DESIGNING AND CONSTRUCTION OF KAFTANS WITH CUT

WORK EMBROIDERY

A PROJECT
SUBMITTED TO GURU NANAK DEV UNIVERSITY, AMRITSAR IN
PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF

MASTER OF SCIENCE
IN
FASHION DESIGNING &MERCHANDISING

2023

BY
Smily

G.N.D.U ROLLS NO: 21752130802

HANS RAJ MAHILA MAHA VIDYALAYA, JALANDHAR

DESIGNING AND CONSTRUCTION OF KAFTANS WITH CUT
WORK EMBROIDERY

Submitted By

Smily

G.N.D.U ROLLS NO: 21752130802

Name of the Guide

Ms. Deepika Miglani

Number of pages:

HANS RAJ MAHILA MAHA VIDYALAYA JALANDHAR

 HANS RAJ MAHILA MAHA VIDYALAYA
JALANDHAR

Certificate

This is to certify that the project entitled as “DESIGNING AND CONSTRUCTION OF

KAFTANS WITH CUT WORK EMBROIDERY” submitted by Smily in partial fulfillment of
the requirement for the award of degree Master of Science in PG Department of Fashion
Designing of Guru Nanak Dev University, is a record of the candidates own work carried out by
her under our supervision. The matter embodied in this report is original and has not been
submitted for the award to any other college.

Forwarded by Supervisor
Prof. Dr. (Mrs.) Ajay Sareen Mrs. Navneeta
Principal Incharge Fashion Design & Technology
Hans Raj Mahila Maha Vidyalaya Assistant Professor
Jalandhar Fashion Designing

Co- Supervisor-I
Ms. Deepika Miglani
Assistant Professor
Fashion Designing
 ACKNOWLEDGEMENT

At the very outset I pray to God express my gratitude to my elders

whose blessings have enabled me to take up this task, has provided me
strength enough to complete this work.

I am overwhelmed to avail this rare opportunity to express my profound

sense of gratitude and regards to Prof. (Dr.) Mrs. Ajay Sareen,
Principal of Hans Raj Mahila Maha Vidyalaya, Jalandhar inspiring
guidance, compassionate co-operation, encouragement, constructive
criticism and soothing affection during the course of investigation and
preparation of this project.
I am grateful to Mrs. Navneeta, Incharge Fashion Design &
Technology, and Assistant Professor in PG Department of Fashion
Designing for their timely help and support during the tense of my work.
I extend my sincere appreciation and heartfelt thanks to my guide Ms.
Deepika Miglani, Assistant Professor in PG Department of Fashion
Designing for her keen interest congenial discussion, suggestions and
valuable help in the course of the study.

Last but not the least; I would like to thank my parents for supporting
me spiritually throughout writing this project.

SMILY
 CONTENTS
Sr. No. Chapter Title Page
1.  ABSTRACT

2. CHAPTER-1 INTRODUCTION

3. CHAPTER-2 REVIEW OF LITERATURE

4. CHAPTER-3 METHODOLOGY

5.  EVALUATION OF FABRIC
SAMPLES
6.  MOST PREFERRED FABRICS

7.  CREATION OF DESIGNS

8.  MOST PREFERRED DESIGNS

9.  FINAL PRODUCTS

10 CHAPTER-4 RESULTS & DISCUSSIONS

11. CHAPTER-5 SUMMARY & CONCLUSION

12.  BIBLIOGRAPHY

13.  APPENDICES

14.  APPENDIX-1

15.  APPENDIX-2

16.  APPENDIX-3

17.  APPENDIX-4

18.  LIST OF SHOPS

19.  VISITING CARD OF SHOPS

20.  COMPILATION OF EVALUATION

 PERFORMA
ABSTRACT

Title of project - Designing and Construction of Kaftans with Cut Work

Embroidery
Name of Student - Smily
G.N.D.U Roll No. - 21752130802
Name of the Guide - Ms. Deepika Miglani
Name of Degree - M.Sc. Fashion Designing& Merchandising SEM IV
Academic session - 2023-2024
Number of pages -

India is a country with natural and cultural richness. Indian art is one of the oldest and the most

resilient culture and it changed and evolved with the evolution of civilization. The major factor

responsible for its continuing is rural folk, which preserved the age-old motifs and designs. Cut

work embroidery is one of the oldest and most famous arts of Italian.

