Simran Nanikwani,Fashion Design ,Dezyne E'cole College

Fashion Designer
Simran Nanikwani

Project Report
on
PORTFOLIO
At
Dezyne E’cole college
Submitted to
Towards
The Partial Fulfillment of the
2nd year Diploma in Fashion Design
By
Simran Nanikwani
106/10,civil line ,Ajmer
2017-18

This project of Ms. Simran Nanikwani Student of 2nd Year Diploma Fashion Design as NSQF Level 6, of NSDC
has been checked and graded as
Thanks
Principal
[seal & Signature]
Dezyne E’ Cole College
civil Lines, Ajmer
www.dezyenecole.com

Ack nowledgment
I Am Simran Nanikwani Student Of Fashion Department Of 2nd Year Diploma Fashion Design Of Dezyne E’ Cole College
Would Like To Express My Gratitude To Each And Every Person Who Has Contributed In Stimulating Suggestions And
Encouragement Which Really Helped Me To Coordinate My Project .
I Also Thanks Dezyne E’ Cole College Who Provided Insight And Expertise That Great Assisted The Project. Also A Special
Thanks To My Teachers Parents And Colleagues Who Came Support Me At Every Step Not To Forget, The Almighty Who
Blessed Me With Good Heath Because Of Which I Worked More Efficiently And Better.

To generate the look book of ideas I
studies “Fashion History” during my study
program. Where I came across with the
various time periods and how fashion
evolved through that time to this age of
dressing. A project on the timeline of
fashion history and major inspirations of
famous designers study was done by me.
Which u can see In the following slides.
Fashion History

ANCIENT WORLD
Many shapes and styles in dress date back thousands of
years having necessity, function and the material available
as their starting points.
From such crude beginning wonderful piece of embroidery
decoration and reinforcement at the same time. From the
beginning we meet to splendor beautiful and full of utility
garment. The ancient world is a jigsaw of images and
objects that historians are trying to piece together.
Painting, sculpture, artifacts and scraps of clothing and
jewellery all provide clues as to how people lived and
dresses, sophisticated technology influenced each other as
cultures met through war exchange.
•EGYPT
•MINOAN CULTURE
•CLASSICAL GREECE
•ROMANS
•BYZANTINE STYLE

EGYPT
For three thousand years almost all clothing worn by the
Ancient Egyptians was of linen made from flax grown in the
Nile valley. The fabric suited the hot climate because it was
cool and airy. Clothes were very simple in shape with minimal
cutting of cloth.
Half-ripe flax stems made the best thread. The fibers were
beaten until soft. The fibers were twisted into strong
thread.The weaving was done on the loom. White linen had to
be washed a couple of times. They washed it in the river or
canal rinsed then it was pounded on a stone. After that it was
pounded on stone. After that it was bleached in the sun.
The silhouette was influenced by two key factors: the fitness
and finish of the lining either left with a natural crimp
laundering or arranged in crisp pleats and by the wearing of
decorative collars and belts. These accessories were rich in
colour and texture.

THE OTHER CLOTHES WORNED BY EGYPTIANS
WERE:-
• LOIN CLOTH:- A triangular piece of cloth worn by
commoners, nobilities and royalties. Slaves were
only allowed to wear if after the formation of new
kingdom.
• SCHENTI:- A skirt which is pleated in front worn by
nobilities and royalties. It was till knee level. Till thigh
level in the old kingdom 3000 B.C. to 2000 B.C. It was
used to wrapped around the hips which hung to folds in
front.

• TUNIC:- A rectangular piece of cloth with a hole in
the centre for the neck worn by pharaohs after
conquering Ceria.
• KALASIRIS:- Worn by women often by detachable
sleeves or with straps going over the shoulder. Till mid
calf or ankle length. It can be both starched or pleated.

ACCESSORIES AND MAKEUP:-
•HEADWEAR:- Although heads were shaven as both as
a sign of nobility and due to the hot climate, hairstyles
was a huge part of Ancient Egyptians fashion through
the use of wigs.
•JEWELLERY:- It was common for Ancient Egyptians
to be covered in jewellery, however the upper classes
wealth allowed them to be more lavish, with jewellery
made from gold and silver among other items.
Accessories were embellished with precious stones
such as emeralds pearls and lapis lazuli.
•FOOTWEAR:- Wore during the new kingdom. Made
of leather or papyrus fibre.
•MAKE-UPS:- Kohl eyeliner made of Galina ore. They
use to prevent from insects, evil eye, inflamation,
allergy and dust. Rouge which was made of ochre. Eye
shadow which was made of malachite which is red and
green in colour. They use Hena for the nail colour and
hair.

MINOAN CULTURE
The Loincloth was used for both men and women. The women of Crete wore the garment more as an underskirt than
the men, by lengthening it. Dresses too were long and the low-necked, like those of the 19th centuary. They were so
low that the bodice was often almost all the way to the waist.
Unlike the Egyptians, the schenti varied according to its cut and normally was arranged as a short skirt or apron
ending in a
point sticking out similar to a tail.
A triangular front released the top of the thighs. One could say it was clothing of an athletic population, because of
this and the fact that the chest always was naked. It was sometimes covered with a cask, probably ritualistically.
However, long clothing was worn for protection against bad weather and eventually a coat of wool was used by the
Greeks.

CLASSICAL GREECE
Clothing in this period were simple, drape, folded in artistic manner shows elegance and grace. The garments were
loose fitted and free flowing , it was adaptable to other season. The fabrics were mainly linen or wool. Women also
wore a new with their clothing whenever they stepped out of the house.
The Ancient Greek fashion was quite modern in its outlook as far as men were concerned to the extent that male
nudity was
really not a big deal in Ancient Greece.

MAINLY THERE WERE FOUR TYPES OF
CLOTHES:-
•CHITON:- The key garment for both men and women
was the chiton, a tunic made of two rectangles of cloth
joined at the shoulders and sides. The chiton could be
worn with a himation or without it as well. A belt was
worn with the chiton which was called a zoster. It could
be arranged in many ways, and cut to different lengths
worn over the chiton was a cloak-like garment.
HIMATION:-The himation which was made of heavy
material for outdoors, or of lighter cloth for a more
fashionable effect indoors or in warmer weather. The
himation wasloose and flowing, thus, it can be termed as a
modern cloak it was also used as a form of drapery to be
worn over the chiton.

• PEPLOS:- Peplos was gathered in at the waist and
partially fastened at the top of the shoulder, allowing
free corners to drape. It consisted of a tubular shaped
cloth this was folded from the inside out. There were
certain types of patterns that were used for the
peplos. Some of the common patterns included
checks, flowers, waves or even stripes.
• CHLAMYS:- Chlamys a cape shaped like the clamshell
it was named after, was originally worn by soldiers but,
like many functional garments. It was used as a cloak
and was pinned at the right shoulder.

ACCESSORIES AND MAKEUP:-
•HAIRSTYLES:- Women loved to wear their hair long
during this period. In the early days of Greece, men
normally wore their hair short and grew beards. Women
curled and braided their hair in early Greece. Later the
style was to tie their hair back and put it up into a bun.
•JEWELLERY:- Jewellery did form a significant part of
a ancient Greek fashion. Greece loved to wear all sorts
of jewellery with their following garments- bracelets,
earrings and necklaces.
•MAKE-UPS:- Women used honey and olive oil to
improve the skin. They often used substances as a
substitute for cosmetics enhancing their looks. Dark
powder was dusted over the eyebrows and red powder
was used over their lips.

HOW DIFFERENT CLOTHES THEY USED TO
WEAR:-

ROMAN
Probably the most significant item in the ancient Roman was the Toga, a one-piece woolen garments that draped
loosely around the shoulders and down the body and they could be wrapped in different ways. Colours of toga and
its border was determined by the wearer‟s rank. Basically a semicircle the toga was woven on an upright loom,
beginning with long straight edge.

THE OTHER CLOTHES WORNED BY ROMANS
WERE:-
• ARMOUR:- The warfare dress coat scale, lamellar, mail
and plate, leather fabric and brigandine armours.
STOLA:- An outermost which was a long pleated dress
similar to the Greek chiton.

• PRIEST:- They wore Toga which was completely
draped around the body.
• TOGA:- A one-piece woolen garment that draped loosely
around the shoulder and down the body, wrapped in
different ways.

BYZANTINE STYLE
A fusion of Greek roman middle east and oriented styles indicate social status through clothing. The veils and silks
worn by women, and the T-shaped tunics and cloaks worn by men, were developed from Roman official dress. Poor
working people wore plain woollen tunics, knee-length for men, with leggings, boots and a long cloak on top.
•COSTUME:- There were the flowing embroidered gowns, tunic. The dresses were embellished with jewels pearls.
•FABRICS:- Imported silk, linen, wool.
•COLOURS:- Ancient people was dyes and pigment to dye their clothes skin or jewellery.

