddar, bagh and

chope are the three types of embroideries, which are grouped according to the craftsmanship. “Chadder”, the shawl having the

surface decoration is used by the bride during the “phera” ceremony that is, when she takes seven rounds of the holy fire It is

always a red coloured khaddar having five flowers centrally arranged and the other four motifs in each corner of the shawl.

Bagh having overall interconnected designs and were geometrically

Conventionalized. Chope is little longer than usual shawl, where only the edges along the selvedges were embroidered with

golden yellow coloured silk floss against red coloured khaddar.

Materials used for Phulkari are:

Khaddar- a loosely spun and coarsely woven fabric

Chaunsa khaddar – woven with fine yarn

Hal wan-Light weight finely woven fabric

Threads:

Soft, glossy, untwisted silk thread is employed for the stitching, which is basically supplied from kashmir, afghanistan and

bengal, which is called “pat”. To complete a phulkari work it requires around 50-100 gms of silk thread. The darning stitch is

the basic unit of phulkari and the workmanship of both bagh and phulkari are graded according to it’s length and density of

stitches.

.

Types of phulkari

Chope A precious red coloured phulkari prepared and presented by the maternal grandmother of the bride at her wedding

function. The triangular designs are embroidered with golden yellow pat by double running stitch which appears identical on

either sides of the cloth.

Subha: Another rich, gorgeous, red coloured phulkari work by the bride during her wedding. 37 embroidery fabrics

Tilpatra: It is scarcely embroidered. Small, tiny embroidered dots in the body, of any inferior and inexpensive khaddar.

Nilak: it is a phulkari of blue colour. It is worked on black khaddar. The motifs commonly embroidered are the articles used

at household like comb, fan, umbrella or rumaal and so on.

Darshana dwar or darwaza: this is a presentation of some of the religious institutions offered during ceremonial functions.

Thirma: A phulkari done on white khaddar.

Sainchi phulkari: It is the folk embroidery of malva region of punjab depicts the true rural life. The motifs depict the various

activities of rural life like ploughing, harvesting, a water carrier, and smoking hukka, pounding, grinding, churning, spinning

and weaving and so on

.

Kantha of Bengal

The traditional folk art of Bengal is famous as “Kantha”. This is double faced where the design appeared identical on either

sides of the cloth. The great length of stitch is broken into tiny tacking which give almost a dotted appearance on either side

of the cloth. Kanthas were produced in Hugli, Patna, and Satagon, faridpur, Khulna & other parts of East & West Bengal. The

motifs used in Kantha embroidery have a great influence of Portuguese & European traditions. The motifs are animal figures,

human figures, floral motifs like trees, creepers, lotus, birds, fish, submarine sceneries, dancing peacock, swan, lion etc.

Lotus is the most common and important motif widely used in Kantha. An all over pattern of lotus may have the petals of red

alternating with black petals kantha means patched cloth and special significance of kantha is quilting. The size & thickness

of Kantha varied according to its type. The layers of pieces are sewn together by simple darning stitch in white thread. The

design is first traced and coloured threads do the filling. The needle work is done by original darning stitch along with satin &

loop stitches

Chamba Rumals

The evidence of about existence of this embroidery pages back to fifteenth century, mentions in Buddhists literature that

embroidery was practiced in pathankot, chamba and other neighboring remote villages. this rumal had the base of creamy

white colour, on which beautiful human figures, ever green trees with colour blossoms, animals like goat and deer, saddled

horse were embroidered. It is believed that this embroidery is influence of pahari (hill) miniature paintings and has fetched a

definite shape.

The primitive traditional chamba has undergone gradual evolution with respect to motifs, colours, stitches workmanship, and

aesthetic appearance. Traditionally the ground fabric used was two types of unbleached cotton cloth , second type being hand

spun, hand woven coarser, relatively heavier khaddar .in later period the unbleached cotton material was replaced by mill

made cotton cloth. Hand drawing of free style was the mode of tracing or outlining the design or motifs.

