Harsha Parihar ,Fashion Design Student NSQF Level -6
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This document is a project report submitted by Harsha Parihar, a 2nd year student of fashion design, for their saree design project. It provides an introduction to sarees worn across India, describing different styles, types of sarees based on region, fabric used, and common motifs. It discusses components of sarees like fabric (silk, cotton, georgette etc.), types worn in northern, central, eastern, western and southern India. It also summarizes traditional Indian motifs and their significance in different cultures.
Harsha Parihar ,Fashion Design Student NSQF Level -6
- 1. SAREE DESIGN PROJECT Harsha Parihar 2nd Year Advance Diploma in Fashion Design Conforming to NSQF Level 6 Validated by NSDC and Ministry of Skill Development Dezyne E’cole College
- 3. Project Report On SAREE DESIGN At Dezyne E’cole College Ajmer Submitted Towards the Partial fulfillment Of NSQL Level 6 By Harsha Parihar 106/10, civil line, Ajmer Ph. 0145-2624679, 9829024839 www.dezyneecole.com 2016-2017
- 4. ACKNOWLEDGEMENT I would like to convey my gratefulness to Dezyne E’cole college and for the guidance, study skill and knowledge which I learn. I am thankful to my mentors who give me this opportunity of making the project and help me to show my work ability through this project. Harsha Parihar 2nd Year Fashion Design Diploma Conforming to NSQF Level 6 of NSDC
- 5. Dezyne E’cole College Civil Lines, Ajmer www.dezyneecole.com This project report of Miss Harsha Parihar student of 2nd Year Advance Diploma in Fashion Design, confirming to NSQF Level 6 of NSDC, has been checked and graded as _____________________________________________________________ Thanking You Harsha Parihar Principal (seal & signature)
- 6. INTRODUCTION The word sari described in Sanskrit as strip of cloth, called śāṭī and is having different names of it in different regional languages. The Earliest Depiction of the sari can be traced in the Indus valley civilization the depiction of the sari in the Indian subcontinents the status of an Indus valley priest wearing a drape fabric. The sari evolved from a three-piece ensembles comprising the antariya, the lower garment; the uttariya, the upper garment and a veil worn the shoulder . The culture of India refers India. Traditional clothing in India greatly varies across different parts of the country and is influenced electively to the thousand of distinct and cultures of all religions and communities present in by local culture, geography and climate. Popular style of draped garment such as sari which is 8meters in length and 2 to 4 feet in breath that is wrapped around the waist. in this project we will came across the different types of sari worn in India, there various style of draping, their specialties and their motifs.
- 7. TYPES OF SAREE WORN IN INDIA Indian subcontinent has developed, over the centuries its own unique sari style and varieties, distinct on the basis of fabric ,weaving style or motif.
- 8. TYPES OF SAREE WORN IN INDIA IN DIFFERENT STYLE
- 9. DIFFERENT STYLE OF DRAPING
- 10. Northern styles Banarasi Uttar Pradesh Tanchoi Uttar Pradesh Central styles • Chanderi Saree- Madhya Pradesh • Maheshwari Saree- Maheshwar, Madhya Pradesh Eastern styles • Jamdani sari of Bangladesh • Taant sari - Bengal • Baluchari sari Bishnupur, West Bengal • Murshidabad silk Murshidabad , West Bengal • Dhaniakhali cotton west Bengal • Kaantha sari Bengal • Batik Bengal • Sambalpuri silk and cotton sari Sambalpur, Odisha • Ikkat silk Bargarh Odisha (orissa) • Manipuri Tant sari Manipur Western style Paithani sari Maharashtra Bandhani sari Gujarat, Rajasthan, Pakistan Kota doria Rajasthan Patola Gujarat Bagru Rajasthan Gharchola sari Gujarat Southern style Mysore silk Karnataka Chirala sari Andhra Pradesh Kanchipura sari Tamil Nadu Thirubuvanam Tamil Nadu Coimbatore cotton Tamil Nadu TYPES OF SAREE WORN IN INDIA
- 11. TYPES OF SAREE WORN IN INDIA
