Tanu chourasiya ,B.Sc-Fashion Design,+ Two Year Womens Wear portfolio

PORTFOLIO
Tanu Chourasiya
B.Sc. Fashion Technology
2nd year
Dezyne E’cole College, Ajmer

Project Report On
Submitted To
Dezyne E’ Cole College
Towards the partial fulfilment for award of
Diploma in fashion technology.
As technical knowledge development of women’s wear
Included with the bachelor degree program of Fashion Technology
By
Tanu Chourasiya
Dezyne E’ Cole College, Ajmer
Address 106/10, civil lines, Ajmer
Tel. no.- 2014-20170145-2624679.
www.dezyneecole.com

Grading
Dezyne E’ Cole College
Civil lines Ajmer.
www.dezyneecole.com
Student of B.Sc.- Fashion Technology with two years women’s wear
Fashion Diploma program has been checked & graded as-
Thank You
Principal
(seal & signature)

Acknowledgement
I am very, grateful to all those whose
Guidance has been of tremendous value
& enabled me to complete this
Project successfully.
I am thankful to all my mentors of Dezyne E’
Cole
Who gave me an opportunity to show my
abilities
Through my portfolio.

Introduction
Tanu Chourasiya.
Fashion Technology.
Email : Dezyne E’ Cole College. www.dezyneecole.com Phone no. – 0145-2624679
Profile
I am a Fashion Designer from
Dezyne E’ Cole College,
Ajmer.
I refers my hard skills and the art of
cutting skills, I have always focused to
doing intricate work and finishing, for me
aesthetics is keep important as the
product. A design process followed in a
organization manner is the key of success
end product.
I want to be famous in my life. I want my
designs to be worn by people.
Skills
• Embroidery.
• Printing.
• Tie & dye.
• Manipulation.
• Garment.
• Draping.
Interest
Dance
Music.
Pintrest
Language
Hindi.
English.
• Fabric studies.
• Photoshop.
• Corel.
• Orbito.
• CAD assist.
Experience
Saree Design Project.
Prints
Fabric manipulation
Garment finishes
Waist coats collection
Draping
Tie & dye
Shibori art
Embroidery
Origami
One piece garment
Child half scale garment
Education
Bachelors Degree in
Fashion Technology - Dezyne E’ Cole College
Year - 2014-2017
Schooling – 12th central board of secondary
education.
Sophia sr. sec. School.
10th central board of secondary
education.
Queen Mary's girls School.

Case Study
Create A Collection For The Indian Youth. As A Fashion
Designer I Wanted To Create A Capsule Collection For
This Challenging For Youth Who Need The Change In
Garments And Want Innovative And Some Creative
Ideas In Their Dressing.

FASHION is a term which is ever changing, vital & influential force
that Impacts our everyday lives. Fashion hence reflects a societies
prevailing
Customs ; its political, economic and cultural state at any given
point of Time. Fashion is much more than just the clothes &
accessories.
Within the spare of technology industries, design technology is
perhaps the fastest growing today. Over the past year, the
garment industry has been build up on its capacities at various
levels, expanding its product base, incorporating innovative
technology & newer sectors of business the apparel industry
(including garment retail, fashion designing & accessories trade) is
booming now days. The rapid increase in job opportunities &
expanding earning capabilities has resulted as a newer idea
amongst consumers.
Fashion design runs the garment from evening wear to
sportswear, women’s wear to men’s wear & kid’s wear to knit
wear. The term fashion is used synonymously with garment.
A garment is not just because it is worn, to become
Fashion a garment has to reflect the social culture.
A man’s profession highly influences his wardrobe and style.
In the western world, until the mid – twentieth century, the
average man’s wardrobe consist of few options. He would have
one or more of dark suits with matching vests, white shirt and
selection of dull coloured ties. After world war 2nd this was found
to be on the path of change. “Children” wear “fashion is asocial
occurrence which mirrors the same continuing change, those
strides through any given time”
The changing body shapes of the child as he/she grow & the basic
requirements at different stages of this growth must be well
understand before designing or creating a suitable garment for
the children.
Introduction of garment construction

Geometry Introduction
We all know geometry since our childhood. From the
school life we studied geometry. Everything which is
around us is based on geometry. In it and the
designing also I come across with geometry to learn
more about it because it can be seen everywhere
around us. I also learned about sacred geometry
which contains the FIBONACCI SERIES & the GOLDEN
RATIO/SECTION which can been seen in the ancient
civilization when well planned, architectural were
made, also famous painting made with the help of
geometry as the famous painting “MONA LISA” made
by sir LEONARDO DA VINCI. If we talk about countries
as japan has its own famous geometry pattern made
by ORIGAMI & SHIBORI & china when jail work is very
famous.
Designers also us geometry in their designs like sir
ISSEY MIYAKI came with concept of geometry in his
designs. After studying more about geometry. I am
fascinated by it & the concept in my design creation
have I subsequent pages, I generated my ideas with
geometry.