In Pahari embroidery the themes are taken from Purana, Ramayana & Mahabharatha. The threads used for embroidery was

untwist of pat which gave rich effect against dull cotton ground. It produced an impression of smooth, glossy, gorgeous

surface enrichment. Most commonly used colours are red, yellow, green, blue, crimson and purple. Blue colour is always used

for lord Krishna; red, blue and white colours are used for Brahma, Vishnu and Maheswara respectively .the outline of the

figure is always worked with black.

Embroidery is done with double satin stitch done in both right and wrong side. It is done so finely that not only the

background is hardly visible but very difficult to identify the right side, since the work is never started with a knot with a back

stitch and the thread never been joined by knot. It was also observed that in some of the old wall hangings chain stitch was

used for both filling and out lining, in which case right and wrong side of the work was clearly identified. Motifs consists of

symbolic animals like leaping tigers, running goats, cantering horses, jumping deer, cows, calves, birds motifs, comprised of

peacock, and parrots.

Rumal comprised of elliptical frame work having two or three inches of floral bodies, on all the four sides, centre of rumal

has creeper motif and guldasta in the corners pointing towards the corner. Sometimes complete rumaal has the motifs of

animals, birds, trees, creepers. It is also observed that many musical instruments such as flute, tambura, drums, veena, sitar,

tabala are used in the art.

Main themes in the embroidery are:

Rasmandala : lord Krishna sitting in lotus

Kaliya damana : Krishna killing the horrified kalinga sarpa

Rukmini harna : the elopement of rukmini and her marriage is the zist of the theme.

Sumudra manthana : the ocean was churned by devas(Gods)

Battle of kurukshetra : pandavas occupy the left hand side of the panel along with lord Krishna on his chariot, kauravas

on the right hand side and abhimanya is placed in centre of the panel, showing the picture of being caught in the chakravilu.

Raga ragini : raga, the tune of song and ragni , the mode of song expressing the base

for songs sung in a minimum of six versions.

Ashta nayika : It expresses various moods and personality of Nayik and Naika.

Chamba rumals are versatile in their utility, used as a cover while offering gifts in the mandir or temple, either to deity or

priest. Rumals were also used to cover the gifts that were exchanged during weddings.

Chikankari

The white embroidery on white cotton especially on muslins is known as chikan work. Chikankari is an industry nurtured and

developed in Lucknow . Daintiness and delicacy added to a finish and a richness of its own, are the outstanding characteristics

of chikankari. It is also famous as shadow work. Chikankari is though done on the white muslin background now is done on

fine cotton material like voile, two x two ,cambric, mulmul, chiffon, georgettes, koil cotton, organdy, nets and other similar

sheer fabrics

The motifs are traced prior to embroidery. The designs are prepared and transferred on the cloth with help of wooden blocks

with washable colour, by simple stamping technique. Chikankari is something like unity in diversity i.e.., it includes some

simple stitches like satin, back, and stem, buttonhole and herringbone stitch, giving a clustorious effect which is simple,

gentle and subtle.

There are two styles of chikankari work, flat style and knotted embossed effect. “Bukhia “is nothing but satin stitch, which is

done on wrong side of the material and design is delicately outlined with tiny running stitches from the right side. This sort of

embroidery gives a transparent effect. The effect of fine muslin background produces a shadow appearance. The simplified

bukhia is herring bone stitch. The stitches that cover the back of the cloth are herring bone style gives a shadow effect, from

the right side.

Murri is knotted style of chikankari; worked on the centre of flowers, giving an embossed effect nothing but French knot. This

resembles the rice grain in shape. Phanda is another type of chikan; it resembles millet and gives a raised effect it falls under

the knotted style. This is used to fill the petals, leaves, and calyx etc. Taipachi is is a simple running or darning stitch used to

fill the straight or curved lines in the floral motifs. The motifs employed are mostly flowers, creepers, fruits, like mango,

almond, birds like peacock, and parrot. Chikankari work is done on sari borders, tiny buttas in the body of the sari, blouses,

kurtas, cuffs, jubbas, caps, table cloth, table mats, cushions, curtains and other

household linens. It is commercialized and had gained the foreign market.