MEDIEVAL ROMANCE ANDTRADE
Men and women wore loose tunics based on rectangles sewn together in different styles and caught with belts. They
used to wear mantles draped over tunics with statues enhancing the lining, though leather and furs were also worn,
especially in the colder northern regions of Europe. Silk was extremely expensive item throughout the Medieval
period .
• Age of migrations- 600- 1100
• Courtly love and crusades- 1100-
1200
• Priests and the people- 1100- 1450
• The east in the west- 800- 1450

AGE OF MIGRATION:- 600-1100
• After western roman empire collapsed, people
started migrating. To new areas, people
needed warm, water, repelling clothes in the
cold climate, so wool was the main cloth
used. Men and women wore loose tunics,
based on rectangular sewn together in different
style and caught into belt. Mantles were
draped over tunics and had status enhancing
for leaving. Linen shirts were worn as
undergarments beneath tunics.
• ACCESSORIES:- Gold and enamel had
symmetrical CELTIC patterns or the stylized
animals favoured by Anglo-Saxons. Women‟s
fine embroidery, applied to hangings, capes
and clothing imports such as silk, as well as
furs, kermes and fine wools.
.

COURTLY LOVE AND CRUSADES:- 1100-1200
• Fashion became increasingly flamboyant
in the 12th century a time of crusaders,
romances and chivalry. Fashion
cultivated in south spread north from
Mediterranean shores. Clothing become
fitted more seductively, showing body‟s
shape to first time. Figure hugging silk
gowns revealed embroidered chemises
beneath the laced sides. Garments were
still based on rectangular and triangular
fabrics cut, but with lacing to crush
straight shapes against the curved figure.
Ordinary women wore fitted tunics ,
more closely over waist arms and hips
greater incising showed.

PRIEST AND THE PEOPLE:- 1100-1450
• Ordinary people wore simple clothes which
allowed them to do their work . Their clothes
were shorter and plainer and coarser. Often
have produced fabrics . Garments were made
such as aprons to carry tools. Church people
used best quality clothes with finished
embroidery and wearing to dress cardinals and
bishops. Wide brimmed hat, tippet sleeves,
pleated leather purse from belt, use of buttoned
tunics, frayed hems.

THE EAST IN THE WEST:- 800-1450
• In medieval times the Mediterranean basin was
the most advanced centre in the world Of
learning, Technology and trade. Expensive
textiles came from china along the ancient
Silk Road, the great trade route running
through Central Asia.

SOCIAL STATEMENTS:-
1200-1300
• Clothing become voluminous in the 13th century and
men‟s and women‟s garments followed the same
changes in shape. Tunic sleeves had tight lower arms,
but more fabrics around the armhole, and the Surcoat
(sleeveless overtunic) became a wardrobe stable.
Neckline became lower, trailing hemlines, pouline
shoes. Tight sleeves, hoods, belts, veils , gloves were
more worn, houppelande trails on ground. The
silhouette was long with high waist.

TRAILING ELEGANCE
• Women's gowns became high waisted with a low
cut V neck that showed a piece of contrasting
fabric underneath. The V neck would be folded
back to reveal an attractive lining. Long fitted
sleeves developed cuffs in what was called
Burundian fashion. The houppelande of 1380 was
a beautiful, full length robe like garment featuring
a high collar and wide sleeves. Later, the full
sleeves tightened at the wrist. The houppelande
fell in folds into a bell shape.
• ACCESSORIES:-The wimple, a style brought
back from the Middle East during the Crusades
caught on. A wimple is a piece of cloth worn over
the head and around the face and neck. A wimple
would be worn under a veil called a couverchef.
Men wore many types of hats and head gear. The
sugar loaf hat was a tallish, conical hat that
resembled an inverted flower pot.

RENAISSANCE SPLENDOUR
This was the period when fashion finally moved from draped clothing to fitted garments and the art of tailoring came into
its own. Clothing now consisted of a greater number of parts including detachable sleeves, under and overskirts,
sleeveless jerkins and breeches of different lengths. The masculine form was enhanced by the latest clothing, with its
wide shoulders, codpieces strong legs and bellies.
The fashion split there were marked regional difference in women‟s dress. The medieval standards one piece tunic moved
towards broad spectrum of fashion in cut and construction. Hanging sleeves French gowns sleeves, ruffs were used on
the sleeves and on neck.

THE FASHION SPLIT:- 1450-1500
• There were marked regional differences in
women‟s dress. The medieval standard one-piece
tunic moved towards a broad spectrum of
fashions in cut and construction. Hanging
sleeves. French gowns kept the wide, hanging
sleeves, ruffs were used on the sleeves and on
necks too.
• Headdresses often emphasized a woman‟s high,
smooth forehead. Many women bleached their
hair to a fashionable blonde. Cylindrical hats of
different lengths were stylish in France, England
and low countries.
.

FROM DRAPE TO SHAPE 1500-1560
• Soft draped lines began to disappear as the
century went on the. Women‟s dress has two
main parts bodice and skirt and sleeves were
often separate too. Full skirts widened with
gathered and pleated waistlines. Outer skirts
were opened up in front to reveal a petticoat or
forepart underneath. The Spanish farthingales
created a bell shaped and defined the century‟s
silhouette. Bodice became smooth and fitted by
adding stiff materials inside.

ELEGANT FORMALITY 1560-1590
• As the century progressed so the gradual
stiffening of women‟s dress continued. Linear
bands and braids followed the clothing‟s sharp
lines and emphasized its control of body shape.
Necklines were either at bust level or up to the
chin. The silhouette stayed triangular with
narrow waists ending in sharp points and full
skirts. The top of the sleeves of women‟s
dresses started to be styled into puffs, tabs, and
rolls.
• HAIRSTYLES:- Renaissance love of finery,
women‟s hair during the 16th century was
parted in the centre, swept over the temples,
curled crimped arranged over pads to keep
shape, frizzled, bewigged, piled into high peaks
or hidden.

FEMALE GEOMETRY 1590-1625
• Fashion history‟s most geometric period created
unnatural silhouettes made from straight lines,
triangles and circles. Huge ruffs isolated head from
head from body, or open collars revealed
décolletages cut immodestly low.

FROM REVOLUTION TO FRIVOLITY
This was a century of unprecedented and accelerated
change The world's population grew dramatically and
infant mortality was reduced by a quarter due to
improved healthcare and hygiene. The average adult
lifespan increased by a decade, and a burgeoning middle
class acquired property and possessions, patronized
department stores, and indulged in sporting activities.
Day trippers to national exhibitions and the seaside saw
fashionable society men and women at leisure and
aspired to their lifestyle and philanthropic reforms,
including educational assisted the working classes in
seeking to better themselves by working their way
factories, shops, service.

NEO CLASSICISUM 1790 - 1800
• Fashion of 18th century reflected a time of
upheaval. It brought more informal dress
influenced by revolutionary fervor in France.
Wrapping gowns inscribed silk and painted chints
gave way to printed cottons and plain cotton
chemise dress could be washed.

CHARLES FREDERICK WORTH
Charles Fredrick Worth, an Englishman from the quiet
county of Lincolnshire, was the first couturier of modern
times. Worth also set the tone for the couturier as
dictator, rapidly acquiring much of the arrogance of
French court he served, with prices to match. “Those
ladies are wisest who leave the choices to us”.
Charles Fredrick Worth created the modern couture
system that remained dominant until the rise of ready-to-
wear in the 1960s. Among his many innovations were
the sale of toiles and patterns and the use of models.
More importantly, he took dressmaking on to a higher
place through fit and construction a tradition that was
carried on by worth‟s sons after his dress

JEANNE PAQUIN
Jeanne Paquin was the queen of haute couture for nearly
thirty years. She was the first major female couturier
running one of the biggest couture houses of early
twentieth century, employing 2,700 employees at the
height. Her rise to fame was rapid and based on applying
her own pared-down personal style to her business. That
style was founded on knits and flannels materials
generally considered only appropriate for sports clothing.
By 1915, she had opened her own fashion house. It
included her first full collection to immediate and
widespread.

1800-1809
•In France the empire became fashionable from 1790s
inspired from the classical Greek and roman statue.
Waistline were high and skirts have short trails.

1820-1830
•Piping of the dress. Splendor jackets and beautiful hats
appear during this time. Wide puffed sleeve emphasize
the narrow waist low deco vet age neckline emphasized
the bottle shaped neck. Off shoulder dresses were
appeared. .