Geometry For Design
• SACRED GEOMETRY
• CONTEMPORARY
FASHION
• ARCHITECTURAL
GEOMETRY
• MOROCCAN STYLE
• JAPANESE ORIGAMI
• CHINESE ART
• ISLAMIC GEOMETRY

Conceptual Influence
The Origin Of Contemporary And Conceptual
Fashion Will Be Credited To The Japanese
Designers.
Designers- Rei Kawakubo, Yohji Yamamoto And
Issey Miyake Etc.

Form & Function
The Safari Jacket, The Riding
Jacket, The Cargo Pant And The
Biker Jacket Are All Examples Of
This Type Of Fashion Transition.
Designers-Robert Cary-Williams,
Calvin Klein, Burberry Etc.

Work Wear
The Origin For This Source And Aesthetic Is Arguably Levi
Strauss For “The Blue Jean”.
Designer- Levi Straws

Sports Wear
American Designer Norma
Kamali Launched A Fashion
Business Celebrating The
Use Of Traditional Sweat
Shirting As A Fashion
Fabric.
Designers- Norma Kamali,
Alexander McQueen (Puma)
,Yohji Yamamoto (Adidas)
Etc.

Futuristic Influence
Breaking New Ground, Taking Fashion In A New Direction.
Designers-pierre Cardin, André Courrèges And Paco
Rabanne.

Global Influence
Designers Play With Juxtaposition,
Colour Or Multicultural References.
Designers- Yves Saint Laurent
(Ysl), Kenzo And Dries Van Noten
Etc.

Political Influence
Fashion Reflects Society And
Designers Will Reference Political
Change In Their Collections.
Designers- Jeremy Scott,
Katharine Hamnett, Alexander
McQueen Etc.

Archivism
In A Fashion Context, Archivism
Refers To The Way In Which
Designers Look Back To Previous
Collections For Inspiration.
Designers- Ysl, Karl Largerfeld,
John Galliano, Emilio Pucchi Etc.

My drafting.
My drafting sheets

Case Study
Create A Collection For The Indian Youth. As A Fashion
Designer I Wanted To Create A Capsule Collection For This
Challenging For Youth Who Need The Change In Garments
And Want Innovative And Some Creative Ideas In Their
Dressing.

Project Geometry
I taken up political influence.
Want to make a collection on waistcoats.
I understand the work of political party member he/she is
very busy into their work.
They have to attend many meeting in a day so, I design a
waistcoat collection according their need.
So, I design waistcoat reversible for attending there meeting
time to time & no waste there time on changing cloths.

Introduction of surface design technique
Surface design differs from stitching, embroidering, &
embellishing just like it sounds-
something's is applied to the surface of the surface of the
fabric to other or enhance it.
Printing, painting, & stamping are examples of surface
design techniques.
It is fun & easy to make your own fabric printing, fabric
painting & stamping are
happy triplets of the same family,
the family of die & experimentation & many times
they work together.
You might paint design onto a board or gelatin plate & print
the image on fabric.
There are so many ways to use those technique to design
our own fabric.
Many quilting & textile artists are fond of printing or fabric,
a great choice if we are
intimidated about painting freehand.
There are two types of surface design technique are-
Structural & Decorative
Structural in weaving the design were developed, design is
done before making fabric.
Decorative are done after the fabric is made.

Draping
Draping is the oldest pattern making method & is
generally regarded as a
creative approach.
In this method a piece of two- dimensional fabric is
draped directly on a
dress from on the dress from to achieve the desire look or
shape.
The fabric may conform to the basic shape of the form or
be arranged artistically in for a
specific design .
This muslin pattern is thin transferred on the paper, &
corrections are made, if any, & then
The same are converted into a final pattern.

Garment construction
The system now used for pattern development is called
block method where seam
allowances are calculated at the time of cutting the final
pattern learning to play music by ear.
The earlier methods of pattern making generally used
shapes by copying &
reconstructing than.
The accuracy of any cutting system depends largely on
relevant & correct measurements.
On the other hand, proportionate systems seem to offer a
ready, solution to the problem of unreliable or incorrect
measurements.
The proportionate systems work into eight heads & the girth
measurements are in proportion to each other.
Pattern makers generally tried to find an ideal system laid
down by one method many
not fully satisfy the needs of another human figure since no
two human forms can be identical,
however experienced pattern makers invariable took the
precaution of adding sufficient
inlays or allowance in the main seam of garment as a
safeguard against error of judgment.