- 12. COMPONENT OF SARI CREPE SARI Crepe are comprised of yarn which have been highly twisted before weaving, giving the texture a specific appearance and significant suppleness. A lustrous fabric with a superior drape. Silk crepe has a wonderful drape, and light in weight provide comfort. CHIFFON SARI Chiffon is alight weight plain-woven texture with work like weave that gives it transparent appearance. It is primarily made from cotton, silk or manufactured strands like nylon and polyester, chiffon is most commonly used to weave sari . SILK SARI The fabric has a shining appearance, however has intruding on pattern of weave because of its regular fiber. The triangular crystal like structure permits the texture to refract the lights, thus creating different hues in various lighting. KOTTA SARI Kotta Dori is exceptional mix of cotton and silk in a square check design. The silk gives the sparkle while cotton gives quality to the texture. the name Kota
- 13. COMPONENTS OF SARI COTTON SARI Cotton is one of the most skin friendly fabric. Cotton sari allow our skin to breath easily, this feel comfortable .during summer days a cotton sari can keep body cool and the lightweight factor of the sari give comfort to use in daily wear. GEORGETTE SARI Georgette sari is lightweight, easy to carry. The thread if georgette is very thin, it give light and floating appearance. Georgette fabric give beautiful drape and accentuates the body curves. Many famous designer SATYA PAUL, TARUN TAHILLANI have experimented with georgette sari and give them ethnic twist by using Indian embroidery. CHIFFON SARI Chiffon is a kind of fabric that is made from polyester and other material like silk, rayon or nylon are also used for making this fabric. Chiffon is light in weight and is weaved in meshed pattern using high-twist yarn giving a slippery feel to the fabric somewhat transparent in nature.
- 14. History and function of motif The establishment of trade routes to and from the Indian subcontinent brought many non-indigenous motifs to be integrated with the traditional Indian motifs have been influenced over the centuries. Lot of intermingling of Islamic, Buddhist, Persian and European art is seen today in the Indian motifs. A motif’s past meaning and history are usually discovered from sources that have nothing to do directly with textiles. Motifs made on textile with print, painting dyeing weaving and embroidery may serve as protective function Motifs take a variety of forms according to the craft technique employed. Motifs made on textile with printing, painting , dyeing, weaving and embroidering. The motifs following the weave of the fabric are reflected in stylized geometric forms Phulkari embroidery or Kasuti embroidery. The free flowing naturalistic form of Kashmiri embroidery.
- 15. Brocades of Varanasi/banarasi Banarasi brocade saris are from Varanasi/Banaras, a small town in Uttar Pradesh. The holy city of Banaras, on the banks of river ganga. The brocaded fabrics from Banaras are considered to be one of the finest saris in India and are known for their gold and silver brocade or 'zari'. Textile: The banaras brocades are woven in silk with profused use of metal thread on the endpieces and the field of sari. The zari thread is known as kalabuttan consist of finely drawn gold, silver ar base metal thread, wound round a silk thread. The famous brocaded textile of Varanasi is called kinkhwab woven with coarse but durable silk known as “mukta ” which is heavy enough to take brocading with silk gold or silver thread. A silk and zari sari work brocade of lighter material and less ornamentation is known as pot than or bafta. Motif : These saris are made of finely woven silk, decorated with intricate design such as paisley butti.
- 16. Chanderi Saris Madhya Pradesh Chanderi silk sari is thin and transparent like organza and is made from silk thread, cotton thread and zari a highly twisted yarn is used to make the fabric, so crisp. Colored silk thread of fine quality and has intricate design developed all over and end pieces of the sari few narrow zari bands. It is produced in a town called chanderi in Madhya Pradesh. Chanderi sari are very light weight and ideal for summer Textile : The sari is woven in a blend of cotton and silk. It is woven in pastel colours with small buties and a narrow gold border. The endpieces generally has fine lines in zari yarn. Motifs: The motifs are simple gold coin, mango, brick and beads (rudraksha) in the form of small buties.