1830-1851
•Eli Whitney invented the cotton ginning machine in
1793 which was patented by 1807. 1804 we had
jacquard loom after the name of Joseph Jacquard. Isaac
Singer in 1851 brought the sewing machine and the
principle of assembly line developed which led to the
mass production of classes.

1856-1859
•Crinolines appeared, large frames were abandoned
after 1867, skirts trailed and were gathered
internally with ties forming a soft bustles. Then
crinolettes and bustles pads took over.

1870-1879
•Soft bustles and fishtails. Bodice necklines were square with exposed décolleté for
evening. Dresses had three quarter sleeve with lace cuffs and wore sleeveless for
evening wear.

1886-1888
•And extremely tight steel boned corsets came in
the year 1883-18887 which look like a chicken tail.
1890-1899 during this time India was ceded to
Britain by the trite of Paris in 1898.

LA BELLA EPOQUE AND JAZZ AGE
This time period focused on simplification of the dress. The idea was “less is more”.
After the war the popularity of elaborate hair pieces and dresses were reduced to a replace by energetic boyish look
“The Flapper”. Always on the move- either dancing or racing around in the automobile the new style which
represent the youth fashion and fun.

PAUL POIRET
Paul Poiret was born on 20 April 1879 to a cloth
merchant in the poor neighborhood of Les Hells, Paris.
Poiret‟s route into couture followed the common practice
of shopping around one‟s drawings in original fashion
designs. In freeing women from corsets and dissolving
the fortified grandeur of the obdurate, hyperbolic
silhouette, Poiret effected a concomitant revolution in
dressmaking.

COCO CHANEL
Gabrielle Bonheur “coco” Chanel was a French fashion
designer and a businesswoman. She was the founder and
namesake of the Chanel brand. Along with Paul Poiret,
Chanel was credited inn the post World-War I era with
liberating woman from the constraints of “corseted
silhouette” and popularizing a sporty, casual chic as the
feminine standard of style. A prolific fashion creator,
Chanel extended her influence beyond couture clothing.

JEAN PATOU
Madeleine Vionnet liberated women from the corset
inspired by the celebrated dancer laadora Duncan,
whom she never met bur admired afar. Vionnet was an
important force in the history of fashion, but there was
much else beside. Her achievements overshadow her
personality. Although her skillful and original tailoring.
Should not be overlooked, It was her talent with the
draping of cloth for dresses that put her in a league of
her own.

MADELEINE VIONNET
Madeleine Vionnet liberated women from the corset
inspired by the celebrated dancer laadora Duncan,
whom she never met bur admired afar. Vionnet was an
important force in the history of fashion, but there was
much else beside. Her achievements overshadow her
personality. Although her skillful and original tailoring.
Should not be overlooked, It was her talent with the
draping of cloth for dresses that put her in a league of
her own.

FROM GLAMOUR TO UTILITY
This time period 1929-1946 use to have the designer Elsa Schiaparelli entering and during this time very simple
dress coats entered because this was the time of great depression. The main feature that we see here is the dresses
became longer at the hemlines to the floor length. And the roaring twenties came to a hawlt.

ELSA SCHIAPARELLI
Elsa Schiaparelli was an Italian fashion designer. Along
with Coco Chanel her greatest rival, she is regarded as
one of the most prominent figures in fashion between
the two World Wars. Starting with knitwear
Schiaparelli‟s designs were heavily influenced by
surrealists like her collaborators.

OPTIMISUM ANDYOUTH
The new word was came during this time (the teenager they wanted clothes just for themselves his was the Elvis
wore leather flight jacket and military surplus.

CRISTOBALBALENCIAGA
Designer from Spain. His creations had broad shoulders,
and he removed waist.

CHRISTIAN DIOR
Circular skirts, Wasp shaped skirt Christian Dior
introduced in 1954 Autumn Winter Collection(classic
look) the pencil skirt after seeing the hobble skirt after
seeing the hobble skirt of Paul Poiret.

MAINBOCHER
The long title of American courtier Mainbocher
spanned a remarkable period in the history of fashion,
from the frothy collection of the belle époque to the
ready-to-wear explosion of the 1960s and 1970s. Late
in his career, when he was in his seventies. Mainbocher
showed he could still lead the way with a series pared-
down dresses, including a bias-cut white crepe dinner
dress. He was proud to be descended from French
Huguenot's pioneers who arrived in America in the
1640s.

SWINGING SIXTIES
Clothing styles have always mirrored the
prevailing attitudes of the time and this is
certainly true of fashion in the 1960s. The decade
was marked by sweeping social; change and the
domination of youth culture- baby boomers were
growing up and demanded their own fashion
style. Designers responded with much more
liberal, daring approach to fashion, boasting
colourful fabrics and bold designs. Clothing
broke with social traditions that dictated what
could be worn when and by whom. In the past
attire had been divided n to „formal‟ and „casual‟
wear, and distinct separations were made between
the styles of clothing worn by men and women.

MOD LOOK
Mod, short for „modern; refers to a youth lifestyle that
emerged from London during the 1960s, and quickly
spread to America, Europe, Australia. Centered around
London‟s thriving pop music, art and fashion scene, the
mod lifestyle focused on innovation and the „new‟ Mod
fashion was slim fitting and featured bold geometric
shapes. Colour was also a key concern- the conservative
greys, browns and pastels of the 1950s were replaced by
bright wild hues.

YVES SAINT LAURENT
Yves Saint Laurent was, in the words of the man closest
to him, born with a nervous breakdown. Even so he was
also probably the most influential fashion designer of the
second half of the twentieth century, Saint Laurent
reinvented Paris fashion for the young, giving the women
of the baby boomer generation a new wardrobe stocked
with easy, youthful clothes which, in their energy,
flirtatious assertiveness and borrowings, prefigured the
social and political emancipation women were just
learning to crave

THE DESIGNER DECADE
In the modern age, fashion designers have become
celebrities and catwalk shows are major events Late in
the 20th century creativity reached new heights and
designers began to use the runway show as theatre, as in
Alexander McQueen's Springs Summer 1999 Collection,
where machines spray painted the models" dresses in
front of the audience. The London Designer collections
were established in the 1980s, and fashion journalists
and buyers travelled to New York, London. Milan, and
Pars every spring and autumn to view the collection for
the following season. The power of the brand, from
Armani to Burberry became international-designers'
names sold products. Calvin Klein's fragrances for
example. sold an aspirational lifestyle, and his
underwear line in the 1990s was so famous that the
garment became known simply by the designers name.
For the first time, fashions emerged from the street not
the design studio. Towards the end of the 20th century
the dress of sub-cultural groups from Goths to surfers
became increasingly mainstream. The freehand
authentic feel to street style seized the imagination of
designers, and the styles themselves became more
complex as designers adapted and reworked them.

JEAN PAUL GAULTIER
The long lasting image of Jean Paul Gaultier as a
perpetual enfant terrible of French fashion took many
years to lay to rest. But now the great iconoclast of
Modern French Fashion has become part of
establishment he once shunned. His clothes made all the
headlines but were considered unwearable skirts for men.
His experiments with sportswear, stretch fabrics and
underwear used as outerwear were influencing all levels
of the fashion market.

VIVIENNE WESTWOOD
In terms of creativity and the ability to place fashion at
the heart of a vital popular culture, Vivienne Westwood
may be the greatest designer of the twentieth century.
Her method is not so very different from that of many
designers, particularly other British designers trained in
an art-school tradition.
Clothing has always reconstructed and modified the
structure of the body and it still does today. What seems
to surprise and upset people is reconstructions that don‟t
accord with what they consider to be the norm, the
present accepted idea of beauty. If you design a dress
with a sellier, the padding that gives it a rounded form
has become a subversive act.

ISSEY MIYAKE
In the introduction to the first book on the work of Issey
Miyake, East Meets West, published in 1978, Diana
Vreeland, then retired from US Vogue and heading the
Costume Institute at the Metropolitan Museum of Art in
New York, wrote, „His clothes are totally his and his
alone. Miyake‟s vision is unique. He was the precursor,
leader and mentor of a new school of Japanese design,
which took the fashion world by storm in the early
1980s. He was not the first Japanese designer to find
fame in the West, but he was the first to create something
new and revolutionary. He drew deeply on both oriental
and occidental traditions of dress to produce the hybrid
style that was to change everyone‟s perceptions of what
clothing could be.