Embroidery is the method used for decorating fabric
with a needle & techniques vary
greatly but in this tutorial, DMC will be featuring free
style or “surface embroidery”.
This decorative stitching technique, with its varied
stitches, is worked independently from the fabric’s
weave allowing you to embroider any design, realistic or
abstract, onto any fabric you choose.
Surface design offers you the greatest versatility to
create beautiful designs using DMC’s
colorful threads & specialty fiber.
Beautiful unique designs to embellish anything from
apparel to home decor.
Embroidery’s worldwide application exemplifies our
appreciation for detail & our desire for individuality.
Embroidery

Tie-dye is a modern term inverted in the mid-1960s in the
united states for a set of
ancient resist-dyeing technique, & for the products of these
processes.
The process of tie-dye typically consists of folding, twisting,
pleating,
or crumpling fabric or a garment & binding with string or
rubber bands, followed by
application of dye.
The manipulations of the fabric prior to application of dye
are called resists, as they
partially or completely prevent the applied dye from
coloring the fabric.
More sophisticated tie-dyes involve additional steps, & the
use of other types of resists & discharge.
Tie-dye

Printing
Printing is a process for reproducing text & images using a
master form or
template.
The earliest examples include cylinder seals.
The earliest known form of woodblock printing came from
china.
Later developments in printing include the movable type.
Modern large-scale printing is typically done using a
printing press, while small-scale
printing is typically done free form with a digital printer.
Though paper is the most common material, it is also
frequently done on metals, plastics,
cloth & composite materials.
On paper it is often carried out as a large-scale industrial
process & is an essential part of publishing & transaction
printing.

Sketching
A sketch is a rapidly doing work while we create an idea for our
creation.
Sketching is a idea generation of our design. Sketching refers
the creation what we create in
Mind what we thing we explore by the help of sketching.

Research & development
For making a collection first we have to research what we have to made.
Themes & direction for collection can be enhanced & developed from primary
research, regardless of location, time or season. The research process is an ongoing
aspect of the designer’s role & it is unlikely to start from scratch.
When I start developing my collection the designer will begin by explaining the
overall look or theme for the new collection.
This may be the form of images & drawings on inspiration or mood boards, as well as
sourced garments, fabric cuttings, trims, all of which may be key to the new
collection. After garbing all shapes & fabrics, the first patterns & toiles will be
prepared.
These toiles will be recut & refined a number of times in the process from initial idea
to final reality. Once garments have been bought for retail they will be resized, with
changes made to length, proportion & so on.
This is important if exporting to some international markets, or may simply reflect
the type of customer, who may demand a less extreme version of the showpieces.

Andre coure’egges :- 9th march 1923, French fashion designer.
Mainly influenced by modern architecture, technology,
new fabric, modernization & futurism in art & design.
Andre coure’egges are famous for mini-skirts.
Collection names :- Maison de couture (1961)
white dress & trouser suit.

Yues saint Laurent
Saint- Laurent already reached the age of 17 in 1953 to work with
Christian Dior.

Cristobal Balenciaga was a Spanish fashion designer and the founder
Of the Balenciaga fashion house. He had a reputation as a couturier
of uncompromising standards and was referred to as
“the master of us all” by Christian Dior.

Mary Quant is a welsh fashion designer and British fashion icon.
She became an instrumental figure in the 1960’s London based on
MOD and youth fashion movements.
She was one of the designers who took credit the miniskirt and hot
pants, and promoting these an other fun fashion.

Elsa Schiaparelli was an Italian fashion designer.
Alone with the coco channel, her greatest rival, she is regarded as one
of the most prominent figures in fashion between the two world war.
Elsa introduce knit garment.

Christian Dior
He was an internationally known French fashion designer, founder of
the fashion company of the same name
CHRITIAN DIOR.

THE
ANCIENT
WORLD
Presented By:-
Tanu Churasiya
www. Dezyneecole.com

THE
ANCIENT WORLD
This civilization reached
impressive level of
development.
• Clothing & accessories-
including protective
armor & talismanic were
used at that time.
• Fine linen was woven on
the banks of the Nile of
Egypt.
• China was the main to
produce the silk .
• The Greeks & Romans
created fantastic wool
Tapestries.
• The Etruscans crafted
ornate , tooled
metalwork.

STARTING OF STYLES
& SHAPES IN A DRESS

• The time come when Style & Shape comes in
a dress
• Two pieces of material are connected to form
a garment.
• The another major thing evolved in this era
was Embroidery came.
• The embroidery is majorly done on Neck ,
Hem, Shoulders and Wrist.
STARTING POINTS

Various examples of fashion that have had their
day and gone :-
1. The elegant draperies of classical Greek and
roman.