This study was taken up with an aim to develop designs of Cut work embroidery for kaftans

based on Abstract motifs, preparation of cut work embroidery of articles and to assess the

consumer acceptability of the developed designs. Thirty designs were developed with cut work

embroidery on A-4 bond paper with the help of different shapes of abstract motifs. Three most

preferred designs were constructed using abstract motifs with cut work embroidery on kaftans.
INTRODUCTION
 CHAPTER-1
INTRODUCTION

Fashions in clothing have been more than merely a manner of dressing, a study of the past and a
careful observation of the present will make it apparent that fashions are social expressions. They
document the taste and values of theirs just as painting and other art forms do. Every fashion
seems completely appropriate to its era and reflects the spirit of an age as no other symbol of
time does. This is true for widely accepted fashions and also for the ones that flourish only
within small isolated cultural groups, e.g. punk dresses and hairstyles reflect the attitudes of punk
rockers. Fashions are made by outstanding personalities and major events in the world of
entertainment, policies, art and sports.

ACCORDING TO MERRIAM WEBSTER:-“Fashion is the prevailing style (as in

dress) during a particular time".

ACCORDING TO COLLINS DICTIONARY:-“Fashion is the area of activity that

involves styles of clothing and appearance."

ACCORDING TO OXFORD LEARNERS:-“a popular style of clothes, hair, etc. at a

particular time or place; the state of being popular."
Caftan, also spelled Kaftans, man’s full-length garment of ancient Mesopotamian origin, worn
throughout the Middle East. It is usually made of cotton or silk  a combination of the two. An
ankle-length coat like garment with wide sleeves became fashionable for women’s evening wear
in the mid-20th century and was called a caftan.  Kaftans started out among the royalty and then
became popular among the common folk. Simple, striped, printed or embellished, the kaftans
suited all occasions.

The Kaftans Company is a clothing brand which specializes in designing and manufacturing
amazing kaftans. Thus, the team took it slow and entered the market with caution. Regularly
many styles, patterns and designs were worn including rich silk fabrics and delicate
embellishments for social functions or simple, printed cotton kaftans to wear around the house.
The North African influence is widely seen in the fashion world with the Moroccan kaftans
being popularized by designers everywhere. The kaftans are loved by people of all ages and back
grounds thanks to its versatility, comfort and style statement. Buy comfortable stylish
loungewear kaftans, nightwear pajama sets, shorts sets kaftans, casual wear kaftans made with
breathable fabrics online. We at The Kaftans Company believe in these qualities strongly and
aim to bring our best designs to you. Kaftans were initially full length (reaching below the
ankles), but as time and fashion progressed, various lengths evolved like the hip length kaftans
and the knee length kaftans. 

Cutwork or cut work, also known as punto tagliato in Italian, is a needlework technique in which
portions of a textile, typically cotton or linen, are cut away and the resulting "hole" is reinforced
and filled with embroidery or needle lace. Cutwork embroidery is usually made by tracing a
design onto a piece of cotton or linen fabric. In modern times, a crafter can buy fabric that has a
pattern printed on it, or she can trace a pattern onto the fabric using a disappearing ink pen or
carbon paper. The patterns for cutwork embroidery differ from other embroidery patterns in that
they have two outline lines, which are parallel to each other and about 1/8 of an inch (1/3 cm)
apart. Most cutwork embroidery requires two rows of buttonhole stitches over top of the two
rows of running stitches.

Buttonhole stitches are made by bringing the needle up through the fabric, then pushing it back
down one stitch up and over from the first stitch, and then bringing it straight down again,
looping the thread behind the needle, so that the stitch resembles an "L." The two rows of
buttonhole stitches in cutwork embroidery ultimately look like small straight stitches stacked
next to each other. The piece is finished by carefully cutting out areas of fabric between the
stitches.

Traditionally, Cutwork Embroidery was used for table linens, collars and cuffs and stitched in
white thread on white fabric. This technique originated in the 14th, 15th and 16th centuries in
Italy. It came from drawn thread work which was originally produced by nuns for textiles for the
church. Instead of removing individual threads, the nuns began to remove large areas of the
background fabric. When the Roman Catholic Church expanded, the poor were employed to
embroider church vestments. These workers began to embroider their own linens and thus the
technique began to expand.
Pearl embroidery is a form of decorative needlework that uses applied, natural or
cultivated pearls of various sizes. The pearls are normally pierced. It was a popular technique in
the European medieval and renaissance periods for the embellishment of elite and religious
garments. Pearls have always been an oriental heritage as they owe their early origins in China.
Pearls that come in various colors, shapes and sizes eventually began to be used as
embellishments in the form of intricate embroideries in the attire of royalty in Europe, China,
Russia, India and other countries. They were used for embellishing headgear, various exquisite
vases and decorative items.

