Saree Design Project,Dezyne E'cole College ,www.dezyneecole.com

1. Submitted to- Dezyne E’cole College, Ajmer
www.dezyneecole.com
Submitted by- Pratigya Bhatnagar
B.Sc. Fashion Technology 2 Years
Advance Diploma

5. 1. Traditional Indian sarees
2. Traditional Indian motifs
3. Client profile
4. Fabric type
5. Selection of motif
6. Simplification of motif
7. Repetition of motif
8. Layout of the saree and pallav
9. Layout of blouse and A-line skirt
10. Sarees with different repetitions
11. The final saree
12. Conclusion
13. Bibliography
CONTENTS

6. TRADITIONAL INDIAN SAREES
•A saree is a female garment that consists of a drape varying from five to nine yards (4.5 metres to 8 metres) in
length and two to four feet (60 cm to 1.20 m) in breadth that is typically wrapped around the waist, with one end
draped over the shoulder.
•The sari is usually worn over an underskirt & a fitted upper garment commonly called a blouse .The blouse has
short.

7. • Baluchar is a figured silk produced in Baluchar,
Murshidabad (West Bengal).
• It is a dyed art. Its production was maximum during
16th -18th century. The inspiration used to be the
Jamdanis from Dhaka.
• Length – 8 yards (42”-45”)
• Pallu length- 2.25 yards.
• Body of the saree consisted of scattered butties &
the pallu design consisted of kalka butas .
• Motifs- human figures and kalka motif.
• Attractive part- use of gold & silver threads.
• Colours- soft & subtle (gold, white, orange, red,
green, yellow, royal purple, dark blue, maroon or
red.
• Pitambari- red warp & green weft
• Dhoop chaya- red warp & blue weft
• Jacquard loom is used for the weaving of the saree.
BALUCHA
RI

8. • Bandhni derives its name from the Hindi word
Bandhan which means tying up.
• The art is practiced in Rajasthan and Gujrat .
• Colours- yellow, red, green and black.
• The main colours is used in Bandhni are natural.
• The common design in bandhni is chains of grains
represented by the dots on the body called the dana
pattern.
• When the chunri body is red the borders and pallu
are indigo blue and vice versa.
• Bandhni products- sarees, woollen, scarves,
handkerchiefs, dupattas, odhnis, turbans, table
cloths.
• Leheriya – it is a method of resist dyeing material is
rolled up and tightly at interval then dyed.
• The pattern results in diagonal stripes.
BANDHEJ

9. • ALAIPURA is traditionally the district of Varanasi
where the famous Banaras brocades are woven.
• Threads & fabric- woven in silk with profuse use of
metal threads.
• The most famous brocaded textile is called
kinkhwab .
• Banaras brocades are woven on pit looms.
• Different types of silk fabrics:
 Tissue –very expensive, shiny, transparent, warp-
silk and weft- gold or silver.
 Tanchoi – very expensive, gold and silver yarns &
satin weave adds smoothness and shine.
 Organza –thin transparent material, made with
unbleached silk and dyed in all colours, gold and
silver patterns.
BANARASI

10. • It is made by hand weaving, produced in a town
called Chanderi (Madhya Pradesh).
• Raw materials- cotton, silk and zari threads.
• Colours – natural & chemical, soft & contrasting
colours.
• These sarees are ideal for summers, its beauty lies in
its feel, simplicity and borders and butties.
• Types of chanderi :
 Narrow border
 Broader border
 Wide border
• Motifs – animals & human figures
CHANDERI

11. IKKAT
• Ikkat patterns are dyed and binded into the threads
before cloth is weaved. It is an elaborate dyeing
process done with silk and cotton fabrics.
• These sarees are associated with Orissa.
• The premium sarees have a special place during
wedding, festivals & public function.
• Kinds of ikkat:
 Single
 Double
 Combined
• Motifs –elephant, peacock, flowers, butterfly.

12. DHARMAVARA
M
• Dharmavarm is a city in Anantapur district of the
Indian state of Andhra Pradesh.
• The city is famous for its handloom silk sarees &
for cotton and silk weaving industries.

13. GARAD SILK
• Garad (also known as Garod) silk is one of the
popular styles of saree that has its origin in West
Bengal. Also known as Gorod, the word Garad
means ‘White’.
• Garad silk sarees are distinguished by its red border
and small paisley motifs. Silk fabric used to weave
Garad sarees is not dyed .
• Garad silk sarees should preferably be dry cleaned
or hand washed with mild detergent.