If the cloths people wore in the distant past often look
remarkably modern and familiar because the styles are
continually revived through cycle of history.
2. Ancient Egypt’s massive jewelry
& the Khol-eyed, black bobbed
“CLEOPATRA LOOK”

ROLE OF ORNAMENTS
IN ANCIENT ERA

500,000-100,000BCE
• Hides of animals were worn as a first clothing.
40,000BCE
• The earliest bone needle date back to 30,000BCE

• People used Ochre, Hematite,&
Charcoal to decorate their own
bodies
30,000BCE
10,000BCE
• The earliest shoes were made from tree
bark at least 10,000 years ago
7500-5700BCE
• In Neolithic time period seals
were used to decorate designs.

• Clothing was now fastened with metal brooches.
3,300BCE
3,500BCE
• Silk as fabric came into
existence & China was the
only one to manufacture silk.

2,500BCE
• Egyptian started to wear eye
make-up & Kohl (as kajal)
get popularity.
1,900BCE
• Jewelry started to play an important role.
• Colored glass & semi precious gems were also used.

PREHISTORY-600CE
FROM FUNCTION TO
IDENTITY
The Prehistory time has the impressions of :-
• Bone sewing needles,
• Reindeer horn buttons, amber necklaces , etc.
• Furs were dated back from prehistoric time period.
• T-Shaped Tunic was worn.
• Stitching has been used sometime.
BONE SEWING
NEEDLES
T-SHAPED TUNIC

PREHISTORY-600CE
JEWELLERY
 Bone, stone & shell jewelry were
used in prehistoric time.
 Gold was prized item which was used.
Geometric patterns impresses with a stylus
Early Bronze Age Gold lunula

ANCIENT EGYPT
(3150BCE-30CE)
• Clothing worn by Egyptians was of Linen.
• Minimal cutting was there & clothes was simple.
• Egyptians used Indigo Dyed wigs.
MEN’S CLOTHING
Men’s wore a SCHENTI cloth wrapped around
the hips which hung fold in front.

WOMEN’S CLOTHING
Women wore a KALSIRIS(Sheath like dress)
with detachable sleeves

WOMEN’S CLOTHING
• Hems fringe of mitra shells
• Beads glazed in green, blue,
black, brown
• High waistband
• Dress are fit to the body

JEWELLERY
• The Jewelry Motifs are:-
Palm leaves, white lotus flower,&
yellow mandrake fruits.
• Inland gold bracelet,rings,necklace &
precious stone was used.

Queen Nefertiti
(Painted limestone bust)
• Decorative collar circles her
neck
• & shoulders.
• Nefertiti wears a flat-topped
crown with decorative ribbon
& a symbol of cobra.

• China was the main center for silk fiber
• They included highly patterned , light reflective fabrics.
• The T-shaped kimono –style garment
(having wide sleeve) they wore.
They wore Wide Sleeves
Sash are used in contrasting
color
Tubular Skirt
Upturned shoes
Some specification
about Eastern Attire

DIFRENT TYPE OF DRAPING
STYLES WERE USE
Robe wrapped
around body
Richly embroidered
decoration
Hands tucked
Into sleeves
Contrasting silk
borders

MINOAN CULTURE
• Minoan ideas was accepted by Egypt and Greece.
WOMEN’S CLOTHING
. Men wore peaked, caps, wrapped loin cloth
MEN’S CLOTHING
Women wore flounced skirts Embellished sleeves
and hats .

GREECE INFLUENCE
Greek wore CHITON(Tunic) up to Knee – length,
with long sleeves & held up at the waist.
The laurel leaves crown were wore in
Greek period.
Saffron dyed wool Pallium (cloak)
Were wore.
Gallicae Knee High Boots were
wore.

Before the rise of Roman civilization a people known
as “Etruscans “ flourished in Etruria
• Their clothes combined influences from
both Greece & Asia
• The purple robes were worn.
• TEBENNA:- A wide embroider cape was worn &
later it evolved as a roman toga.

JEWELLERY
ETRUSCANS
• They wore jewelry made from Bronze, Silver, & Gold..
• GRANULATION-a gold working technique was developed
A gold Pendant
Which was worn in the Etruscan
period.
Leech-shaped gold brooch.

The type of dress worn by the Etruscans People
Headband worn over
short hair
Cloth were wrapped
around the body
Elaborate embroidery
This was the drawing which draw by
THOMAS HOPE shows the archaic Etruscan (600-
480BCE)
Style of wrapped around the
body in a large, loose,
unstructured robe.

• Women's basic garment was stola which hung
in pleats from shoulders .
• The brooches which they use for fastening considered as
“FIBULAE”.
• Over stola they wore “PALLA” a kind of shawl.
• Leather sandals or boots protected the feet.
WOMEN CLOTHING

MEN’s CLOTHING
• The memorable garment of roman male dress.
was “TOGA”, basically a semi circle piece of fabric.
• A subucula (simple tunic )was worn underneath.
• They wore shoes known as “CALCEI”.