India saw a lot of Moti or pearl work being done during the time of the Mughals, as it was
commonly used to adorn the attire of the kings and queens, apart from being used as jewelry.
Embroidered pearl or moti work was done by skilled artisans who managed to create intricate
and seamless embroidered pieces with great efficacy.

Today, the cultured pearls on the market can be divided into two categories. The first category
covers the beaded cultured pearls, including akoya, South Sea and Tahiti. These pearls are gonad
grown, and usually one pearl is grown at a time. This limits the number of pearls at a harvest
period. This sericulture process was first developed by the British biologist William Saville-
Kent who passed the information along to Tatsuhei Mise and Tokichi Nishikawa from Japan.

The second category includes the non-beaded freshwater cultured pearls, like the Biwa or
Chinese pearls. As they grow in the mantle, where on each wing up to 25 grafts can be
implanted, these pearls are much more frequent and saturate the market completely. An
impressive improvement in quality has taken place over ten years when the former rice-grain-
shaped pebbles are compared with the near round pearls of today. Later, large near perfect round
bead nucleated pearls up to 15mm in diameter have been produced with metallic luster.
Aims and Objectives:-

 To study the cultural and historical significance of the Kaftans & cut work embroidery.
 To analyze the construction of the kaftans by using cut work techniques.
 To create 30 designs on A-4 bond paper with hand illustration.
 To construct three most preferred designs.

Limitations:-

 Only cut work embroidery was used.

REVIEW OF LITERATURE
 CHAPTER-2

REVIEW OF LITERATURE

A literature review is a comprehensive summary of previous research on a topic. The literature

review surveys scholarly articles, books, and other sources relevant to a particular area of
research. The review should enumerate, describe, summarize, objectively evaluate and clarify
this previous research. 
The Following heading comes under this chapter:-
2.1 DESIGN
2.1.1 PRINCIPLE OF DESIGN
2.1.2 ELEMENTS OF DESIGN
2.2 HISTORY OF CUT WORK EMBROIDERY
2.3 TYPES OF CUT WORK EMBROIDERY
2.4 METHODS OF CUT WORK EMBROIDERY
2.5 ARTICLE OF CUT WORK EMBROIDERY
2.6 HISTORY OF KAFTANS
2.7 TYPES OF KAFTANS
2.8 ROLE OF KAFTAN IN TODAY’S ERA
2.9 RELATED STUDIES

2.1 DESIGN:-
Design is a visual look or a shape given to a certain object, in order to make it more attractive,
make it more comfortable or to improve another characteristic. In other word, a Design is a plan
and specification for the construction of an object or system.
2.1.1 PRINCIPLES OF DESIGN:-

Uim
th
y
Rn
rP
a
Hp
o
sB
Ce
lc
E

 Proportion: - Proportion is the visual size and weight of elements in a composition and
how they relate to each other. It often helps to approach your design in sections, instead of as
a whole. Proportion can be achieved only if all elements of your design are well-sized and
thoughtfully placed. Once you master alignment, balance, and contrast, proportion should
emerge organically.
 Balance: - A feeling of balance results when the elements of design are arranged
symmetrically or asymmetrically to create the impression of equality in weight or
importance.
 Emphasis: - The first of the 7 design principles is emphasis, referring to the focal point of
a design and the order of importance of each element within a design.

 Contrast: - Contrast is what people mean when they say a design “pops.” It comes away
from the page and sticks in your memory. Contrast creates space and difference between
elements in your design.
 Harmony: - Harmony is the visually satisfying effect of combining similar or related
elements. Harmony in a painting or design helps bring about unity. All harmony and no
 contrast, however, can become monotonous. A balance must be struck between areas of
harmony and areas of contrast.
 Rhythm: - Rhythm is a principle of design that suggests movement or action. Rhythm is
usually achieved through repetition of lines, shapes, colors, and more. It creates a visual
tempo in artworks and provides a path for the viewer’s eye to follow.
 Unity: - Unity is the principle of design that unifies all other principles within a piece of
work, allowing each individual element to coexist with one another to form an aesthetically
pleasing design. Ultimately, unity is what gives a design the appearance of cohesiveness
despite its internal components differing in scale, contrast, or style. A designer must leverage
all of the principles of design in order to successfully achieve unity.
2.1.2 ELEMENTS OF DESIGN:-