14. GHARCHOLA
• Gharchola from Gujarat is woven on Cotton or Silk
fabric in large checks of using Silk and Zari threads.
This is further colored in Bandhani or tie & dye
technique.
• Motifs- small golden, peacocks, lotus, human
figures, and floral designs.
• A typical Gharchola is made in Red color,
embellished with yellow and white dots.
• Length- 5.5 metres in & 46 inches in width.
• This saree makes a wedding or any other ritual for
that matter, a scenic and picturesque occasion.
• Since it’s made of silk with some intricate detailing
on it, a little care will go a long way in keeping the
fabric in great shape for an extended time.

15. GOTA PATTI
• Gota Patti or Gota work is a type of
Indian embroidery that originated in Rajasthan,
India.
• Gota embroidery uses the applique technique. Small
pieces of zari ribbon are applied onto the fabric with
the edges sewn down to create elaborate patterns.
• The dresses with gota work are used for special
occasions or religious occasions.
• The motifs are usually inspired by nature and
consist of flowers, leaves and birds or animals such
as peacocks, parrots and elephants.
• Gota creates a rich and heavy look but is yet light to
wear.
• In Rajasthan, outfits with Gota work are worn at
auspicious functions. It is generally done on
dupattas, turban edges and ghagras.

16. JAMDHANI
• Jamdhani is derived from a Persian word ‘Jam’
meaning cup and ‘Dani’ means container.
• Jamdhani designs could be made with cotton and
zari threads.
• Motifs –scattered flowers, kalka, ghursavar, hansa,
mayur, chand, pan buti, tara buti, jamawar buti.
• The type of jamdhani sarees are:
 Daccai jamdhani
 Tangain jamdhani
 Shantipur jamdhani
 Dhaniyakhali jamdhani

17. KANJIVARAM
• Kanchipuram is a famous weaving centre in Tamil
Nadu.
• It produces brocaded silks of superb texture, colour
and luster.
• Kanchipuram sarees in the south Indian style have a
pallav and/ or borders that contrast in color to the
main field of the saree.
• The designs on the body of the saree are woven with
gold thread and the motifs range from figures to
temple gopuras along the borders.
• The meeting of the body of the saree with the border
id characterised by a zig zag design.
• Motifs – sun, moon, chariots, swans, peacocks,
parrots, lions, coins, mangoes and leaves.

18. KOTA DORIA
• They are woven in the village on the outskirts of
kota city. Also popularly known as Masuria
Malmal.
• Cotton yarn of different thickness along with silk
yarns are used for weaving as cotton gives strength
and silk gives transparency.
• Yarns of different thickness help in creating
geometric patterns.

19. MAHESHWARI
• The motifs of Maheshwari sarees have been derived
form the temple carving and the carving of the palace
buit by Rani Ahilya Bai Holkar.
• The weaving is done with geometric designs with no
motifs on the body of the saree.
• Weaving is done with a fine silk warp and cotton weft.
• Lines play a vital role as vertical stripes, and large
checks are woven to shape up the pattern.

20. PATOLA
• The products of patola loom are of saree lengths,
which are among the most famous textiles in the
world.
• Motifs- flowers, elephants, birds and dancing
women.
• It was valued for its purity.
PATAN PATOLA
• Patan patola of Gujrat is the most extraordinary
woven sarees anywhere in the world.

21. TAANT
• Tant saree is a traditional Bengali saree.
• It is traditionally made by the weavers from all
over West Bengal and Bangladesh.
• Tant saree are woven from cotton threads and
distinguished by its lightness and transparency.
It is considered to be the most comfortable
saree for the Indian hot and humid climate.
• Motif -ardha-chandra (half moon), hathi
(elephant), tara (star), kalka (paisley) and phool
(flower).
• It is recommended that before the first wash,
tant sarees should be soaked briefly in warm
water mixed with rock salt, to prevent the saree
from bleeding colour during subsequent
washes. Washing with a mild detergent,
followed by starching and then hanging them to
dry in a shaded area will ensure the longevity of
these cotton sarees.

22. VENKATGIRI
• Venkatagiri Sari is
a sari style woven in Venkatagiri of Nellore district in
the Indian state of Andhra Pradesh.
• Venkatagiri saris are known for their fine weaving.

23. NAUVARI(KASHTHA)
• The Kaashtha sari is a style of sari draping is very similar
to the way the Maharashtrian dhoti is worn. The word
Kaashtha refers to the sari being tucked at the back.
• Since this sari is usually worn using a single nine yard
cloth, it is also referred to as Nauvari which means Nine
Yards.
• Sakachcha sari is another term commonly used to refer to
this style of sari.