- 17. Maheshwari Saris of Madhya Pradesh Textile The weaving done is intricate with geometric design with no motif on the body of the sari.weaving is done with a fine silk warp and cotton weft. Line use as a vertical stripes, and large checks are woven to shape the pattern. Motifs: The motifs are inspired from the temple carving of the palace built by Rani Ahilayabai holkar. The architectural carvings done on the fort walls such as Kangura (chevron) Madhya Pradesh
- 18. Lucknow Chikankari Sari Chikankari is the white thread embroidery done on muslin or mulmul. Chikankari was nurtured in Uttar Pradesh and primarily in Lucknow. It originated as a court craft, today it is practiced and an important commercial activity. Chikan (chakeen) means delicate pattern on fabric. The colours of chikankari sari are very subtle and pastel shades which can never goes out of style. Textile embroidery: The embroidery is done on fine muslin or mulmul fabric with untwisted white cotton or silk thread. Chikankari is the shadow work To create the light and shade effect, herringbone stitch is executed from the wrong side of the fabric which creates shadow of lighter colour on the right side, flat stitches like stem stitch and herringbone stitch, raised stitches like bullion and French knots and pulled thread work or jali. Motifs: The motifs are inspired from nature’s flora including flowers, creepers and paisley .
- 19. Kanchipuram Saris Tamil Nadu It produces brocaded silk of superb texture, color and luster. The raw silk yarn is washed in the waters of Kanchipuram. It is the water which give lustrous sheen. The main items of production are the silk saris with solid brocaded borders(korvai). Kanchipuram saris in the south indian style have a pallav and borders that contrast in colour to the main field of the sari. The desihn on the body of the sari are woven with gold thread and the motifs range from figures and temple gopuras (towers) along the borders. Textile : The sari is woven in pure mulberry silk and gold zari on hand operated pit-looms. The colours used are red, saffron, , orange, emerald, heena green maroon, peacock blue , ocher, rmustard, deep green, maroon, aubergine, etc. Motifs: the sun, jasmine ,thandavalam, pattu, floral, chariots, swans, peacocks, parrots, lions, coins mangoes and leaves.
- 20. Ikat/ Bandha of Orissa The women of Orissa dresss in saris of blue, red and magenta and other deep colours, with ikat pattering. Ikat or bandha of Orissa has woven, blurred, and gems coloured motifs in silk and cotton. The dominant motifs in this craft include animals and birds, with the traditional design being fish and conch shellas wellas bolmala, chandankora, and sachipar. single ikat either warp or the weft threads are tied prior to weaving Double ikat: both the warp and the weft threads are tied and dyed when woven together these threads from both the sides mesh exactly at certain point to form a motif or pattern. Combined the warp and the weft may exist in different parts of a fabric, occasionally overlapping. Motifs: elephant, peacock, flowers, shells, butterfuly
- 21. Kota Doria saris Rajasthan They are woven in the village on the outskirts of kota city . Also popularly known as Masuria Malmal. (Masuria means Mysore, the place where this particular weave cloth originated). The specialty of these saris is its transparency and weightlessness. These saris are worn during summers. Textile cotton yarn of different thickness along with silk yarn are used for weaving as cotton provide strength and silk gives transparency. The yarns are of different thickness they help in creating geometric patterns, after the weaving the cloth is dyed or in few cases the yarns are dyed in different colours and then theya re worn together.