Color

Space Line

Elements
of
Design

Shape Texture

Pattern

 Color:- Color is another powerful element of design. It can stand alone, act as a
background, or highlight other elements in your design. Color is also a fantastic tool for
creating and establishing a mood for your brand. For example, red typically signifies
love, strength, power, and desire; green typically signifies tranquility, good luck, and
health.
  Line: - Lines can also create subliminal languages in your design. A diagonal line, for
example, suggests movement; a straight line is more orderly and clean. A great example
of lines showing movement is the image below, from the Virgin Hyper loop website.
 Texture: - Texture refers to the way a surface feels or in this case of a digital design, a
perception of how it could feel. Texture can create a more dynamic, visually appealing
experience while also adding depth to your design. For example, a luxury linen brand that
wants to imply comfort and coziness might consider a cotton textile background.
 Pattern: - An Element of Design it is the Repetition of: LINES; FORMS; TEXTURES;
COLOUR. Repetition is the key. Pattern in design is the repeated combination of the
Elements, the building blocks of line, form, texture and color.
 Shapes: - The second element of design is shape, when a two-dimensional line
encloses an area. A shape can be geometric (like a circle, triangle, or square), or it can be
organic (such as leaves, flowers, and animals). Boundaries including lines and color
ultimately define shapes and can also help emphasize an area of the page.
 Space: - Space refers to the area above, below, around, or behind an object. It can be
positive or negative. Positive space refers to the subject or areas of interest, such as a
person’s face or furniture in a room. Negative (or “white”) space, on the other hand,
refers to the background area that surrounds the subject or areas of interest.

2.2 HISTORY OF CUT WORK EMROIDERY:-

Cutwork Embroidery is a technique where specific areas of fabric are cut out along buttonhole
stitches or satin stitch outlines. Cutwork is sometimes referred to as ‘Embroidered Lace’ because
of its open appearance. There are different types of Cutwork. The most popular is Bordered
Anglaise. It is a form of white work embroidery in which round or oval holes are pierced in the
fabric and the cut edges are then overcast. The holes or eyelets are grouped in a pattern.
Traditionally, Cutwork Embroidery was used for table linens, collars and cuffs and stitched in
white thread on white fabric.

This technique originated in the 14th, 15th and 16th centuries in Italy. It came from drawn thread
work which was originally produced by nuns for textiles for the church. Instead of removing
individual threads, the nuns began to remove large areas of the background fabric. When the
Roman Catholic Church expanded, the poor were employed to embroider church vestments.
These workers began to embroider their own linens and thus the technique began to expand.
During the Elizabethan era, cutwork was incorporated into the design and decorations of some
ruffs. It migrated to other areas and nations and they developed their own names, such as,
Richelieu, Bordered Anglaise, Spanish cutwork, Hedebo, and Jaali work which was prevalent in
India. Cutwork was highly valued by royalty and nobility. Here is a picture of a handkerchief
made in Italy about 1600.

2.3 TYPES OF CUT WORK EMBROIDERY:-

 Cutwork done with buttonhole stitches:- This is the most commonly used
method can work the buttonhole stitches closely over the design lines and thread Bars. 

 Cutwork done with  double buttonhole stitches:- Double buttonhole stitch

involves buttonhole stitches worked on either side of the design lines. 
 Cut work done with back stitches by hand or straight stitches by
sewing machine:- This is a simple cutwork done on fabric which don’t fray or on
fabric which you will not be washing. It involves making running stitches over the
outline of the design and cutting the spaces
outside. This work is mostly done on home
accessories.
  Cutwork done with zig zag stitches with  sewing machine:- A trick is to
do the zig zag /satin stitches in two parts. Do the basic satin stitch first, cut away the
fabric inside (without cutting the interfacing) then do another round of the satin stitches
again. This will ensure that the cut edges and the loose threads are all tucked neatl

 Cut work done with hand overcast stitches:- Simple Overcast stitches are
worked over the design lines with a hand sewing needle and 6 strands of embroidery
floss. This is done for the thread loops and when the spaces are already cut out.
 Cutwork done with buttonholes and picot stitches :- In this type of work
buttonhole stitches are worked over the design lines and then picot stitches are made over
this . This gives a beautiful lace like look to the cutwork.
2.4 METHODS OF CUT WORK EMBROIDERY:-

 Broderie anglaise: - Broderie anglaise is a separate needlework technique and will

be covered elsewhere on the site in the near future. It involves stitching circular or oval
eyelets, often in floral arrangements and is often used on baby garments. I will use my
design photographed, above, to explain the steps involved in stitching cutwork
embroidery.