Many times it is not possible for a designer
to directly create a draft of a design when
the designer wants to see the look of a
toile on a dummy. Then there is the need
of an art of draping. In which one can
directly drape a fabric on a dress form. It’s
a technique used by designers to create
garments by draping fabric on dress form.
A pattern is then cut from the designer’s
sample garment. The garment is made of
unstitched cloth that is held to the body by
means of pins, fibulae or clasps, sashes or
belts tying, or functional gravity alone.
Draping

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
2nd Year Diploma In Fashion Design
(NSQF Level-6 Of NSDC)
DESIGNED BY : Simran
Nanikwani
Mandarin
Collar

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Tailor
knoched
Collar
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Peter- Pan
collar
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Convertible
Collar
Nanikwani

DESIGN
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2018
FASHION DESIGN
2ND YEAR / MARCH
Shirt collar
Nanikwani

DESIGN
THROUGH
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2018
FASHION DESIGN
2ND YEAR / MARCH
Band collar
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Shawl collar
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Long fitted
Dolman
Sleeve
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Dolman
sleeve
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Kimono with
gusset
sleeve
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Semi-
mounted
sleeve
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Raglan
sleeve
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Tent
foundation
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Shift dress
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Fundamental
Dress
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Pant
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Tailored
garment
Nanikwani

DESIGN
THROUGH
DRAPING
2018
FASHION DESIGN
2ND YEAR / MARCH
Smoking
dress
Nanikwani

Saree Design
The saree is a traditional garment worn by
most Indian women. The word saree
described in Sanskrit ‘Sati’ which means ‘Strip
of cloth’ and ‘Sadi’ in Pali, and which was
corrupted to saree in modern Indian
language. Although at present there is a lot of
western influence in the way people dress.
Today, saree comprises over 30% of total
textile mills, the number of saree-
manufacturing centers are in hundreds and so
there are innumerable types of fabrics,
weaving techniques, methods of dying,
printing or embellishing , designing patterns,
kind of motifs, colour scheme etc. can be
found.

TRADITIONAL INDIAN MOTIF
Traditional motifs can be described ad the motifs which are
being used in Indian textile since ancient and are handed over
from one generation to the other. Our traditional motifs are
deeply influenced by religious belief, culture, environment,
activities, of day to day life, architecture, history, rulers etc.
The artisans have modified motifs based on the whims and
fancies of the kings who invaded and ruled India for several
years. For creating the variety to motifs and designs, weavers
and designers had also taken inspiration from their
environment.
Indian artisans have created varied motifs and patterns which
are exclusive in their styles and colour combinations like
creeping vines and floral patterns, which remind us of Mughal
history and the Islamic portrayals. Motifs like lotus, conch shells,
fish, elephant and horse etc. Which represent the philosophy of
Hinduism and the concept of bring good-luck, health and
prosperity are typiclally found in the textiles worn in the
occasional ceremonies.
These motifs represent over poetic expressions and imagination towards life, and devotional characters. These motifs are
explainded in the following slides.

Paisley Motif :
The Paisley Motif Evolved From
Seventeenth Century Floral And Tree Of Life
Designs That Were Created In Expensive, Tapestry
Woven Mugal Textiles, Primarily Patkas (Sashes)
Made For The Mugal Court. The Kalgas Created On
Kashmir Shawls, Which Became 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, Still Commonly Used In Europe And The
United States.
Textiles : It Is Found In Phulkari Of Punjab, Kantha
Of West Bengal, Kashidakari Of Kashmir, Chikankari
Of Lucknow And Brocade Of Banaras.
Names In Different Languages : It Is Popularly
Known As ‘Kalga’ In Urdu Language, ‘Mankolam’ In
Tamil Nadu, ‘Ambi’ In Punjab And ‘Carrey’ In Hindi.
Symbol Of Motifs : It Is A Symbol Of Life And
Eternity.
PAISLEY MOTIF

Peepal Leaf Motif :
Depictions Of The Heart-
shaped Leaves Of The Peepal Tree Are One Of The
Earliest And Most Common Motifs Found In Early And
Mature Indus Valley Pottery. Yet, Subsequent To The
Indus Valley Period, Few Depictions Of The Peepal Or
Its Leaves Have Survived In Indian Art.
Textiles : It Is Found In Gujarati Patola Called ‘Peepal
Patra Bhat’.
Symbol Of Motif : Peepal Leaf Motif Has A Religious
Significance.
CONCH MOTIF

Peepal Leaf Motif :
Depictions Of The Heart-shaped
Leaves Of The Peepal Tree Are One Of The Earliest And Most
Common Motifs Found In Early And Mature Indus Valley
Pottery. Yet, Subsequent To The Indus Valley Period, Few
Depictions Of The Peepal Or Its Leaves Have Survived In
Indian Art.
Textiles : It Is Found In Gujarati Patola Called ‘Peepal Patra
Bhat’.
Symbol Of Motif : Peepal Leaf Motif Has A Religious
Significance.
PEEPAL LEAF MOTIF

Tample Motif :
The Temple Motif Consist Of Rows Of
Large Triangles Found Along Ethnic And Tribal Saree Borders,
As Well As In The End Pieces Of Dravidian And Some Central
Deccan Sarees. They Are Usually Woven Into The Ground
Fabric Of The Saree In The Interlocked Weft Technique. So
Making The Triangles Point In The Weft Direction Of The
Fabric, Never The Warp.
Textiles : Temple Motif Is Found Is Many Indian Textile. It Is
Found In Phulkari (Darshandwar Bagh) Of Punjab, Mochi
Embroidery Of Gujarat, Bandha Of Orissa, Kancheevaram
Sarees Of Tamil Nadu And Kalamkari Of Andhra Pradesh.
Names Of Different Languages : It Is Called ‘Daant’
(Teeth) In West Bengal, ‘Kumbbam’ In Telgu, ‘Kumb’ In Orissa
And Andhra Pradesh.
Symbol Of Motif : It Is The Symbol Of Protection Against
Evil Eye, The Kumbba Is Fertility Symbol.
TAMPLE MOTIF

Kalasha Motif :
Amongst All Auspicious Symbols Used
In Indian Art Throughout History, Kalasha, The Holy
Ceremonial Water Jar Hold A Special Place. It Is An
Important Part Of Ceremonial Occasions And Weeding In
Hindu Culture. The Motif Is Seen In The Carvings Of The
Sculptures , And Paintings Of Ancient India.
Textiles : With Time Craftsman Started Using It As Motif In
The Enrichment Of Textiles Through Weaving, Embroidery
Or Printing.
Names In Different Languages : The Motif Is Called ‘Purna
Kumba’ In Suthern India.
Symbol Of Motif : It Is A Symbol Of Fertility And Puirty.
KALASHA MOTIF

Creeping Vine Motif :
It Is A Persian Origin
Which Came Ti India Through Mughal. It Is
Mostly Preferred By The Designers Or The
Craftsman For Filling The Empty Area With Free
Flow Designs. They Look Harmonious And
Rhythmic Which Gives The Viewer A Pleasant
Feeling. Creepers With Flowers, Leaves, Birds
And Fruits Make A Heavy Creeping Wine Pattern
And Fruitful.
Textiles : It Is Majorly Used In Block Prints From
Machlipattnam And Other Embroideries. It Is
Also Used In Chikankari Or Lucknow And
Kashidakari Of Kashmir. In Woven Textiles It Is
Used In Paithani Sarees.
Symbol Of Motif : It Is The Symbol Of Unity And
Flawlessness.
CREEPING VINE MOTIF

Flower Motif :
Various Types Of Forms Abound
In Indian Sarees. Flowers Have Played A Major Role
In Hindu And Early Buddhist Iconography, And
Many Designs Were Than Used By The Muslims.
Various Types Of Flowers Are Depicted In
Traditional Indian Saree. In Many Deccan Sarees,
Narrow Bands Of Repeat Supplementary Warp
Figuring Are Generically Called Phool, Even If The
Deign Is Not Strictly Floral.
Textiles : This Motif Is Found In Most Of The
Textile. Like Chikankari, Phulkari, Chamba Rumal,
Kashidakari, Kutch Embroidery, Ajrakh Prints
Sanganeri Prints, Ikat And Patola, Brocade ,
Kancheevaram, Paithani, Among Woven Textiles.
Symbol Of Motif : Flowers Are Mostly Linked With
Feminine And Many God And Goddesses. Flower Is
A Symbol Of Fertility, Protection And Good Luck.
FLOWER MOTIF

