Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Ayushi khilani ,2year Fashion Design Diploma NSQF Level -6 ,NSDC


Published on

student of Dezyne E'cole College ,fashion design department , this is a portfolio of final year work of her in fashion Design

Published in: Design
  • Hey guys! Who wants to chat with me? More photos with me here 👉
    Are you sure you want to  Yes  No
    Your message goes here

Ayushi khilani ,2year Fashion Design Diploma NSQF Level -6 ,NSDC

  1. 1. Student Of 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6 Of NSDC.
  2. 2. DESIGNER LOGO Every Designer Has A Wish Of Having A Logo Of His Own Name And I Have Designed One For Me . This Is My Logo Which Is Having My Initials And Name On To It . I Have Taken A Background Of A Sky To Specify My Dreams And My Wishes That I Want To See My Name On Top . I Am A Fashion Designer So I Have Used A Sketch As A Watermark To Make The People Relate My Logo With The Fashion Designer.
  3. 3. A Project On PORTFOLIO Submitted To Dezyne E’cole College, Civil Line, Towards the partial fulfilment Of Fashion design NSQF level 6 By Ayushi Khilani 2nd Year Diploma In Fashion Design Conforming to NSQF Level 6 of NSDC
  4. 4. ACKNOWLEDGEMENT I Am Ayushi Khilani , Student Of Fashion Design Diploma At Dezyne E’cole College. I Would Like To Thank All The Mentors Who Had Helped Me To Complete This Project. I Also Thank Dezyne E’cole College For Giving Me This Opportunity And Helped Me To Understand The Technical Working Of Fashion Designing
  5. 5. GRADE SHEET Dezyne E’cole College 106/10 Civil Lines Ajmer 305001 (Raj) This Project Report Of Ms. Ayushi Khilani , Student Of Bachelors Of Science. In Fashion Design And 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6 Of NSDC Has Been Checked And Graded As Thanking You Principal (Signature)
  6. 6. SYNOPSIS This Portfolio Provides A Brief Description To My Skills And Knowledge Which I Developed During Two Years Of Fashion Design Diploma. This Portfolio Starts With The Introduction To The Portfolio And Provides A Quick Glimpse To The Assignments And Projects That Are Included In This Portfolio. I Have Expressed My Learning Which Starts With The Evolution Of Historical Clothing And How It Has Influenced The Fashion In Present And Future Era . And Have Also Included The Designers Who Have Special Role In Fashion History And Described It With A Flow Chart And Assignment. This Portfolio Also Includes Practical Knowledge Related To Garment Technology, Draping , Advance Learning About Pattern Engineering Seams And Stitches , Surface Design Technique, Saree Design , Tie And Dye , Print Development. After Gaining The Knowledge I Was Given A Case Study For Developing My Skills And Innovating New Ideas. Following Pages Will Include A Detailed View To All These Topics.
  8. 8. INTRODUCTION This Portfolio Contains All The Working Which I Have Done During My 2 Year Fashion Design Diploma . In These Two Years I Gained Knowledge About How Fashion Industry Works I Found That It Does Not Exist In A Vacuum But Is The End Product Of A Chain Of Activities Which Can Be Said To Start With The Production Of Textile Fibres. I Get To Know That The Internal Chain Usually Starts With The Marketing Department Doing Some Formal Or Informal Market Research To Evaluate What The Market Sector Served By The Company Could Be Looking For And At What Prices. To Witness All These I First Learnt And Practiced All The Techniques And Skills Needed To Acquired By Me Before Experimenting My Ideas And Aesthetics On To The Creation. For This Purpose I Practiced Various Garment Engineering Techniques, The Draping Method And Also Various Surface Designing Techniques Which I Have Shown In Further Pages Of My Assignments And Projects.
  9. 9. CONTENT 1 Fashion History 2 Pattern Engineering 3 Draping 4 Surface Design Technique 5 Saree Design 6 Design Basics 7 Corel Draw 8 Case Study 9 Extra Working
  10. 10. 01 FASHION HISTORY