 Transferring Your Design Onto the Fabric: - The first step is to transfer the
pattern onto the fabric. If you have bought a commercial cutwork embroidery design it
may be already transferred for you or you might have an iron on transfer but if not, it is
easy to do this yourself. My preferred way is to use a disappearing ink pen designed for
fabric use. In fact there are two types of pen, one that is removed by water and the other
where the lines gradually disappear over time through exposure to the air. 

 The Buttonhole Stitch: - When all the running stitches and bars are in place it is
time to work the buttonhole stitches over the top. The important thing here is to ensure
that the corded edge of the buttonhole is on the side that will be cut. Take a moment to
use that disappearing ink pen again and mark a cross in the centre of each area that will
be cut out later.
2.5 ARTICLES OF CUT WORK EMBROIDERY:-

 Always iron the fabric before hooping it on the embroidery hoop.

 Transfer the design using any of the embroidery transfer methods outlined in this post
 If the inside of the designs is to be filled, this is done before the outline stitches are done.
Usually, French knots, bullion knots, lattice stitches, and satin stitches are used as filling
stitches.
 You can cut the spaces before working the designs or after the designs are done.
 When the cutting is done before hand, the work is called Broderie Anglaise. You can
use Running stitches over the design lines to give definition to the design 

 In traditional cutwork the cutting is done after the design is done; In this case the fabric
has to be trimmed very close to the stitching lines, so that no thread hangs loose in
between.
2.6 HISTORY OF KAFTANS:-

A Symbol of exoticism and a bohemian lifestyle, over the years “kaftans” has become the
catchall term in fashion for any kind of loose-fitting robe or tunic—often used to describe a
number of different garments of Middle Eastern and North African origination. A true kaftans is
a narrow cut, long robe with full sleeves, either with a deep open neck or fully open to the floor,
and sometimes buttoned; the very voluminous garment without defined sleeves that is often
called a kaftans is in fact closer to the abaya.

Kaftans is a Persian word, while the garment style is believed to have originated in Ancient
Mesopotamia. The Ottoman sultans from the 14th to the 18th centuries wore lavishly decorated
kaftans; they were also given as rewards to important dignitaries and generals. It can be made
from almost any fabric; most are made of silk, wool, or cotton and are often bound with a sash.
Kaftans are worn by both men and women in variations across the Iranian plateau, through North
Africa, and into West Africa. Primarily worn in hot climates, the kaftans’ loose silhouette helps
proper ventilation, therefore lowering the body temperature.

The bold and graphic silhouette of the kaftans enables designers to each put their unique spin on
it, while usually maintaining the ease of comfort and modesty that make it so appealing to
women worldwide

2.7 TYPES OF KAFTAN:-

 Short Night Kaftans: - There is many people who love short and comfortable
kaftans, for such people, this particular type of kaftans is the best. It can steal anyone’s
heart and make you look great. This kaftans is mostly found in black, red, white and navy
blue color as it makes you look attractive.

 Deep Neck Kaftans: - This Kaftan is the choice if many Hollywood actress. If you
are also into deep neck pattern, then this kaftan is the best choice for you. You can wear it
and get a dazzling look as it is a perfect combination of style and trend. If you want to
 flaunt a cocktail party by looking graceful and beautiful, you can go for deep neck
kaftans.

 Maxi Dress Oversized Kaftans: - Maxi dresses are extremely comfortable. When
it is combined with oversized kaftans then imagine how cool it will look. It will make
you feel elegant, gorgeous rich and beautiful. You can grab it in any color and you will
feel great in it. This kaftan also come with pockets and is of full length. You can also
wear it on your lazy day.

 T Length Kaftans Dress: - T length is the perfect length for someone who wants to
show their legs in perfect ratio. It looks beautiful on anyone and has a great pattern on it.
If you love kaftans dresses but tired of its regular patterns, then you can go for this tea
style kaftans. This is very stylish and gives you a bohemian look.
 Colorful Silk Kaftans Dress: - Silk kaftans are known as prefect beachwear. It
looks very trendy and gorgeous. If you love short dresses then this kaftans is the great
choice for you. This multicolor pattern on the dress will give you a vibrant and cool look.
You will look bold in it; the silk kaftans are flowy and make you look beautiful. You can
try this kaftans dress and achieve a unique summery look.