24. TRADITIONAL INDIAN
MOTIFS
• A motif past meaning and history are usually
discovered from sources that have nothing to do
directly with textiles.
• Natural surroundings, religion, achievement of
an individual are usually the driving force
behind the human pschycology that leads to the
development of the particular motifs.

25. POMRGRANATE MOTIF
COWRIE SHELL MOTIF
LOTUS
MOTIF
KALASH
MOTIF
SWASTIK
MOTIF
RUDRAKSH MOTIF
MIHRAAB MOTIF
MOON
&
STARS
MOTIF
PAISLEY MOTIF
HAND OF FATIMA
MOTIF
TREE OF LIFE MOTIF
COCK MOTIF
DOUBLE HEADED
BIRD MOTIF
P
E
A
C
O
C
K
M
O
TI
F
TRADITIONAL INDIAN MOTIFS

26. PARROT MOTIF GEESE MOTIFTULIP
FLOWE
R
MOTIF
TEMPLE MOTIF
BUTA AND BUTI MOTIF
THE CREEPING WINE
MOTIF
THE SUN &
TREE MOTIF
TORTOISE MOTIF
FISH MOTIF
ELEPHANT MOTIF
CON
CH
MOT
IF
TRADITIONAL INDIAN MOTIFS

27. ARCHITECTURAL MOTIFS

28. ARCHITECTURAL MOTIF
OF EGYPT

29. EGYPTIAN PAPYRUS FLOWER
SIMPLIFYING THE MOTIF

30. DEVELOPMENT OF MOTIF

31. HALF DROP REPEAT
BORDER REPEAT
REPETITION OF MOTIF

32. STRIPES PATTERN REPEAT
OVERLAPPING THE MOTIF
REPETITION OF MOTIF

33. SCATTERED PATTERN REPEAT
ASCENDING AND DESCENDING
REPEAT
REPETITION OF MOTIF

34. LAYOUT OF THE SAREE
1. Saree Length= 6
m
2. Saree Width=
1.5m
3. Pallav Width=
4. Pallav Length= 15m
5. Border Width= 6in
6. Selvage = 0.5in

35. LAYOUT OF BLOUSE & A-LINE
SKIRT
BLOUS
EWIDT
H 1.5m
BLOUS
E
LENGT
H 1m
LENGT
H
40”
A-LINE
SKIRT
SIZE-34”
FRONT PART
A-LINE
SKIRT
SIZE-34”
BACK PART

46. PROFESSIONAL STYLE OF
DRAPING
• Because of the harsh extremes in temperature on the Indian
Subcontinent, the sari fills a practical role as well as a
decorative one. It is not only warming in winter and cooling
in summer, but its loose-fitting tailoring is preferred by
women who must be free to move as their duties require.
• For this reason, it is the clothing of choice of air
hostesses on Air India. This led to a professional style of
draping a sari which is referred to "Air-Hostess style sari".
• An air hostess style sari is tied in just the same way as a
normal sari except that the pleats are held together quite
nicely with the help of pins. A bordered sari will be just
perfect for an Air-Hostess style drape where the pallu is
heavily pleated and pinned on the shoulder. Even the vertical
pleats that are tucked at the navel are severely pleated and
pressed. Same goes for the pallu pleats that are pinned at the
shoulder.
•To get the perfect "Air-hostess" a complimentary U-shaped
blouse that covers the upper body completely is worn which
gives a very elegant and formal look.
• Mastering the "Air-hostess" style drape helps to create the
desired impact in a formal setting like an interview or a
conference

47. PROFESSIONAL STYLE OF
DRAPING
• The professional way of draping a saree is well pleated
tucked at the waist and the left shoulder.
•This figure is the template of the saree, to see how it will
look when draped around a body.
•An air hostess can pleat the saree, according to her
convenience so that she can work independently.

48. THE FINAL SAREE SELECTED FOR THE CASE STUDY WILL BE SCREEN
PRINTED.

49. PALLAV
OF THE
SAREE
BODY
OF THE
SAREE
BORDE
R OF
THE
SAREE

50. CONCLUSION
I n this project, the case study required an uniform for air hostess of air India, for which I
designed their uniform by studying traditional architectural motifs and motifs of India. I select
welcoming colors which shows the welcoming nature o the client, which is also their profession.

51. BIBLIOGRAPHY
Reference books: Traditional Indian textiles
Color Harmony
Reference images :www.google.com
Fabric information : www.fibretofashion.com

52. THANK YOU
Pratigya Bhatnagar
B.Sc. Fashion Technology 2nd year
Diploma 2nd year
Dezyne E’cole College
Civil lines, Ajmer, India
www.dezyneecole.com