- 22. Bandhani Bandhani is ancient art practiced by people mainly of Rajasthan and Gujarat. Jaipur, Bikaner, Ajmer, and Jamnager are among the important centers producing odhnis, saris and turbans in bandhani. Textile bandhani work involves tying and dyeing of pieces of cotton or silk cloth. The main colours used in bandhani are yellow ,red, green and black. Bandhani work create beautiful patterns. Gharcholu: a popular bandhani textile produced in gujarat is called gharchola or gharcholu, a traditional odhani or saris Hindus worn on auspicious occasions. The tie-dyed textile in cotton or silk is red in colour and the layout is a checkerboard created with woven gold threads. Each square within the check contains a different tie-dyed motif like dancing lady, parrot, elephant, peacock, flowering shrub and geometric forms
- 23. Bagru print Of Rajasthan Bagru is a small village in Rajasthan, which is known for its mud-resist block prints. Bargu printing is one of the traditional techniques of printing with natural colour. the printer first processes the raw material which is mainly cotton. Other natural fabrics are silk, cotton and silk blends etc. The fabric is then printed with mordants in paste form which is known as ‘dabu’ made of clay and gum. It is then dried and dyed in natural dye. After dyeing the fabric is thoroughly washed The mud resist paste is washed off exposing printed motifs on white background surrounded by the base colour. Hence, the resulting effect of dark and deep background with light coloured prints is achieved by resisting and mordanting. Motifs: The motifs are inspired by the 17th century Persian motifs flowers, leaves geometric designs include waves (lehariya), chess (chaupad), etc
- 24. Jamdhani Sairs of West Bengal The Jamdani saris are from West Bengal. The jamdani weaves flourished under the rich patronage of kings. Textile The jamdani design could be made with cotton or zari threads. The muslin used was so fine that it could pass through a ring because of the fines of the cotton yarn and the closeness of the weave. These are made in combination of cotton with cotton, cotton with silk and silk with silk. The technique of interlocking the extra weft yarns for creating motifs in the fabric is used in Jamdani saris. These are woven on traditional handlooms. Motifs: butidar, chamali, ganda, pan buti, kalka or turang, chand, tara buti, jhalar, kurda, peacock.
- 25. Pathani Sari of Maharashtra Paithani saris are woven in villages of aurangabad in maharashtra. Paithani saris are heavy silk saris which are preferred for wedding trousseau and festive wear. The pallu(endpiece) used to have a broad band of zari. At present the pallu band is ornamented with lotuses and peacocks woven in very bright colours. Textile : the intricate motifs are woven by interlock twill tapestry weaving technique on traditional handlooms. Motifs: floral, paisleys, parrots, peacocks and lotus flowers. Another motif seen on paithani saris is the bird
- 28. Traditional Indian Motifs and their Significance Daant (teeth) North East West Bengal Bangladesh West Bengal Orissa Andhra Pradesh Kumbh or kumbbam A motif’s past meaning and history are usually discovered from sources that nothing to do directly with the textile. In traditional rural India almost every aspect of life has A special significance and this is translated into symbolic expression in clothing and other forms of personal adornment the stylization and blending of various motifs have been influenced over the centuries by different emperors who have ruled India. Lot of intermingling of Islamic, Buddhist, Persian and European art is seen today in the Indian motifs made on textile with printing, painting, dyeing, weaving and embroidering may serves as protective function. In traditional rural India every aspect of life has a special significance and this is translated into symbolic expression in clothing and other forms of personal adornment. The Temple Motif Consist Of Rows Of Large Triangles Found Along Ethnic And Tribal Sari Borders , as well as in the end pieces of Dravidian and some central Deccan saris. The kungri of Gujrat, may have originally been added for protection against the evil eye. The kumbba is a fertility symbol. Technique: They are usually woven into the ground fabric of the sari in the interlocked weft technique. So the triangle point in the weft direction of the fabric, never the warp.