Pipli Work

Pipli is the technology of applying patches of colorful fabric pieces on the base. The raw edges of these patches are finished

with a definite mode of stitching work. The main difference between appliqué craft and patch work is in the latter case small

fabric pieces are joined together to form a relatively larger piece and in some cases the patch work is done to cover up or

repair a damaged fabric. This art is pride of Orissa mainly carried out in and around Puri district and Pipli is the main centre

in the district. The appliqué art entirely differs from other techniques of decorative arts like printing & painting wherein the

former many times procedures three dimensional effect too & is unique by it.

.

This Pipli craft of Puri is mainly connected with religious festivals & procession & hence, prepared canopies umbrellas, door

curtains, hand bags, banners, coverings of dummy horses & cows & at present as per the demand certainhousehold textiles

like bedspreads, cushion & table covers, garden umbrella, sea-shore umbrellas, lamp shades, sari borders are also prepared.

Many times this is combined with embroidery & is adopted on leather goods too. The colour scheme basically consisted of

bold hues like black, red, yellow & green. Through in contemporary pieces bright shades of blue & turquoise blue were being

used. These are prepared by Sebaks community to offer for Seba Puja of Jagannadh temple as Bhoga (eatables to the deity).

The general rule for selection of base material (cotton) is that, it should have enough strength to hold the light weight

appliqué pieces. In olden days, before the inception of cloth mills, the coarse variety of hand spun, hand-woven khaddar was

used as ground fabric, on which thick felt & velvet clothes were appliquéd. At present the khaddar has been replaced by mill

made, strong and refined quality long cloths, Markin and Salu are used. Markin, relatively coarser, unbleached, plain woven

cotton cloth and Salu though has the same back ground is comparatively finer and lighter. Both the materials are used as base

and fills. Embroidery work is also seen, in which case fish and frog are the motifs. Sometimes specially designed motifs do

have mirrors in them. Selection of the design is the first step involved followed by cutting the motifs from the selected

appliqué material.

However, specially prepared motifs are made separately. These motifs are then placed on the base cloth in predetermined

layout and sequence. The raw edges of the cut motifs are neatly and evenly turned in and sewn on to the base or sometimes

embroidered without turning the raw edges. The base is a dark, bold and brightly colored material on which motifs of other

colours including white is also appliquéd.

Embroidery of Kutch:

Gujarat, the state situated in the western part of India, is famous for the embroidery of Kutch and Kathaiwar. The peasant,

tribal and ladies of other community residing in the villages have maintained their tradition, culture and rich heritage through

various styles of embroideries, i.e. , it can be said here that greatest contribution to the Indian embroidery is from Gujarat

state, precisely from Kutch and Kathaiwar. However, the beauty lies in the rich designs, variety of motifs and stitches.

This embroidery was introduced by “Kathi” the cattle breeders, who were basically wonderers and brought about by Karna,

the famous warrior of Mahabharat. These wanderers collected and gathered themselves in a place, and contributed variety,

unique elements, patterns, themes, moods and techniques of needle work, which became later an integral part of the

embroidery of Gujarat. These wonderers worshipped Shiva and Ganesh and used to embroider the idols in the small squares

called “Sthapanas”The embroidery articles from Gujarat were world famous and exported to European countries during 16

and 17 century. However there exists difference in the embroidery of Kutch and Kathaiwar as a wholeIt is believed that the

Kutch embroidery was taught to “Mochis”, the shoe makers around 300 years ago by a Muslim Phakeer of Sindh. However,

Kutch embroidery has the foundation of various clans viz Ahris, Kanbis, Mochis, Rabaris.

Arhi bharat:

The primitive peasants of saurashtra are known regionally as arhis, experts in mochi (cobbler) bharat, usually prepared

decorative articles and surface enrichment of their attires. It was totally a home craft, never attempted as a commercial trade.