 Vintage Style Kaftans Dress: - If you are into a vintage look than you can go for
this kaftans dress. It has an amazing pattern and print and looks extremely stunning of the
wearer. This print looks very beautiful on anyone out there. It is a great combination of
funky and style which makes it different from other types. These are long and cover
almost the whole body. So if you are little conservative and still wants to go for kaftans
then opt for Vintage style.
  Modern One Shoulder Kaftans Dress: - If you are extremely stylish and bold,
you should go for one shoulder kaftans dress. This type of kaftans dress is very vibrant
and glamorous. Most of the women wear these kaftans as they feel that it enhance their
personality and makes them look gorgeous. One shoulder dress kaftans is very
comfortable and trendy. It makes you look feminine and graceful. If you want that show
stopper look then you must go for this type. It will help you to grab attention.

2.8 ROLE OF KAFTAN IN TODAY’S ERA:-

 Size: - Most of the time, Kaftans are a top pick because of their size. People, who feel
more comfortable in loose clothes, go for kaftans. No matter if they are thin, healthy, or
fat, go for kaftans.
 Comfort: - When you feel like not dressing up much but at the same time you want to
be fashionable, pick your kaftans dress and wear it.  You can wear kaftans when you have
to go to a party after the office and do not have much time to decide what to wear.

 Style: - Kaftans are not those long maxi dresses only.  Kaftans now come in tunics,
tops, and midi dresses. You can pair up these kaftans with skirts, pants, and jeans as
well.  Kaftans comes in eye-catching prints like abstract print, bird patterns, animals
patterns, geometric patterns, etc. Sometimes even in many artistic patterns as well.
  Pregnancy Dress: - Kaftans are turning out to be maternity dresses after many
celebrities like Anushka Sharma; Kareena Kapoor started wearing them during their
pregnancies.  This is because women do not need to take care of their fashion sense
during the nine months of their pregnancy.

2.9 RELATED STUDIES:-

 Indu (2009) conducted a study on “Creation of designs aspired from lotus moti for
textile printing”. The main aim of the study was to create a bed room assemblage which
included-a bed sheet. Pillow and cushion cover, curtains and rugs. A total sumber of 30
design were created by using lots motif in each category i.e. 10 designs of bed linen along
with pillow and cushion caver, 10 designs of curtains, 10 designs of rugs. The most
preferred designs were then printed with batik on selected cotton fabric. The study
revealed that the charm of lous motif has unfolded several possibilities paving the way
to discovery of wide range of designs and the application of ancicat art with traditional
batik technique has provided a new look to the ornamentation of textiles
 A study was conducted by Shruti in (2008) on “Designing of ladies kurta aspired from
Hawaiian motifs using stencil printing”. The main goal of the study was to create designs
for ladies kurta by combining different motifs inspired from Hawaiian island. The study
gave an insight into the culture of Hawaiian people. The investigator selected different
motifs and categorized them into five different categories. Selected motifs were then
combined to create 40 designs suitable for ladies lourta using CAD software and then
best 10 selected. Designs were stencil printed on cloth i.e. ladies kurta.

 A study was conducted by Miglani, D .in 2015 on Digital Printing. The main aim of
the study was to create Egyptian motifs sarees with digital printing. Thirty six designs
were created under three categories included all over designs, innovative designs and
border designs.

 A study was conducted by Hemain 2010 on "Designing of Rugs with paper folding and
cutting motifs using screen printing. The aim of the study was the screen printing and
create thirty designs was done with the help of Corel draw and adobe Photoshop
software. The create motif design though paper folding and cutting techniques. These
designs were evaluated by 30 judges. The designs were given ranks and marks
subsequently. One best design was selected for screen printing. The marketability
responses were very encouraging, overwhelming and positive appreciated by everyone.

 A study was conducted by Shivaniin 2018 on "Designing of dining sheets using foil
printing inspired by Persian motifs." The aim of the study was the Persian motifs and
creates thirty designs for dining sheets by combining them with the help of CAD
software. These designs were evaluated by 30 judges. The designs were given ranks and
marks subsequently. The two best designs were printed with foil printing technique. The
same way best suited fabric and color of fabric with different colored foil printing was
selected for printing on dining sheets.