- 29. Temple Motif
- 30. THE CREEPING VINE The creeping vine motif primarily associated with expensive associated with expensive textiles that have Islamic connections. It became an ‘establishment’ design on expensive fabrics from Mughal times. It first appeared in shunga- period railings at the stupa of the saints at sanchi as A stylized angular representation of A lotus rhizome. From then on it becomes an important Hindu architectural and sculptural device to be known as “the vine of wish fulfilment. It is mostly carved around doorways of temples and vines are depicted on the clothing of medieval north Indian sculptures such as on the border of the fabric worn by a goddess Vines were also printed onto fabrics excavated at al-fustat. Egypt.in central Asia and eastern Europe, people traditionally embroidered red vegetal and floral designs onto the cuffs and collars of the shirts and blouses to keep out evil spirits, and the Ancient Greeks are known to have woven roses into their garments for the same reason. Symbol: the vines are design as a symbol for health, prosperity, fertily and wish fulfillment
- 32. FLOWER MOTIF Flower have play an important role in Hindu and early Buddhist iconography , and many design were then used by the Muslims. Islamic depictions seem to have been purely decorative, various Hindu representations were often symbolic of good luck, health and prosperity. the Tamil warrior god Maruka is associated with a large number of different flowers, most of which are red. Vishnu is also often depicted with a garland of five rows of flower, each row representing one of the five senses. In the domestic art of Dravidian India, the lemon flowers is used as protection from the evil eye, as is the protection and good luck. Flower are depicted in traditional saris. In many Deccan saris, narrow band of repeat supplementary- warp figuring are generically called phool even if the design is not strictly floral. The pattern in these bands tend to range from small circular geometric motifs. Symbol good luck, health and prosperity. Textile embroidered, woven ,painted and applique.
- 33. Flower Motif
- 34. The Lotus Motif One of the most complex and enduring symbols of both Buddhism and Hinduism has been the lotus. The lotus flower is used in religious iconography as the seat upon which member of the Hindu and Buddhist Pantheons rest, representing their spiritual power and authority. It also symbolizes the material world in all of its many forms, with its multi- petals depiction in mandalas representing the multiplicity of the universe. This a symbol of the creation of the represented by the lotus flower. Lotus motif represents the life-giving power of water and is also associated with the opening and closing of the petals. It is also the symbol of the recreating power of life. The lotus is associated with purity and the goddess Lakshmi the goddess of good fortune and abundance. Symbol fertility , wealth, spiritual power and authority.
- 36. The Kalga Or The Mango Motif It evolved from the 17th century floral and tree-of-life designs that were created in expensive, tapestry- woven Mughal textiles. the kalgas created on Kashmir shawls, which became a fashion item in Europe for over a century, were certainly the most imaginative and intricate, and it was from the imitations of these shawls woven in factories at paisley, Scotland, that the ‘paisley’ was derived, still commonly used in Europe and the United States. During the late eighteenth and nineteenth centuries the kalga became an important motif in a wide range of Indian textile. The name kalga appears to come from the Urdu. The word qalb literally means “hook”, and this word and its variants described a range of curvilinear object with hook- like ends, such as a goad, fishhook, or a hood covering a hawk’s head. Kalka motif or paisley motif originated in Persia and Kashmir and has become an interal image of the sub continental decorative motif. It can be compared with a stylized leaf or flame.
- 38. The Peacock Motif The peacock has had several associations that at first glance appear to be unrelated: immortality, love courtship, fertility, regal pomp, war and protection. Peacock were painted on Mature and Post-Indus Valley burial pottery some of these birds have horns and vegetation issuing from their bodice suggests that they signify fertility or rebirth. The peacock’s associated with fertility may also partly derive simply from the fact that it has a reputation for producing many young and that it heralds the coming of the rains by dancing to attract a mate. Symbol: fertility, rebirth.
- 40. Shamanism Originating in the hunting societies of the Paleolithic era, shamanism lingers in the arctic north. Korea, pockets of south-east Asia, aboriginal Australia, Africa, among the Ainu and American Indian tribes and in South America. The shaman is identified by his costume and its decoration. The wearing of antlers to associate him with the animal world. The decoration endowing the wearer with the magical force of the creature it symbolizes is the shaman.
- 42. The Fish Motif The fish appears early in the archaeological record, and is painted onto early Indus valley pottery at kalibagan as well as carved into Mohenjo-Daro seals and pleaques of the mature Indus valley civilization. Fish are potent fertility symbols throughout tribal and caste Hindu India, indicating abundance of food, wealth and children as well as the generative powers of the supernatural. The fish is also an avatar of Vishnu who, as the preserve , is associated with prosperity. Symbol prosperity, fertility , wealth and power.
- 44. THANK YOU Harsha Parihar 2nd Year Advance Diploma in Fashion Design Conforming to NSQF Level 6 Validated by NSDC and Ministry of Skill Development Dezyne E’cole College