Lotus Motif :
The Lotus Is Among The Most Popular
Motifs In Indian Art. There Are Various Forms Of Lotus
Motifs Like Astadal Padma – Eight Petalled To The Satadal
– Hundred Petalled. It Also Symbolizes Prosperity And
Material Wealth, Associated Closely With The Goddess Sri
Lakshmi. It Is One Of The Multifaceted Symbols In The
Traditional Patterns. Its Spiritual Aspect Is Emphasized
Particularly In Indian Sarees And Furnishing. The Colours
Used Are Always Bright To Depict The Richness Of The
Lotus.
Textile : In Kantha Embroidery The Central Motif Is Almoat
Always A Fully Bloomed Lotus Seen From Above. Other
Textiles Are, Chikankari, Phulkari, Chamba Rumal,
Kashidakari, Kutch Embroidery, Ajrakh Prints, Sanganeri
Prints, Ikat And Patola.
Names In Different Languages : It Is Popularly Known As
‘Kamal” In India.
Symbol Of Motif : Lotus Is The Symbol Of Eternal Order Of
The Union Earth, Water And Sky. It Represents The Life
Giving Power Of Water But Is Also Associated With The
Sun For The Opening The Closing Of The Petals. It Is Also
The Symbol Of Recreating Power Of Life.
LOTUS MOTIF

Rudraksh Motif :
Rudraksh Beads Have
An Ascetic Charm. Associated With Lord
Shiva And Mentioned In Vedic Literature, It
Has Significance For Peace And Power.
Bestwood With Electrical And Magnetic
Properties Which Make Them Spiritually
And Medicaid Curative, These Beads Are
Positively Charged. Rudraksh Beads Are
Common Motif Among South Woven
Saress.
Textiles : Used In Kancheevaram, Gadwal
And Hand Woven Saress Of Orissa.
Symbol Of Motif : The Name
Rudraksh Literally Means ‘Eye Of Shiva’,
This Motif Is Associated With Lord Shiva.
Rudraksh Motif

Buti And Buta Motif :
Another Group Of Floral Motifs
Found In Sarees Is The Small Buti And Large Buta, Which Are
Depicted As Flowers, Springs 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
Is Usually Create In Rows Figure.
Textiles : These Are Used In Chikankari, Phulkari, Chanba
Rumal, Kashidakari, Kutch Embroidery, Ajrakh Prints, Sanganeri
Prints, Ikat And Patola, Brocade And Most Of The Woven
Textile.
Names In Different Languages : Buta Is Most Common Word
Used In Most Of The Languages, Their Names Are Different In
Terms Of Motifs Used In Butas, I.E. ‘Kalga Buta’ Motif.
Symbol Of Motif : Symbol Of This Depends Upon Which Motif
Is Chosen ToCreate Butas. It Can Be Flower Or Paisley.
BUTI AND BUTAMOTIF

TreeOf Life Motif :
Tree Of Life Motif Is A Many
Branched Tree Laden With Flowers And Fruits, Birds In The
Tree Branches, Animals Roaming Under It Illustrating The
Idea That All Life On Earth Are Related And Has Been Used
In Religion, Philosophy, Mythology And Other Areas. Lot Of
Colours Are Associated With This Motif.
Specific Trees Supplied Pre-industriak India With Food,
Medicines, Timber, Utensils And Even Cloth. Many Of The
Rular Rituals Still Being Practiced Reflect This Heritage.
Textiles : It Is Mostly Seen In The Embroideries And
Kalamkari Of India. It Is Also Seen In Kashmiri Carpets.
Symbol Of Motif : The Tree Of Life Is A Metaphysical
Extrapolation Of The Basic Concepts Of Fertility And
Protection.
TREE OF LIFE MOTIF

Sun Tree Motif :
The Assamese Sun-tree Motif
Is Now Such An Archetypal Pattern Of The North-
estern Region That Many Assamese Textiles Are
Recognized As Such Just On The Basic 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 Ro Of Like Top To The Tree, And Its Sides Are
Often Straight.
Textiles : It Is Used As Embroidery Or As Prints In
Textile. Also It Is Found On Way Woven Textile Of
The Northern India.
Symbol Of Motif : Sun Tree Motif Represents
Reaching Upward And Growth.
SUN TREE MOTIF

Peacock Motif :
The Peacock Was Painted On Indus Valley
Depicting Tribal Art; It Was Also Found In Mauryan Buddhist Sculpture,
Gupta-period Artifacts, Mughal Miniatures, And In Present – Day Wall
Painting And Textiles. Although It Is Hard To Say If It Had The Same
Symbolism In Every Age, The Peacock Was Found In The Arts Of Most
Post-indus Cultures, Indicating That It Remained A Potent Symbol. The
Peacock Is Now India’s National Bird.
Textiles : In All Types Of Indian Textiles Peacock Is Either Printed Or
Embroidered On Light Background With Dark Colour Combinations. It
Is Majorly Used In MOCHI Embroidery And Kutch Embroidery Of
Gujarat, Kancheevaram Silk Sraee Of Tamil Nadu, Paithani Saree Of
Maharashtra And Patola Saree Of Gujarat.
Names In Different Languages : It Is Called ‘Morbangadi;’ In
Maharashtra Language, ‘Mor’ In Hindi And ‘Nemail
In Tamil’
Symbol Of 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 MOTIF

Hansa Motif :
The Motif Was Found In Indus Valley
Pottery And On The Wall Painting At Ajanta. In
Buddhist Illustrations, It Represented Spiritual Purity. It
Was Also Common In Indian Art Prior To Mughal
Times, But Afterwards, It Disappeared. Its Use In
Textiles Is Characterized By Its Highly Stylized Forms As
Depicted In Woven And Embroidered Textiles Of
Southern India.
Textiles : This Motif Is Found In Some Of The Tamil
Sarees And Ethnic Orissa Ikats.
Symbol Of Motif : As It Is Associated With
Goddess Sarawati. It Is A Symbol Of Divine Knowledge
And Creativity.
HANSA MOTIF

Parrot Motif :
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. This Dearth Of
Historical Representation Suggests That It Is A Relatively
Recent Addition ToThe Traditional Indian Textile.
Textile : Motif Of Parrot Is Generally Found In Textiles
From West Bengal, Gujarat And Rajasthan Embroideries
And Resist Textiles.
Symbol Of Motif : Parrot Motif It Is A Symbol Of
Courtship And Passion Seen In Indian Art Mostly In
Company Of Krishna And Radha, Hinduism’s Eternal
Lovers.
PARROTMOTIF

Elephant Motif :
Elephant motif it is widely used motif in
Indian textiles. Elephant is regarded as the mount of kings in
India, it is used in richly decorated from in their printed, painted
and embroidered textiles to depict war scenes and royal
extravaganza.
Textile : It is mostly used in Mochi embroidery of Gujarat, Ikat
of Andhra Pradesh and Patola of Gujarat.
Names In Different Languages : It is called ‘Vagh’ in Gujarati
and ‘Gajah/Hathi’ in hindi language’
Symbol Of Motif : Elephant came to symbolize the God of
Warriors. It is a sign of wealth and power and influence
denoting royalty, inner strength and nobility.
Elephant Motif

Tortoise motif :
The tortoise 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. Tortoise are known to have
been part of the late, upper Paleolithic diet, and they were depicted
on Early Indus Valley pottery, 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.
Textiles : Today, tortoise are traditionally woven in the
supplementary-warp bands of east Deccan sarees.
Symbol Of Motif : The tortoise has associations with prosperity
and the creation wealth.
TORTOISEMOTIF

Hunting Scene Motif :
The Origins Of The Hunting-
scene Designs Are Obscure. It Is Easy To Assume That
These Textiles Were Inspired By The Elaborately Figured
Seventeenth-century. Safavid Lamps Textiles Whose
Designs Were Conceptually Similar Because They Also
Depict Hunts And War, But The Style Of Representation Is
Completely Different. The Hunting Scene Prints Excavated
At Al-ffustat Suggest That The Roots Of This Designs Are
Much Older.
Textiles : These Are Found In Gujarati Textiles.
Symbol Of Motif : It Has No Such Symbolism Except
The Passion Of Hunting.
HUNTING SCENE MOTIF

The saree is a traditional garment worn by most Indian women. The
word saree described in Sanskrit ‘Sati’ which means ‘Strip of cloth’
and ‘Sadi’ in Pali, and which was corrupted to saree in modern
Indian language.
Although at present there is a lot of western influence in the way
people dress. Today, saree comprises over 30% of total textile mills,
the number of saree-manufacturing centers are in hundreds and so
there are innumerable types of fabrics, weaving techniques,
methods of dying, printing or embellishing , designing patterns,
kind of motifs, colour scheme etc. can be found.
There is something about the saree that makes a women look
dignified, charming and very bit stylish. Over the years, the saree
has evolved into a fashion statement which most fashion designers
glorify the look and feel of this traditional garment.
A saree consist of a drape varying from five to nine yards in length
and two to four feel in breadth, that is typically wrapped around
the waist, with one end draped over the various styles of saree
draping, the most common being the Navi style, which originated in
Andhra Pradesh.
The saree is usually worn over a petticoat, with a fitted upper
garment commonly called a blouse. The saree is associated with
grace and is widely regarded as a symbol of grace in cultures of the
Indian Subcontinent.
THE TRADITIONAL INDIAN SAREE AN INTRODUCTION