The summarized look of
Roman Empire

HAIR STYLES
• Men generally keep their hair short
• Women used to curl their hairs through
the hot metal rods.
• Hair pieces & wigs were used in this
culture.
ROMAN HELMETS
HAIR STYLE

The richest and grandest figures, exemplified by the
Emperor Justinian I and his corsort Theodore, had their
Long, flowing gowns of richly patterned silks encrusted
with jewels and gold thread.
The rise of the empire came opulence and a fusion of
Greek, Roman ,Middle Eastern, and Oriental styles.
The Rise Of The Empire

REVOLUTION TO
FRIVOLITY
Revolution To Frivolity

Shibori
SHIBORI IS A JAPANESE SHAPE RESIST TIE & DYE
TECHNIQUE.

Orbito work
Choli blouse block

€€
For any fashion
designer fabric first
needs to be prepare
with textures and then
used for style and
design development.
Style require plain
texture and sometime
textured fabric to
create better style.
Presenting few best
ideas which one
learned at my study of
fashion design at
Design E’cole College.

Saree Design
Project
Presented By:-
Tanu Churasiya
Dezyne E’cole College,
Ajmer
www. Dezyneecole.com

A
C
K
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Fashion is an ever changing area where each and
every person wants to look good. Fashion adoption
reflects the personality and image of the person in
the society and in peer group.
“Fashion” usually is the newest creation made by
the designers.
I am deeply grateful to all those whose guidance
has been of tremendous value and enabled me to
complete this project successfully.
Tanu Chourasiya
Graduation Diploma in Fashion Technology

P
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Project report on
Women's western wear
Submitted to
Dezyne E’cole college
towards the partial fulfillment For
the award of diploma in
fashion technology
as technical knowledge Development of
women's wear
By
Tanu Chourasiya
Dezyne E’cole College
106/10, civil lines, Ajmer
0145-2624679
www.dezyneecole.com
2014-2017

C
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• Different types of sarees.
• Types of saree.
• Motif work on coral draw.
• Indian traditional motifs.
• Architectural motifs.
• Client profile.
• My motif.
• Different types of fabric.
• Colour scheme.
• Sarees on Photoshop.
• Sarees with specification.
• Draped sarees.
• Bibliography.

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Sambalpuri
saree
Sambalpuri saree is a
traditional hand woven
ikat or saree where in
the warp & weft are tie-
dyed before weaving. It
is produced in the
barghar, sonepur,
sambalpur, balangir
district, boudh district of
odisha.
Sambalpuri sarees are
known for their
incorporating of
traditional motifs like :-
shankha (shell), chakra
(wheel), phula (flower),
all of which have deep
symbolism, but the
highpoint of these sarees
is the traditional
craftsmanship of the ‘
bandhakala’.

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This is a type of south
Indian sarees that is
not only popular in
India, but also across
the world.
Kanjeevaram or
Kanchipuram sarees
stands out owing to its
gold dipped silver
thread that is woven
on the silk. Known for
their durability, the silk
base of these sarees is
thicker than any other
silk saree. Peacock and
parrot is a common
design motif found in
Kanjeevaram sarees.
.
Kanjeevaram
saree

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Kota doria is one of
many types of sari
garments made at kota,
Rajasthan &
Muhammad Abad
gohna, Mau in Uttar
Pradesh & its near by
area.
Sarees are made of
pure cotton & silk &
have square like
patterns known as
khats on them. The
chequered weave of a
kota sari is very
popular.
They are very fine
weaves & weight is very
less.
Kota doria

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Baluchar saree or
baluchri saree is a type
of saree, a garment
worn by women across
India & Bangladesh.
This particular type of
saree originated in
Bengal & is known for
depictions of
mythological scenes on
the pallu of saree. It
was mainly produced in
murshidabad but
presently bishnupur &
its surrounding places
of west Bengal is the
only place where
authentic baluchri
sarees are produced.
Baluchar saree

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This famous saree
popular in Rajasthan
and Gujarat involves tie
and dye technique.
Also called ‘Bandhej’, it
involves plucking the
cloth with the
fingernails into several
tiny bindings, that end
up forming a figurative
design. A Bandhani
saree stands out for its
unique and colourful
look which makes it apt
for the Indian summer.
Bandhni saree

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This famous saree
popular in Rajasthan
and Gujarat involves tie
and dye technique.
Also called ‘Bandhej’, it
involves plucking the
cloth with the
fingernails into several
tiny bindings, that end
up forming a figurative
design. A Bandhani
saree stands out for its
unique and colourful
look which makes it apt
for the Indian summer.
Bomkai saree