The ladies of ahir families embroidered their traditional costumes during their off seasons. Ahir is the hooked needle, with the

help of which the embroidery was executed, appeared exactly like chain stitch. The embroidery is not only skillful in stitching

but talented in developing designs, preparing pattern, drawing and tracing the same on the fabric. The base material used was

hand spun and hand woven coarse khaddar on which a series of loops leading to chain stitch using arhi along with abundant

application of mirrors were observed. At present the embroidery is done on silk, or the locally manufactured satin fabric or a

silky satin fabric.

The hand work was done with colourful cotton thread on dark coloured khaddar in olden days but now use the silky untwisted

floss (heer) or the twisted silken thread, on choli, pajamas, jackets, bonnets, caps and other children’s garments. The

craftsman later introduced various colour schemes in the basic chain stitch to denote the stem, veins and other subtler parts of

the motifs, a chief characteristic of the embroidery. Birds, flowers, creepers, foliages are some of the motifs, of them parrots,

peacock, bulbul, human figure, dancing doll, karanphool, the flower shaped ear-ring, are the main.

Kanbi Bharat

Kanbis are basically the cultivators, migrated from saurashtra; the women communities engage themselves in the beautiful

art of bharat and are known for their patient work. It was cent percent home scale art where the kanbi women got together in

small groups and continue their work on household articles. The embroidery thread is cotton of yellow, orange, green, white

and purple colours. The basic stitches employed are darning for out lining and herring bone for filling. The designs in kanbi

bharat are distinct and have the influence of persian art. They use the similar motifs as others but the specific ones are the

sunflower, and kevada, the cactus flower. Kanbi folk are religious orthodox and believe in worshipping the domestic animals

like bullocks, the second lung of the cultivators. As a token of love and affection, kanbi women prepare many beautiful

articles for their domestic animals to decorate them during the festivals and while taking the procession. The articles more

frequently prepared are the rectangular cover spread on theback of the bullock, conical covers, attractively tasseled to cover

the horns, gorgeously embroidered veils to cover the forehead, face and muzzle. The other household articles like covers for

wooden boxes, pataras, blankets and quilts, on which elaborate embroidery of parrots, peacocks, various shapes of foliages,

climbers, creepers, tender twigs of mango are commonly observed.

Mochi Bharat

Mochi is the community belonged to the artisan, cobbler or shoe maker, whoused a unique technique of preparing chappales

and shoes, whose basic stitch has enteredas a popular Kutchi Bharat. It is similar Arhi bharat, where the thread is pulled from

thebottom to the top with the help of arhi, creating loops and the successive repetition leadsto a continuous line of chain

stitch. On larger surface areas like household textiles,many highly stylized flowers bushes, dancing doll, peacock, human

figures are seen.Mochi bharat though appears simple, needs thorough, continuous practice to achieveefficiency. It is elaborate

embroidery usually incorporated for filling work, thus timeconsuming. The ground fabric in satin and articles embroidered are

choli, ghagra, toran(door decoration), chaklas (square wall hangings), and borders and so on.

.

Rabari Work

Rabari belong to a Giri region, usually migrating from place to place. Their embroidery is relatively effective, impressive and

attractive, usually done on a hand –spun, hand woven khaddar or khadi material of maroon colour. Rabaris used small piece

of cloth of various size, shape, to produce bold effect against a plain back ground .this craft has no definite design, itappears

some what like appliqué work. Canopies, door curtains, wall decorations and other household articles were prepared. The

motifs comprised of beautiful birds, floura, human figures and so on.

Photoshop Assignments

Adobe Photoshop is a raster graphic editor software. I had mastered my skills with this software, this software allow me edit

and help present and designs in different ways. It help me express my ideas, design, style and creativity with endless

possibilities. I am presenting some of my work which I’ve done on Photoshop.