In the history of Indian clothing of the saree is traced back to the Indus
Valley Civilisation, which flourished during 2800-1800 BC around the
north-western part of the Indian subcontinent. Cotton was first cultivated
and woven in Indian subcontinent around 5th millennium BC. Dyes used
during this period are still in use, particularly indigo, lace, red madder
and turmeric. Silk was woven around 2450 BC and 2000 BC. The earliest
known depiction of the saree in the Indian subcontinent is the statue of
an Indus Valley priest wearing a drape.
The saree evolved from a three-piece ensemble comprising the Antariya,
the lower garment, the Uttariya, a well worn over the shoulder or the
head, and the Stanapatta, a chest band. This ensemble is mentioned in
Sanskrit literature and Buddhist Pali literature during the 6th century B.C.
This complete three-piece dress was known as Poshak, genetic term for
costume. Antariya and Uttariya was merged to from a single garment
known as saree mentioned in Pali literature, which served the purpose of
two garments is one-piece.
The modern way of draping saree was invented by Gyanandanandni Devi.
She was the wife of Satyendranath Tagore, first Indian ICS officer and
elder brother of R. N. Tagore, first Asian to win Nobel. After becoming an
IAS officer, Sateyndranath Tagore and his wife needed to socialize house
did not want to adopt Western cloth totally, but then the prevalent way
of wearing one-piece saree was not very civil for that Victorian age. Till
then women used to stay inside their own home, so the one piece saree
was kind of adequate. To suit with the new age, Gyanadanandini Devi
started wearing with blouse, which gradually became the saree we know
today.
HISTORY OF INDIAN SAREE

There are more than 80 recorded ways to wear a saree. The most common style is for the saree to be wrapped around the waist, with
the loose and of the drape to be worn over the shoulder, baring the midriff, the saree can be draped in several different styles, though
some styles do require a saree of a particular length of form. The French cultural anthropologist and saree researcher Chantal Boulanger
categorized drapes in the following families.
Brahmini Style Nepali Style Gujrati Style Malayali StyleMadisar Style
WAYSOF WEARING SARESS IN INDIA

WAYSOF WEARING SARESS IN INDIA
Nivi
Style
Bengali style Professionalstyle Tribal Style

TYPES OF SAREE WORN IN INDIA
While An International Image Of The Modern Style Saree May Have Been Popularized By Airline Stewardesses, Each Region In The Indian
Subcontinent Has Developed, Over The Centuries, Its Own Unique Saree Style. Following Are The Other Well-known Varieties, Distinct On
The Basic Of Fabric, Weaving Style Or Motif. .
Brocade Saree :
Originating In The Northern Region Of
The Country, These Indian Traditional Sires Are Made Of Silk And A
Heavy Mughal Influence To It And Is Quite A Popular For Wadding
And Occasions. The Trademark Of The Saree Is Its Intricate Floral
Pattern And Zari Work As Well As Foliate Motifs Such As The Kalga,
Phool And Bel Adorning The Whole Saree In Silver, Golden Or
Copper Thread Works. The Signature Design Of A Banarasi Brocade
Silk Saree Is The Jhalar That Is Nothing But An Intricate Fringe-like
Pattern That Is Often Found In The Outer Edge Of Borders Of The
Saree.
Jamawer Saree:-
More Popularly Know It Be A
Product Of Kashmir, Jamawer Is A Glorious Variant Of The Silk
Saree With An Array Of Skilful Designs And Colour On A
Parchment Of Pure Silk Or Pashmina. The Term ‘Jamawer’
Literally Means Robe And Yard, Witch Now Is A Very Popular
Variety Of Indian Traditional Sarees That You Can Invest In For A
Wedding. The Uniqueness Of The Saree Is That Many Of Its
Varieties Come With Matching Silk Shawls Attached Along Them
And Are Embellished In Meenakari Colour Like Orange And
Green And Have Beautiful Aksi Embroidery For The Borders.

Lucknowi Chikankari Saree :
The Art Of Chikankari
Is Quite Popular In The Regions Of Uttar Pradesh. The Thread Work
With Fine Intricate Design Show Grace And Elegance. The Colour Of
Chikankari Sarees Are Often Very Subtle And In Pastel Shades Which
Can Never Go Out Of Style. The Light Texture And Soft Shade Of
Colours Makes It A Very Versatile Variety Of Indian Traditional Sarees
, Makes it A Very It A Very Versatile Variety Of Indian Traditional
Sarees, Fit For Any Occasions, Be It Casual Or Formal.
Tanchoi Saree :
Tanchoi Is Actually A Kind Of
Weaving Technique Which Colour Placed In The Weft That Are Often
Of The Same Shade And Done On Silk Fabric. The Richness Of The
Shades And The Softness Of The Material Make It A Really Popular
Silk Saree All Across India And Abroad Too. There Are Numerous
Varieties Of Tanchol Weave Which Includes Satin Tanchol, Satin Jari
Tanchoi, Atlas Or Gilt And Mushabbar. These Saree Are Quit Popular
For Formal Occasions Such As Weddings Ceremonies, And Festivities.
The Ideal Time To Wear A Tanchoi Saree Is During The Cooler
Months Of Autumn And Winter Because Of The Warmth Of The
Fabric.

Kinkhwab Saree :
Kinkhwab Brocade Sarees Were Very
Popular In The Mughal Era And They Were Considered One Of The Finest
And Luxurious Textile In That Era. Nowadays, This Pattern Is Widely
Used For Wedding Sarees With A Heavy Brocade And Intricate
Embroidery Inspired From The Islamic Heritage. The Pattern Of The
Brocade Has Wefts, Numerous Layers As Well As Warp Threads That Add
To The Glory Of The Elaborate Look Created By The Embroidery Design.
Other Popular Indian Traditional Sarees Of The Northern Region Of India
Include The Amru Brocades Tissue Sarees, Shikargarh Brocades Etc.
Kancheevaram Silk Saree :
Originating In The Town Of
Kanchipuram In Tamil Nadu, The Weavers Here Have A Tradition Of
More Then 150 Years Of Weaving These Beautiful South Indian Silk
Sires. This Variety Of Indian Traditional Sires Are Made Form Silk And
Get Their Name Form The Town Itself. The Unique Aspect Of The Saree
Is The Gold-dipped Thread That Is Woven Along With Premium Silk
Fabric For A Magnificent Finish.

Mysore Silk Saree :
One Saree That Is Really Popular In India
Which Belongs To The Karnataka Region Is The Mysore Silk. It Is One Of
The Most Sought-after Sarees Of South India And It Has Every Reason To
Be So Popular. The Specialty Of These Saree Is That There Is A
Shimmering Quality In The Material That Reflects With Suitable Hints.
This Kind Of Silk Saree Has Gained Popularity For Its Bright And Vibrant
Colours, A Soft And Breathable Fabric, And Its Pure Sheen. It Is Popular
As A Wedding Saree.
Konrad Silk Saree :
Also Called As The Temple Saree,
Konrad South Indian Saree Is A Special Weave Form The State Of Tamil
Nadu. The Original Purpose For The Weaving Of There Saree Was To
Adorn The Deities Of The Temple, Which Gives The Saree Its Name And
Uniqueness. The Special Features Of This Saree Is That It Consists Of
Wide Borders And They Are Mostly Adorned With Designs Of
Elephants, Peacocks And Other Natural Things Like Flowers And Fems,
Spread Over The Length Of The Saree.

Bagru Block Printed Saree
:
Bagru Is Known For
Natural Dye And Hand Block Printing. Bagru Is The Place Of Raiger
And Chhipa Community. Bagru Is Also Known For Natural Dyeing.
Indigo Dyeing And Wooden Hand Block Printing Over Textile Articles.
Artisans Use Traditional Vegetable Dyes For Printing The Cloth. Like,
The Color Blue Is Made From Indigo, Greens Out Of Indigo Mixed
With Pomegranate ,Red From Madder Root And Yellow From
Turmeric. Usually Bagru Prints Hove Ethnic Floral Patterns In Natural
Colour.
Kantha Stitch Saree :
The Pattern Of The Saree Is
Created Using Simple Run Stitch On A Silk Or Cotton Yard. The
Stitches Are Used To Create Intricate Pattern Allover These Indian
Traditional Saree, Especially On The Pallu And The Border Using
Colourfull Silk Threads..