  11. 11. 01 INTRODUCTION Our Knowledge Is Based On The Study Of Sculpted Figures And Engraved Seals ,Where Both Men And Women Are Depicted Wearing Unstitched Fabrics Draped Around The Body. The Statuette Of The High Priest Wears A Patterned Shawl With A Formal Drape. The Clothing Used In The Ancient World Strongly Reflects The Technologies That These Peoples Mastered. Archaeology Plays A Significant Role In Documenting This Aspect Of Ancient Life, For Fabric Fibers, And Leathers Sometimes Are Well- preserved Through Time. In Many Cultures The Clothing Worn Was Indicative Of The Social Status Achieved By Various Members Of Their Society. At The Eighteenth Century, The Textile Industry Grew In Lyons And French Cities , Supplying The Court With Silk Fabrics , And Laces . Dressmakers And Tailors , Sponsored By The Wealthy , Developed Their Skills To A High Level Using These Beautiful Materials. A Trend Toward Masculinity In Women’s Fashion Emerged: Decorative Details Disappeared In Favor Of A Tailored Look That Imitated Businessmen’s Suits. Corsets Were Discarded And Curved Hourglass Silhouette Was Replaced By The Tube.
  12. 12. Following Pages Includes The Assignments Which Have Been Done By Me During The Coarse Of Study Programme Of 2nd Year Fashion Diploma , NSQF Level 6 Of NSDC. Under The Topic FASHION HISTORY 01 ASSIGNMENTS
  14. 14. PATTERN ENGINEERING Garment technology is the method of constructing garments with the technical aspect of construction. This technique has two methods Flat pattern method Draping method. I have also learnt that marketing and design put their heads together and start formulating the framework of the sample collection. Fabrics and trimmings are selected and ordered and the designer starts to prepare the core designs which will represent the central theme garments of collection. Core designs , when approved , will be the basis for developing planned groups of variations. The garment design becomes goal directed planning because apart from developing the appeal factors of each design, the designer also has to take into account the many technical and commercial factors involved. Following pages will include the techniques I learnt during my coarse of study. 02 INTRODUCTION
  15. 15. 02 LOOK BOOK These Are Some Of The Looks Which Are Created On The Fabric Through A Specific Technique.
  16. 16. These Are Some Of The Looks Which Are Created On The Fabric Through A Specific Technique. 02 LOOK BOOK
  17. 17. Following Pages Includes The Assignments Which Have Been Done By Me During The Coarse Of Study Programme Of 2nd Year Fashion Diploma , NSQF Level 6 Of NSDC. Under The Topic ADVANCE STUDY OF PATTERN ENGINEERING 02 FLAT PATTERN
  19. 19. Following Pages Includes The Assignments Which Have Been Done By Me During The Coarse Of Study Programme Of 2nd Year Fashion Diploma , NSQF Level 6 Of NSDC. Under The Topic FASHION DRAPING 03 DRAPING
  21. 21. Following Pages Includes The Assignments Which Have Been Done By Me During The Coarse Of Study Programme Of 2nd Year Fashion Diploma , NSQF Level 6 Of NSDC. Under The Topic TIE AND DYE 04 TIE AND DYE
  22. 22. TIE AND DYE
  23. 23. 04 Following Pages Includes The Assignments Which Have Been Done By Me During The Coarse Of Study Programme Of 2nd Year Fashion Diploma , NSQF Level 6 Of NSDC. Under The Topic PRINT DEVELOPMENT PRINT DEVELOPMENT
  25. 25. 05 SAREE DESIGN Following Pages Includes The Assignments Which Have Been Done By Me During The Coarse Of Study Programme Of 2nd Year Fashion Diploma , NSQF Level 6 Of NSDC. Under The Topic SAREE DESIGN DEVELOPMENT
  26. 26. 05 SAREE DESIGN After Learning About The Various Types Of Saris And Their Different Styles I Was Given An Assignment For Which I Studied About The Papyrus Flower Which Is The Sacred Flower Of Egypt . For Learning The Placement Of The Motif I First Converted The Organic Shape Of The Flower Into The Geometric Construction. Then I Simplified It Using The Drafting Of Geometric Papyrus Flower Shape. This Was Used As A Stencil To Make The Modifications Of Motif I.E, Slimming The Original And Expanding The Original. With All These Processes I Then Chose The Modified Flower To Use As A Motif And By Repeating It In Certain Shapes I Generated A Circular Motif Which Will Be Repeated In Different Types Of Repetition , According To The Sari Which I Want To Design . Following Pages Will Show The Simplification, Modification And Repetition Of The Papyrus Motif.