Saree Designs By Me


Saree Type : Wrap Around Saree

Motifs Used : geometrical

Background Color : Dark Brown

Printing Method: Inkjet/ Digital Printing

Fabric Used : Georgette (60gm)

Blouse : Plain Pink

Saree Designs By Me



Motifs Used : Spiral Motif

Background Color : Orange

Motif Color : black



Border : Black Heavy Velvet

Blouse : Black

Saree Designs By Me



Motifs Used : Leaf Motif

Background Color : light brown

Motif Color : Dark brown

Printing Method: Inkjet/ Digital Printing &block printing

Fabric Used : Silk

Border : Silk

Blouse : light brown

Saree Designs By Me


Saree Type : Wrap Around Sari

Background Color : Grey

Motif Color : Black

Printing Method: Block

Fabric Used : Silk & Cotton

Blouse : Black With Motifs

Saree Designs By Me



Motifs Used : Alphabets

Background Color : Orange

Motif Color : Blue



Border Colour: Blue

Blouse : Plain Blue

Corel Draw Assignments

For designing my layouts and presentations I had mastered vector graphic software Corel Draw which helps me to visualize

my design specification and pages. Few of my works are presented here. For a designer, Corel Draw Graphics Suite is a

trusted graphic design software solution. With its content-rich environment and professional graphic design, photo-editing and

website design software, where we have everything which we need to express our design, style and creativity with endless

possibilities. Here I am presenting some of my work which I had done on Corel.

Corel Assignments

Corel Assignments

During my study I practiced and mastered my skill with the graphical software Corel draw. By using this software I learn to

develop the fashion illustration and other important things like elements prints

Corel Assignments

Orbito Assignments

Computer aided design (CAD) is the use of computer systems to assist in the creation, modification, analysis, or optimization

of a design. CAD software is used to increase the productivity of the designer, improve the quality of design, improve

communications through documentation, and to create a database for manufacturing. CAD output is often in the form of

electronic files for print, machining, or other manufacturing operations. During my study I have mastered my skills with the

software 2D CAD Orbito. Some of my work on this software are displayed on further page.

Orbito Assignments

Measurements:

Bust = 35 inch

Waist= 26 inch

Sleeve Length= 8 inch

Women’s Basic Bodice Block

Orbito Assignments

Measurements:

Bust = 35 inch

Waist = 26 inch

Hip = 36 inch

Sleeve length= 5 inch

Kurta length = 40 inch

Salwar Suit

Orbito Assignments

Measurements:

Bust = 35 inch

Waist = 26 inch

Hip = 36 inch

Sleeve length= 5 inch

Kameez length = 40 inch

Paiala Salwar Suit

Orbito Assignments

Measurements:

Bust = 35inch

Waist = 26 inch

Halter Neck Top

Orbito Assignments

Men’s shirt and TrouserMeasurements:

Chest =100cm

Scye Depth=24.4cm

Waist Length=44.6cm

Neck Size 40cm

Half Back=20cm

Dress Length=75cm

seat=102cm

body rise= 28cm

bottom width=25cm

trouser waist=86cm

Orbito Assignments

Measurements:

Bust = 42 inch

Hip = 45 inch

Kurta Length = 45 inch

Nehru Kurta and Chudidar Pajama

Orbito Assignments

Measurements:

Bust = 42 inch

Hip = 45 inch

Kurta Length = 45 inch

Kalidar Kurta and Alighari Pyjama

Orbito Assignments

Measurements:

Bust =56 cm

Length of Waist =24cm

During my course of study of Kids wear, I designed this two piece summer casual dress for a three year old girl. After

designing I developed the pattern of this design using Orbito

Kids Summer Wear Casual Dress

Orbito Assignments

During my course of study of Kids wear, I designed this two jumpsuit for a three year old girl. After designing I developed

the pattern of this design using Orbito

Kids JumpsuitMeasurements:

Bust =56 cm


Orbito Assignments

Kids Casual Frock

In my course of study of Kids wear garments, I designed this frock for a three year old girl. After designing I developed the

pattern of this design using Orbito.

Measurements:

Bust =56 cm


Orbito Assignments

In my course of Children wear garments I learnt the construction of many basic and innovative garments. During this period

of time I designed a two piece garment for a three year old girl. After designing I developed this pattern on Orbito.