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These chanderi sarees
are produced from
three kinds of fabric i.e.
pure silk, chanderi
cotton and silk cotton.
Traditional coin, Flora
art, Peacocks and
geometrics are woven
into different chanderi
patterns.
But the weaving culture
or tradition has been
available from the 13th
century. In the
beginning the weavers
were Muslims and later
in 1350 the Koshti
weavers from Jhansi
were migrated to
Chanderi and settled
down there. During
the mughal period the
cloth business of
chanderi has moved to
peak.
Chanderi saree

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Habaspuri saree
Habaspuri is a cotton
based traditional
handloom textile of
odisha, India. Habas puri
saree is a major product
of this textile. The
kondha weavers. For its
uniqueness in weaving,
design & production, it
has been identified as
one of the geographical
indication of odisha.
The textile has
traditional patterns of
the region like “kumbha”
(temple), fish & flowers.

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Kancheepuram silk
saree
Kancheepuram silk saree
us a type of silk saree
made in the
kancheepuram region in
Tamil nadu. Popularly
known as kancheepuram
sarees, the sarees are
referred to as south
India's answer to
banarasi sarees. It has
been recognized as a
geographical indication
by the government of
India.

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kantha saree
The name Kantha is
associated with the
embroidery, not the
fabric used in the saree.
Kantha embroidery is all
about decorative motifs
with running stitch. That
is why the cloth has
running stitches all over
and has lovely floral,
folk, animal and bird
motifs. Kantha art keeps
rural women of West
Bengal engaged, leading
to wonderful sarees that
shows their hard work
and labour.

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Mangalagiri
saree
Mangalagiri sarees &
fabrics are produced by
performing handicraft
weaving in mangalagiri, a
town in Guntur district
of the Indian state of
Andhra Pradesh.
It was registered as one
of the handicraft in the
geographical indication
from Andhra Pradesh.
The mangalagiri fabric is
produced by weaving
with the help of pit
looms from combed yarn
by warp & woof
interlacing.

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Murshidabad saree
These are sarees are
machine loomed Bengali
silk, which has a china
silk like finish but is more
textured. The cloth is
fine gauge and lustrous,
often printed with
delicate Bengali tribal
style prints or classic
Kashmiri inspired
designs.

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Orissa Ikat silk sarees
Metallic finish and
heavy gauge silk with
delightful yarn dyed
patterning. The shiny
and burnished metal
finish of the silk sari is
it's most obvious
appeal and is only
possible through using
the locally produced
silk fiber. Heavy
threadwork borders
and pallus add to the
overall effect of
geometric ikat
patterning.
Orissa ikat silk saree

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Tant saree
Tant saree is a traditional
Bengali saree & usually
used by Bengali women.
It is traditionally made
by the weavers from al
over west Bengal &
Bangladesh but typically
few places like
murshidabad, Hooghly of
west Bengal & Dhaka,
tangail of Bangladesh are
famous for tant saree
weaving. Since the tant
saree are meant for daily
use the lowest cost of
this saree is US$5.20.
Tant is a saree are woven
from cotton threads &
distinguished by its
lightness & transparency.

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Varanasi Silk Saris
Benares Brocades or
Varanasi Silks are some
of the richest sarees
produced in India and
is the most in demand
sari for weddings and
functions. The famous
Varanasi sari has
elaborate brocaded
ornament, often
infused with gleaming
zari and woven on very
heavy gauge silks. The
ornament style
associated with it is
primarily Persian.
Delicate floral and
architectural
ornaments, figures and
animals rendered in
detailed multi color
threadwork lend the
sari its elegance.
Varanasi silk saree

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Sr
.
n
o.
Motif
Association or
Significance
Used in
Textile
Techniqu
e
1. Pomegra
nate
(Anar)
This is the symbol sof
“Fertility” with its
abundance seeds.
Featured on
marriage
back
covers.in
Punjab is
also used in
Phulkari.
Embroide
ry
(Phulkari)
2. Kalga or
the
Mango
Associated with the
Mughal court. The name
“Kalga” comes from the
“Urdu". The word “Qalb”
literally means “Hook". It
is the symbol of
“Fertility”.
In north
India Kalgas
are created
on Kashmiri
Shawls.
Weaving
and
Embroide
ry
3. Cowrie
Shell
The motif of “Cowrie
Shell” denotes “fertility”.
This motif is
embroidere
d on the
dupattas of
north Indian
Phulkari and
also woven
in Guajarati
textiles.
Embroide
ry
(Phulkari)
Weaving
North