Pochampally Saree : The Name Of These Indian
Traditional Sarees Comes Form The Small Town Of Pochampally In
Hyderabad, Which Is The Origin For This Verity Of Silk Saree. The
Unique Pattern Of The Saree Comes Form The Symmetrical Size Of
The Weft And The Warp Of The Yarns That Are Then Resist Dyed
Which Gives You The Pre-fixed Design On The Silk Saree That Is Then
Interlaced To Get The Final Look. Woven In Silk And In Bright
Coloures, These Sarees Are Widely Produced In Andhra Pradesh,
Gujarat And Orissa Too.
Kerala Kasavu Saree :
The Kerala Kasavu Saree Is Made
With Super-fine Quality Of Cotton Fabric Which Is Usually In Shades
Of White With Golden Zari Border. They Come In Colour Such As Off-
white, Pure White And Pale Yellowish White Colour And Have A Very
Sober Appeal. The Whole Yard Of The Saree Is Free Of Any Zari Work,
Embroidery Or Print But It Is Kept Plain Only With A Six Inch Golden
Border Along With An Elaborate Pallu That Is Its Trade Mark Other
Popular Sarees Balarampuram Mundu Veshti Sarees Form Kerala
Madurai Silk Sarees, Chettinad Sarees, Coimbatore Cotton South
Indian Saree, And Many More.

Paithani Saree :
Named After A Small Village In Aurangabad In
Maharashtra This The Making Of This Saree Needs Enormous Skill And
Labour As The Expanse Of Material That Goes Into Its Weaving And
Creation Makes It Just Awesome. Through The Entire Like Parrots, Trees,
And Plants, Which Are Woven Along The Border And On The Pallu Of
The Saree. These India Traditional Saree Other Wise Know As Parthian
Saree Are Woven Using Pure Silk Threads And Given Vibrant Colour A
Long With A Touch Of Pure Gold, Making The Perfect For A Wedding.
Bandhani Saree :
It Is A Popular Saree Which Is Made Using
The Tie And Dye Concept. This Form Of Saree Weaving Is Carried Out
Mostly In The Parts Of Gujarat. The Sarees Have Small Sport Or Dots
That Are Created Using The Resist Dying Method Which Creates
Elaborate And Skillful Pattern With The Coloured And Uncolored Prt In
The Saree. They Are Further Adorned With Shells Or Cowries And Are
Quite Popular Across The Country And Abroad Too. The Lahariya Saree
Of Rajasthan Is Also Created Using The Same Concept.

Patola Saree
: One Of The Most Time-consuming And Elaborate
Sarees,patola Has A Charm Of Its Own. It Is Crated Using The Most
Complex Weave Techniques With Five Colour Design That Are Resist Dyed
Carefully Into Both Warp And Weft Threads Before Woven Into Beautiful
Pattern. The Variation In The Design Of The Patola Saree Range From
Geometrical Patterns To Floral Or Vegetable Patterns As Well As The
Elephant And The Maiden Motif.
Kota Doria Saree :
Also Known As Kota Saree These Sarees Are
Made In The Villages In Kota, Rajasthan. The Unique Thing About These
Saree Is That They Are Of A Transparent Texture, Woven Using Very Fine
Cotton Or Cotton-silk Weave. The Lightness Of The Texture And
Weightlessness Makes These Indian Traditional Saree Ideal For The
Summer Months. These Saree Have A Graph-like Pattern All Over The
Length And Are Lightly Embellished With Zari Work On The Borders.

Muga Silk Saree :
One Of The Most Durable And Highly
Reliable Silk Sarees Form Assam, Muga Silk Sarees Are Popular Across
The Globe For Their Natural Sheen And A Touch Of Golden Colour That
Is The Natural Shade Of The Raw Silk Fiber. The Fabric Is Not Dyed But
Embellished With Motif Is Black, Rad ,Green Or Bright Orange Colours
ToSet A Good Contrast Against The Golden Backdrop.
Taant Saree :
The word ‘taant’ literally translates to ‘made on
the loom’. It is considered to be the pride of Bengal handloom. Taant
sarees are made form cotton fabric and have a very crisp, smooth finish
and are light in weight. Available in a wide range of pattern and colours,
you can take your pick for the summers.

Sambalpuri Saree :
Sambalpuri Saree Is A Traditional
Hand-woven Ikat Or Saree. Where In The Warp And Weft Are Tie
And Dyed Before Weaving. It’s Produced In Bargard, Sambhalpur,
Balangir District, Baudh District Of Orissa. Smbalpuri Sarees Are
Known For Their Incorporation Of Traditional Motif Like Shank
(Shall), Chakra (Wheel), Phula (Flower) All Of Which Have Deep
Symbolism.
Chanderi Silk Saree :
Chanderi Silk Is Made By
Hand Weaving. It Is Considered As The Fabric Of Choice For
Sarees Produced For Royalty, As It Is Light-weight, Of Fine
Quality And Has Intricate Design Developed. It Is Produced In A
Town Called Chanderi Which Is Located In The State Of Madhya
Pradesh In India. The Colours Of Chanderi Silk Are Natural As
Well As The Ones That Can Be Developed Form Chemical
Processes. Chanderi Saree Are Very Light And Ideal For
Summers. The Beauty Of Fabric Lien In Its Feel, Simplicity And
The Bonders And Buttes. They Give A Sophisticated Look.

EXERCISE ON REPETATION
(HAND DRAFTING)

Simran Nanikwani,Fashion Design ,Dezyne E'cole College

Design Created Using
Different Types Of Shapes

Simplify Stretching Slimming
SIMPLIFYNG THE MOTIF

Formal Wear Is The Dress Which A Person Wears For His Working Hours. And Every
One Wants A Outfit For His Working Hours Which Is Comfortable And Stylish Too.
Fabric Is The Primary Need Of Any Garment. Fabric Properties Are Most Important For
Any Fabric Ex- Wrinkle Resistance, Stain Resistance And Breathable Etc.
In A Formal Saree As Uniform Wearer Always Want Stiff Fabric Which Can Hold The
Saree Pleats In A Elegant Manner And Don’t Causes Static Charge With Body.
As A Fashion Designer : I Will Used These Fabrics For Design A Saree As
Uniform:-
Silk
Blends
TussarSilk
Khadi Silk
Cotton Muga
Silk
Pat Silk
Murshidabad
Silk Bhagalpuri
Silk Poly Cotton
Taffeta Silk
JamawerWoven
Note :- Khadi Fabrics Are Highly Demanded Fabric In These Days By The Professional.
In The Year 2016 Air India Selected Khadi Silk Fabric For The Uniforms.
FABRIC SELECTED

Foundation Design
During my course of study I have learnt
about principles and elements of design.
They are termed as designer’s tools for
design solutions. The formula to create a
good design must corporate a harmonious
combination of all the design elements
and principles.

Principles of Design
Principles of design : Apart from analyzing the current
fashion trend, fashion designers have to understand the
fashion design principles for creating aesthetic values.
The design should also meet the needs of the target
groups/ occasion and be able to express the individuality
and creativity of the designer.
When developing a collection, designer need to think
about for whom they are designing, what type of
garment they are developing and for what particular
season. To do so, the principle of design must be properly
applied and executed in terms of Proportion, Balance,
Rhythm, Gradation, Emphasis, Contrast, Harmony,
Unity, Repetition and Scale.
Proportion
Balance
Rhythm
Gradation
Emphasis
Contrast
Harmony
Unity
Repetition
Scale

Balance: Balance is how the internal spaces of shape
work together. The surface of design may be broken up
by structural lines,
trims, fabric patterns, texture or colours. Balance also
refers to ‘visual weight’ in design. A garment must be
balanced to
be visually pleasing. Balance can be symmetrical or
asymmetrical :
1. Formal balance: Formal balance is symmetrical. Its
design details are divided equally to create a
centered balance. In other words, both sides are the
same, like the way how we have two arms and two
legs. A symmetrical garment design must have
exactly the same details in just the same place on
both sides. Formal balance is the easiest and the
most logical way to achieve stability.
2. Informal Balance: Informal balance is asymmetrical.
Its design details are divided unequally from the
centre. It can achieve a more dramatic and
interesting effect through an imbalance of visual
impact. Informal balance should not look heavier on
one side than the other. If done properly, the design
should appear to be balanced, even though its two
sides are different.
Balance