Kids Casual Top And PajamasMeasurements:

Bust =56 cm


Advance Drafting And Draping

The flat-pattern method is where the entire pattern is drafted on a flat surface from measurements, using rulers, curves and

straight-edges.

An another method of creating a garment is by Draping. Creating a muslin similar to a garment template, is one method of

fitting. Muslin material is inexpensive and is easy to work with when making quick adjustments by pinning the fabric around

the wearer or a dress form. The sewer cuts muslin pieces using the same method that they will use for the actual garment,

according to a pattern. The muslin pieces are then fit together and darts and other adjustments are made. This provides the

sewer with measurements to use as a guideline for marking the pattern pieces and cutting the fabric for the finished garment.

During my course of study, I practiced and mastered many basic and innovative draping, some of these works are presented in

further chapters of this project portfolio.

1. Single Dart Series

1. Mid Shoulder dart.

2. Mid Armhole dart.

3. French dart.

2. Double Dart Series

1. Mid Shoulder and Waist Dart.

2. Mid Armhole and Waist Dart.

3. Side and Waist Dart.

3. Style Lines

1. Armhole Princess Line.

2. Classic Princess Line.

4. Types Of Dart

1. Parallel Dart.

2. Radiating Dart

3. Tuck Dart.

4. Pleat Dart.

5. Added Fullness

1. Gathered Dress.

2. Fullness Around Princess Line.


Bodice Block

Front view Side view Back view


• Darts are folds sewn into fabric to take in ease and provide shape to a garment.

• They are used frequently in all sorts of clothing to tailor the garment to the shape.

• A dart has two important properties, its point, where dart converge and the intake or amount of fabric in or removed.

• Single dart series include following darts:-

1. Mid shoulder Dart

2. Waist Dart

3. Mid Armhole Dart


Mid shoulder Dart Waist Dart Mid Armhole Dart

Mid shoulder dart



Mid Armhole dart



French dart



• Double Dart series means we use two darts in our garment.

• It is used when we want to give fitting at two places.

• Double dart series include following darts:-

1. Mid shoulder and Waist Dart

2. Waist and Mid Armhole Dart

3. Waist and Side Dart

Double Dart series

Mid shoulder and Waist Dart Waist and Mid Armhole Dart Waist and Side Dart


Mid shoulder and waist dart



Mid Armhole And Mid Waist Dart



Style Line

• A style line is a seam in a garment made primarily for the purpose of its visual effect, rather than for the purpose of

shaping of structuring the garment.

• A dart or pleat by itself would not be considered a style line because although each can be used to produce a pleasing

visual effect, their main purpose is to shape the garment by taking in ease or adding fullness respectively.

• We made following style lines:-

1. Classic Princess line

2. Armhole Princess line

Classic Princess line Armhole Princess line


Classic Princess Line



r

Armhole Princess Line



Dart Type

• Darts are folds sewn into fabric to take in ease and provide shape to a garment.

• They are used frequently in all sorts of clothing to tailor the garment to the shape.

• A dart has two important properties, its point, where dart converge and the intake or amount of fabric in or removed.

• Here we study different kind of darts different from single dart series and double dart series:-

1. Radiating Dart

2. Parallel dart

3. Tuck Dart

Radiating Dart Parallel dart


Parallel Dart



Radiating dart



Tuck dart



Added Fullness

• Added fullness means add fullness in any garment.

• It is obtained by gathers, pleats etc.

• Gathering is commonly used in clothing to manage fullness.

• Here we made two garments:-

1. Gathered dress

2. Fullness around princess line


Fullness Around Princess Line



Gathers on shoulder




During my study of draping, I have designed this dress with the use of ruffles.


Bibliography

The project would not have been successful without the guidance of my mentors and reference

books of various expert writers.

THANK YOU

Dezyne E’cole College, Ajmer.

Address: - 106/10, civil lines, Ajmer.

Tel. No. : - 0145-2624679