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
North
4. Bird(Cock
)
The “Cock” usually stylized
as a head & comb, it
represents the beginning
of the day and dispels the
spirit of darkness.
The “Cock”
and bird
motifs are
seen in the
Phulkari
embroidery
of Punjab.
Embroide
ry
(Phulkari)
5. Mihraab
(The Arc)
Its signifies the door way
to the almighty. These
included the “Gols”
(tomb)along with the horn
motifs, the arrow point
motif & the star motif.
Seen on
darshan
dwar, a
religious
Phulkari.
Commonly
woven or
embroidered
on the
Islamic
prayer mats.
Embroide
ry
(Phulkari)
Weaving
6. Tulip It signify as the symbol of
fertility.
Seen in
Kashmiri
shawls by the
Kasseda
embroidery.
Embroide
ry
(Kasseda)

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
Sr.
no
.
Motif
Association or
Significance
Used in
Textile
Techniq
ue
7. Buta &
Buti
The floral motifs from
"Persia". Small motif
“Buti” & large motif
“Buta” which are depicted
as flowers springs or
bushes. They are always
created as floating design
element placed against a
plain background.
Featured on
Brocades of
Banaras.
Lakhnawi
Chickankari
Embroide
ry,
Weaving
8. The
Creepin
g Vine
The “Creeping Vine” motif
is primarily associated
with expensive figure
textile that have Islamic
connections.it was
believed to grant the
wishes for those who
revere it. A symbol for
“Health” & “Prosperity”.
Used in
Phulkari,
embroidered
on to the
cuffs &
collars of
shirts and
blouses.
Embroide
ry

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
9. Tree of
Life
The trees seasonal cycle is
associated with the
universal cycle of birth,
maturity, death & rebirth.it
is a Persian motif.
Commonly
used in
Phulkari &
Kashmiri
embroidered
textiles.
Embroid
ery
10
.
The Sun
& Fire
The Sun & Fire As life
giving forces was
widespread in the region &
gave rise of motifs such as
solar disk and swastika.
It appears in
textiles made
from
Phulkari.
Embroid
ery
11
.
Paisley
(Ambi)
The symbol of growth and
fertility.
It appears in
textiles made
from
Phulkari.
Embroid
ery

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
Sr
.
n
o.
Motif
Association or
Significance
Used in
Textile
Techniq
ue
1. The Sun-
Tree
Motif
The classical pattern of the
north eastern region. It
depicts two birds, animals or
flowers facing each other on
either sides of a tree, whose
branches spread above them.
Featured
on
Assamese
sarees
Weaving
2. Fish Fish are important motif of
kantha embroidery. It is the
symbol of “Fertility” and
“prosperity”. It indicating
abundance of food, wealth
and children.
Embroider
ed by the
“Kantha”
on the
textiles
from West
Bengal.
Embroide
ry
3. Parrot A messenger of lovers and
its association with
courtship, love and passion.
Painted on
the textiles
from Bihar
and
Maithili.
Painting
(Madhuba
ni)
East India

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
4. Temple
(“Daant”
or
“kungoor
i”)
In the north east west Bengal
it was commonly called as
Daant(teeth). If refers for
protection from evil eye &
misfortune.
They are
usually
woven into
the
traditional
Bengali
sarees.
Weaving
5. Temple
(“Kumbh
a”)
A reference to the round clay
storage pot & its content
usually rice or water.it is a
symbol of fertility.
East
Dravidian
and Deccan
sarees.
Weaving
6. The
Conch
The conch shell is both a
symbol of Vishnu & Nada
brahma.it representing
temporal power.
Used in
Ikkat
pattern and
Oddissian
ethnic
sarees.
Weaving
7. Kalka The paisley motif of Persia
called as “Kalka” Buti in
West Bengal. It signifies the
growth and fertility.
In
Jamdhaani
and
Baluchaari
sarees from
West
Bengal.
Weaving

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
Sr.
no
.
Motif Association or Significance
Used in
Textile
Technique
8. Lotus This is the symbol of
“Fertility” with its
abundance seeds.
Featured on
marriage
back
covers.in
Punjab is
also used in
Phulkari.
Embroid
ery
(Phulkari
)
9. Moon &
Stars
(Tara
Buti)
A Islamic motif having
religious
communication.
Jamdhaani
Sarees.
Weaving
10
.
Buta &
Buti
The floral motifs from
"Persia". Small motif
“Buti” & large motif
“Buta” which are
depicted as flowers
springs or bushes.
Jamdhaani
&
Baaluchari
Sarees.
Weaving

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
11
.
Peacock The peacock’s
association with
fertility, that make it a
symbol of courtship &
love.it also the symbol
of immortality and war
& protection.
In the
borders of
Jamdhaani
&
Baaluchari
Sarees.
Also used
in Kantha
embroidery.
Painted on
the textiles
from Bihar
and
Maithili.
Embroid
ery,
Weaving
&
Painted
12
.
Cone Its signifies the growth. Seen on
Jamdhaani
sarees.
Weaving
13
.
Tear
Drop
Its signifies the growth. Seen on
Bengali
sarees.
Weaving
14
.
Animal
motifs
Seen in the
textiles
from
Kantha
embroidery.
Embroid
ery