 A study was conducted by Garima in 2005 on "Creation of design for bed linen using
Mandana motifs". The main aim of the study was the folk art- Mandana of Rajasthan
sketches different motifs which were classified in eleven distinct categories, combining
selected motifs to create designs for bed linens (bed covers, pillow covers, cushion
covers) select best design which were then screen printed on the fabric.
 METHODOLOGY

CHAPTER-3

METHODOLOGY

Research methodology is the specific procedures or techniques used to identify select, process
and analyze information about the topic. In a research project, the methodology section allows
the reader to critically evaluate a study’s overall validity and reliability .The following headings
come under this section:

3.1 COLLECTION OF CUT WORK EMBROIDERY MOTIFS

3.2 SOURCING OF FABRIC

3.3 CREATION & EVALUATION OF DESIGNS

3.4 CONSTRUCTION OF THREE MOST PREFERRED DESIGNS

3.5 COSTING OF FINAL PRODUCTS

3.6 TO CHECK THE MARKET ACCEPTABILITY OF FINAL PRODUCTS

3.7 TO CHECK THE CONSUMER ACCEPTABILITY OF FINAL

PRODUCTS

3.1 Collection of cut work embroidery motifs:-

For the process of the research, the information was gathered from various sources like e-books,
research papers referred articles in journal and published books.

3.2 Sourcing of fabric:- After collection of information regarding cut work embroidery, a
market survey was conducted to find out the different types of fabrics that are suitable for cut
work embroidery. Georgette fabrics were collected from local market of Jalandhar.

3.3 Creation & evaluation of designs:-

Total 30 designs were created on A-4 Bond paper with the help of Abstract motifs. These
designs were evaluated by the a panel of judges which included the faculty members of Fashion
Designing Department and students of UG and PG level for the evaluation process, these designs
were displayed on the wall in Textile Creation lab of Fashion Designing . A Performa was given
to the judges for ranks according to their preferences.

3.4 Construction of three most preferred designs:-

After the evaluation of Designs, three most preferred designs of Kaftans with cut work
embroidery using Abstract motifs were selected for cut work embroidery.

3.5 Costing of final products:-

Before checking the market acceptability and consumer acceptability of the product, the cost of
kaftans were adding the cost of fabric, colors, embroidery and notions used. A profit of 20% on
the cost price of the kaftans was added to calculate the sale price.

3.6 To check the market acceptability of final products:-

After the development and cut work embroidery of kaftans, market and consumer acceptability
was done with the help of Performa’s. For the market acceptability different types of leading
retail shops of Kaftans were surveyed. A Performa was filled up by the owners of the shop and
responses were noted down.

3.7 To check the consumer acceptability of final products:-

For consumer acceptability, kaftans were shown to the consumer which included faculty
members and students of UG and PG level of Fashion Designing Department. Performa was also
filled by the consumers.
 CHAPTER-5

SUMMARY & CONCLUSION

Cutwork is a way of processing to cut out a part of fabric with scissors or hot iron to make an
outline of embroidery sewn with a Jacquard embroidery machine. Although the cutwork itself is
a technique of cutting out a part of cloth to create a pattern, here we introduce only hand cut
work, which is for cutting fabric with scissors or a hot iron. Since the work is done manually,
complicated patterns cannot be made efficiently. It is more efficient to use draft work using
metal molds or Dolon Work, or the combination of laser cutting + embroidery. However, cutting
by hand can be the most suitable even for complex patterns depending on the fabric.

India, since ancient times is known for its unique Embroidery techniques. Different types of cut
work embroidery techniques are used in this country by people of varied customs and culture.
One of the most popular forms of hand work embroidery is – cut work embroidery. This
embroidery has been use in since ancient times, but now-a-days it has found place in
metropolitan cities of India and also the garments with cut work embroidery are being exported
to different countries worldwide.

Aims and Objectives:-

 To study the cultural and historical significance of the Kaftans & cut work embroidery.
 To analyze the construction of the kaftans by using cut work techniques.
 To create 30 designs on A-4 bond paper with hand illustration.
 To construct three most preferred designs.

Limitations:-

 Only cut work embroidery was used.

Findings of the study:-

For the process of the research, the information was gathered from various sources like e-books,
research papers referred articles in journal and published books. After collection of information
regarding cut work embroidery, a market survey was conducted to find out the different types of
fabrics that are suitable for cut work embroidery. Georgette fabrics were collected from local
market of Jalandhar. Total 30 designs were created on A-4 Bond paper with the help of Abstract
motifs. These designs were evaluated by the a panel of judges which included the faculty
members of Fashion Designing Department and students of UG and PG level for the evaluation
process, these designs were displayed on the wall in Textile Creation lab of Fashion Designing .
A Performa was given to the judges for ranks according to their preferences.