Proportion : Proportion is the comparative
relationships between distances, Sizes, amounts,
degrees and parts. It can be applied to one-
dimensional lines, two- dimensional shapes or three-
dimensional forms.
Proportion in fashion design is the size relationship of
each of the internal spaces within a garment to one
another and to the whole design. The most pleasing
proportions are those that are unequal. If the design
effect will appear to the harmonious and pleasing. In
order to understand how to manipulate the
appropriate proportion, the application of the
“golden mean” is essential to any fashion design.
The golden mean is the proportion rule that pleases
the eyes. 5:8 and 8:13 are the standard formulae.
Many great works of art in many different cultures
have consciously or unconsciously been organized
with their linear or spatial divisions in accordance to
this golden ratio.
Proportion

Rhythm: In fashion design, rhythm is the flow of lines,
Shapes, textures and colours of garment. The flow
should gently carry the eyes from one area of the
garment to another. When all the lines of an outfit
work well together, a sense of rhythm is obvious.
The use of rhythm is important in achieving pleasing
effects. Rhythm in design results repeating lines and
masses. These repetitions can be either of uniform
size or of decreasing or increasing size. Rhythm can
create a powerful effect, whether it is achieved by the
repetition of regular features, by motifs on printed
fabrics or by a gradual change of size or colour. As long
as the lines and patterns are carefully placed, a sense
of rhythm will guide the eyes to move from looking at
one element to looking at the other.
Rhythm

Gradation: Gradation is the use of single colour,
shape, Size design and motif. These principles
featured in any gradating pattern can be done
from the darkest to the lightest tone or from the
smallest to the biggest size, imparting a rhythmic
progression. The eyes automatically move from
looking at the darkest to looking at the lightest
tones, or vice versa, thereby the whole item is
attended. Sometimes, a designer might use a
specific shape for accessories in various sizes. The
gradation of the sizes or shapes will tend to bring
the eyes from looking at one to looking at the
other and eventually to looking at the entire
garment.
Gradation

Radiation: Radiation is the use of design lines that Fan
out from a pivotal point. Based upon the sunburst to the
outer area of the design.
Radiation

Harmony: Harmony is the pleasing arrangement
of all Parts of a garment. It is not the exact
opposite of contrast but it does imply similarity
than differences in areas such as the use of
colours or textures that blends well with one
another.
Clearly, harmony is achieved when design
elements work well together. Soft fabrics are
rounded forms form a better harmonious design
than sharp cutting or pressed garments. Fabric
pattern, trims, colours, lines, shapes, texture
and proportion all gives a sense that they
belong together. Although the design is safe
when the absolute rules of harmony are
followed, doing so sometimes results a
conservative design, one that lacks impact. To
avoid so, one can add in elements that can
create visual impact.
Harmony

Unity: The repetition of a design element
throughout a
garment creates a sense of unity. Conversely, the
use of too many motifs in one garment is
distracting and discordant. When a garment has
unity, separate and individual parts work together
to create a whole. A feeling of togetherness and
oneness are achieved.
Unity

Repetition: Repetition is the repeated use of
certain design elements, details or trims in a
garment. A feature could be regularly or
irregularly.
Repetition

INTRODUCTION-
The elements of design are the fundamental components of any design
composition. They are required to be arranged as components for creating design
compositions. Elements of design includes:
• Point
• Line
• Shape
• Colour
• Texture
• Value
• Plane
• Volume
• Form
• Mass
• Space
• Ornament
• Time
• Place
• Structural Design
• Decorative Design
• Structure
• Light
• Pattern

Line – A line is an elongated mark, the connection between two points or the effect made
by the edge of an object where there is no actual line on the object itself. A line leads the
eyes to view in the direction the line is going.
Shape – we use lines to create shapes. In fashion industry, the term “silhouette” is
normally used to describe the shape of garment.
Texture – Texture is the surface quality of an object. In fashion design, the texture is the
surface interest of a fabric, created by the weave and by light reflection.
Pattern – Patterns are coordinated by lines, dots, shapes, spaces and colours. They are
created in endless varieties – geometric, floral, stripes, checkers, dots, abstract motifs and
many others. Patterns are always provide interest and visual impact.
Volume – The amount of space that garment occupies or that is enclosed with the body is
called volume.
Mass – Mass is mention for the weight of the garment.
Colour – Colours have always been a key element in women’s clothing and a fundamental
consideration in the design process as they are the very first element to catch shopper’s
gaze and they are the last thing to clinch a purchase.
Value – Value refers to the use of dark and lights or the variation of light strength in a
colour. The value scale runs from white to black. White is pure light, black is the total
absence of light.

Line
A line is an elongated mark, the connection between two points or the effect made by
the edge of an object where there is no actual line on the object itself. A line leads the
eyes to view in the direction the line is going.
Line by position – This includes straight line, diagonal line, intersecting line and parallel line.
Line by direction – This includes converging and radiating lines.
Line by weight – This includes adding weight to a design.

Shape
we use lines to create shapes. In fashion industry, the term “silhouette” is normally used
to describe the shape of garment. Shape can be used in a dress in a variety of ways as
follows :
Surface Design weave Print Garment
construction

GOLDEN RATIO
The golden ratio is the proportion rule that pleases the eyes. 5:8 and 8:13 are the standard ratios. Many great
works of art in many different cultures have consciously or unconsciously been organized with their linear or
spatial divisions in accordance to this golden ratio. Much great architecture is based on it, so are many
beautiful clothes.
Golden ratio is the standard proportion rule in design, especially in classic collection design.

ICOSHEDRON
CUBOTAHEDRONTRUNCATED
TETRAHEDRON
RHOMBICUBOHEDRON
RHOMBICOSIDODECAHEDRONTRUNCATED OCTAHEDRON

Introduction
I have devised various types of
pleats by hand using methods like
furi, corrugation ruff drape, crimp,
plait, gather, smocking, shirring or
gauging or one of many other
specialist terms relating specifically
to manipulation of fabric. In
industry this is usually done by large
sized industrial pleaters to make this
concept into reality. Here I have
tried on small scale the same aspect
to bring it into reality manually.
Introduction

During my course of study I have learnt
about the Japanese art “origami” the
paper folding art. In which I have
devised various types of pleats from
paper on small scale by hand and
applied it on fabric and made my own
creation.
PLISSÉ EFFECT

After learning about various
skills I have to design my
own collection. Which u can
see in the following slides.
COLLECTION

After studying about various subjects
and designers I have made a capsule
collection. I was attracted towards the
King white portea flower. It is an
incredibly unique tropical flower that
looks straight out of a storybook. This
novelty flower is the largest in the
portea family.
Introduction

Research
For starting any collection research is the
first stage. For collecting all the
knowledge and ideas related to the
particular concept and influence,
research is done. To collect the
information from the look book and
magazines the designer has to research.
While research I came across many
designers who find conceptual influence
very attractive. On the other hand I have
also done research about those
designers who find archivism very
attractive.
At this stage of collection with
conceptual and archivism design idea a
research work was undertaken by me. I
have been inspired by the various
designers of conceptual influence and
archivism and I have been also attracted
towards nature.

INFLUENCES
CONCEPTUAL
FORM AND
FUNCTION
WORKWEAR SPORTSWEAR FUTURISTIC POLITICAL GLOBAL ARCHIVISM
CONCEPTUAL INFLUENCE

Design Process
This stage of collection involves the process of designing on the basis of previous research
this level includes the story board for our collection which will then be projected with a fitted
concept and colour and textures for developing the specific mood for the collection which will
be proceeded in the ideation of the design.

The concept of my dress is based
on relationships in human life. We
all are surrounded with beautiful
different kinds of relationships as
per the beautiful colours of
rainbow. As every colour of
rainbow means with its importance
likewise every relationship keep its
own value in human life.
Relationships and colour both
fulfill human life with happiness.
Concept

I have created an underskirt for my
collection. As I m a learner, so I
created a petticoat skirt in which I
inserted wires so that it can take the
shape I wanted. I took the inspiration
from the crinoline which were used in
the time period of (1790- 1900) From
Revolution to Frivolity by Charles
Worth.

Elements And Principles Used
A design is not considered as a good design without the use of elements and principles,
these are important to be used to make it completely wearable. I have used following
principles in my design.
Repetition
Gradation

Mood Board
In the mood board for this
collection I have collected all the
colours that are related to the
mood of my design. The mood
that I have selected here is

Specification Sheet
Bodice made with cotton fabric
Upper part wrapped with net
fabric
Flower petals made with net
fabric
Crinoline skirt made with
cotton fabric and wires
Net fabric wrapped over
skirt

Thank YouSimran Nanikwani
2nd year Diploma in Fashion Design
NSQF Level Of NSDC

Simran Nanikwani,Fashion Design ,Dezyne E'cole College

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