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
S
r.
n
o.
Motif
Association or
Significance
Used in
Textile
Techniq
ue
1
.
Elephan
t
This is considered an
auspicious animal
traditionally associated
with Water & Fertility,
royalty and regal power.
Featured
on
Guajarati
Gharchola
& Patan
Patola
sarees.
Weaving
2
.
The Sun
& Fire
The Sun & Fire As life
giving forces was
widespread in the region
& gave rise of motifs
such as solar disk and
swastika.
It appears
in textiles
made
Guajarati
& Kutch
Embroide
ry.
Embroid
ery
3
.
Parrot
(Popat)
A messenger of lovers
and its association with
courtship, love and
passion.
Woven
motif in
the sarees
of Patola.
Weaving
West India

M
O
T
I
F
P
R
E
S
E
N
T
A
T
I
O
N
West India
4
.
Geese The Geese flying from the
water to sky made it
symbol for spiritual
knowledge and as well as
intellectual learning,
knowledge in general &
creativity.
Used in
ethnic
Ikkat
sarees. Weaving
5
.
Shaman
ism
The shamanism
originating in the hunting
societies of the Paleolithic
era. The shaman is
identify by his costumes
and its decoration.
East
Dravidian
and
Deccan
sarees.
Painting
&
Embroid
ery
6
.
The conch shell is both a
symbol of Vishnu & Nada
brahma.it representing
temporal power.
Used in
Ikkat
pattern
and
Oddissian
ethnic
sarees.
Weaving
7
.
The paisley motif of
Persia called as “Kalka”
Buti in West Bengal. It
signifies the growth and
fertility.
In
Jamdhaan
i and
Baluchaar
i sarees
from West
Bengal.
Weaving

I
N
D
I
A
N
T
R
A
D
I
T
I
O
N
A
L
M
O
T
I
F

A
R
C
H
I
T
E
C
T
U
R
A
L
M
O
T
I
F

C
L
I
E
N
T
P
R
O
F
I
L
E
My client was work in Indian
airlines.
• She is a airhostess.
• Want a saree for her job.
• She was 24 age.
• There were no body defect in
my client.
• She wants comfortable garment
to work in plain.
• As she is h airhostess she want
a smart look as well as the
comfort in a garment.
• I design saree for my client to
work in plain.

D
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T
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P
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F
F
A
B
R
I
C

C
O
L
O
U
R
S
C
H
E
M
E
Color is one of the most vital tools in the hands of a
Designer. It is the most perceptible and prominent
aspect of any designer, and hence is central to the
success or failure of a design scheme. It is therefore
very important that a Designer has the full knowledge
and understanding of this tool.

C
O
L
O
U
R
S
C
H
E
M
E
C;100,M;93
Y;11,K;18
C;60,M;40
Y;0,K;40
C;0,M;0
Y;0,K;40
C;44,M;35
Y;0,K;0
C;12,M;100
Y;20,K;0
C;53,M;87
Y;61,K;70
C;2,M;74
Y;22,K;0
C;33,M;100
Y;53,K;33
C;40,M;0
Y;40,K;0
C;59,M;25
Y;37,K;0
C;60,M;0
Y;60,K;0
C;40,M;0
Y;20,K;60
C;0,M;60
Y;40,K;0
C;0,M;40
Y;20,K;0
C;0,M;60
Y;60,K;40
C;0,M;40
Y;0,K;60

Saree
boarder
End Peace
Motif used
Navy blue
colour used
I use the split complimentary colour scheme in
my design.
S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
End Peace
Motif used
Pink colour
I use the contrast colour scheme in my design.

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Bottle green
colour
I use only single colour in this design.

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Amber
colour
I use the contrast colour scheme in my design.
End Peace

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Lime colour
I use the triad colour scheme in my design.
End Peace

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Black colour
I use the monotone colour scheme in my
design.
End Peace

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Navy blue
colour used

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Baby pink
colour used

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Black colour
used

S
A
R
E
E
S
W
I
T
H
S
P
E
C
I
F
I
C
A
T
I
O
N
Saree
boarder
Motif used
Bottle
colour used

B
I
B
L
I
O
G
R
A
P
H
Y
• Images taken from
pintrest.
• Content taken from
Wikipedia.
• My teacher guide
me.
• Work on
Photoshop, coral.

Thank You
Tanu Chourasiya
B.Sc. Fashion Technology
2nd year

Tanu chourasiya ,B.Sc-Fashion Design,+ Two Year Womens Wear portfolio

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