After the evaluation of Designs, three most preferred designs of Kaftans with cut work
embroidery using Abstract motifs were selected for cut work embroidery.

Recommendation for further studies:-

 Designing & Construction of Ready to Wear Kaftans with cut work embroidery.

 Creation & Construction of abstract motifs and cut work embroidery.

 Designing & Construction of Tunics with kaftans.

 Designing and Construction of Cushions with abstract motifs using cut work embroidery.

Conclusion:-

From the present study it can be concluded that with the increasing awareness among the people
there has been a trend to move towards the ancient ethnic designs of the country. As the result of
which cut work embroidery are becoming popular day by day. Further of these days and
embroidery a technique seems to be bright and prosperous people are conscious about the
hazards of synthetics and again prefer the use of natural ones much more.
 BIBLIOGRAPHY

BIBLIOGRAPHY

Name of books

• Dilipsinh, K.S (2004). “Kutch in festival and custom”, Rediff Publishers.

• Shailajs D. (1996). “Traditional embroideries of India”, Rediff Publishers.
• Sheila, P. (2010). “Embroidered textiles”, Rediff Publishers.
• Bhatnagar.P (1995). “Textile Embroidery”. Freelance Publishers.
• Alshere A.M. (2004). ‘ Dye Preparation’, Africana Publisher Ltd Ibadan.
• Griffin. (2012); ‘Dye Work and Fiber Arts Understanding Word Art and Modifiers’, Hornby,
A.S.
• Belfer, Nancy (1992).  ‘Batik and Tie and Dye Techniques’. Dover Publications.
• Maile, Anne (1971). ‘Tie and Dye as a Present Day Craft’. Taplinger Publishing Co.
• Meilach, Dona (1973).  ‘Batik and Tie Dye’. New York. Crown Publishers.
• Shabd Simon  (2013). ‘Tie- Dye to Dye for’. Paperback.
• Action, P (2002); ‘Natural Dying of textiles’ retrieved February18, 2013 from practical section.
• Carl.C (2003); ‘Dye Extraction’, Mac Millian Publisher Lagos.
• Joy Boutrup (2019). ‘Art and Science of Natural Dyes’. Spiral bound.
• Yoshiko Luvamoto. (2012). ‘Shibori’, the inventive art. Paperbac

Name of websites:-

 www.fashion era.com
 www.wikipedia.com
 www.britannica.com
 www.google.com
 www.finder.com

APPENDICES
 APPENDIX-1
Performa for the Evaluation of Fabric Samples

Sr. No. Sample No. Sample Name Marks

1 Sample No.1
2 Sample No.2
3 Sample No.3
4 Sample No.4
 5 Sample No.5
6 Sample No.6

APPENDIX-2

Sr. No. Design No. Marks

1 Design No.1
2 Design No.2
3 Design No.3
4 Design No.4
5 Design No.5
6 Design No.6
7 Design No.7
8 Design No.8
 9 Design No.9
10 Design No.10
11 Design No.11
12 Design No.12
13 Design No.13
14 Design No.14
15 Design No.15
16 Design No.16
17 Design No.17
18 Design No.18
19 Design No.19
20 Design No.20
21 Design No.21
22 Design No.22
23 Design No.23
24 Design No.24
25 Design No.25
26 Design No.26
27 Design No.27
28 Design No.28
29 Design No.29
30 Design No.30
Name:
Designation:
Performa for the Evaluation of Performa Designing And Construction Of
Kaftans With Cut Work Embroidery
APPENDIX - 3
Performa for the Consumer Acceptability on the topic “Designing And
Construction Of Kaftans With Cut Work Embroidery
1. Name :
2. Age:
3. Position:
4. How do you find the appearance of Kaftans?
 Good
  Not Good
 Average
 Very Good
5. How do you find the idea of Kaftans?
 Very much
 Some what
 Not at all
6. How do you find the Quoted price?
 Less
 More
 Reasonable
7. Would you like to place an order of Kaftans?
 Yes
 No
8. Any suggestions

Signature

APPENDIX - 4
Performa to Check Market Acceptability of the Designing and Construction
Of Kaftans With Cut Work Embroidery

1. Name of the Shop

2. Age
3. Position
4. How do you find the appearance of Kaftans?
 Good
 Not Good
 Average
 Very Good
5. How do you find the idea of Kaftans?
 Very much
 Some what
 Not at all
6. How do you find the Quoted price?
 Less
 More
 Reasonable
7. Would you like to place an order of Kaftans?
 Yes
 No
8. Any suggestions

Signature