  27. 27. Simplification
  28. 28. 06 DESIGN BASICS
  29. 29. 05 DESIGN BASICS For creating a good deign we need to follow the elements and principles of designing in harmony. To witness this we were given task to create 6-8 samples of design development taking the geometric and organic shapes .Following designs were made on the basis of the practice questions . It includes the use of specific shape at specified measurements and according to the conditions of the query. These were then colored according to the specified color schemes.
  30. 30. 07 Corel draw
  31. 31. 05 Corel draw After Learning About The Garment Technology And The Elements Of Garment I Designed It On Corel Draw . As In Present Time Technology Advancement Is Very Necessary For The Designer As It Helps The Designer To Take The Designs Or Ideas On To The 3d Platform And View The Front , Back And Side Views Of The Design . There We Can Also Use Different Styles, Shadow And Transparency Tool To Elaborate The Designs. Following Are Some Assignments Which Have Been Designed By Me Using Corel Draw.
  33. 33. CASE STUDY As A Student Of 2nd Year Fashion Design, I Am Suppose To Design A Collection For My Year End Portfolio For Submission To The Industry. This Project Showcases My Skill Set Which I Am Presenting To The Fashion Design Industry, I Request The Industry Professional To Make My Selection To The Industry Based On The Skills I Showcase Here In Following Pages . To Make My Portfolio The College Has Provided Us With A Case Study Which Is As Under: After Learning All The Subjects College Had Given Me A Case Study Which Was Based On Conceptual Influence I Had To Design A Capsule Collection For A Hypothetical Muse And Had To Elaborate It With Following Points In It : 1 Influence Of Collection And Design Rationale 2Creative Research / 3 Storyboard / 4 Ideation Process / 5 Specification Sheet / 6 Conclusion
  34. 34. CONTENTS 1 Introduction 2 Research Work 3 Influence 4 Famous Designers Work 5 Design Development 6 Title Of Concept 7 Concept 8 Creative Research 9 Color Board 10 Mood Board 11 Material Board 12 Making Of Collection 13 Ideation Process 14 Formation Of Toile 15 Final Creation 16 Specification 17 Promotion
  35. 35. INTRODUCTION Based On The Case Study Given To Me I Have Created A Capsule Collection After Taking Knowledge About Various Designers I Was Attracted Towards Aqua Life Conservation. It Has Been A Really Interesting Journey As I Was Able To Experiment With My Ideas Which I Have Presented Further. Designers Are Decoding Indian Fashion With Their Own Set Of Values And Vision Which Is Not Just Restricted To Handmade And Heritage But Also Looks At Using Unconventional Materials Like Silicon Sheets And Metallic Yarns, Motifs And Patterns That Have Been Part Of Their Childhood Stories. I Found Them Really Interesting But After Taking Knowledge About Various Designers I Stressed On Where My Aesthetics And Interest Takes Me, And I Found That I Was Attracted Towards Aqua Life Of Mammals Like Octopus , snails, Jellyfishes And Many More. It Has Been A Really Interesting Journey As I Was Able To Experiment With My Ideas And A Lot More Acceptance Came In With Time Which I Will Portray With Structural Designing . I Have Hosed This Technique Of Work As I Like To Do Things With My Hand It Is Not Difficult, It’s Labor Intensive Sculpting It, Stitching It And Putting It Together Is More Difficult Than The Concept Itself. That’s What I Did For My Collection, I Never Set Out To Innovate. It’s Essential To Keep Your Aesthetics Clean And Untouched. For This I Prefer Abraham And Thakur For Retaining A Fresh Aesthetic.
  36. 36. RESEARCH WORK Assembling Content From History And Fashion Discoveries
  37. 37. RESEARCH As Research Is The First Stage For Starting Any Collection And The Research Is Done For Collecting All The Knowledge And Ideas Linked To That Particular Concept Or Influence. The Designer Has To Research From All The Sources To Collect The Information From The Extracted Pages Of Look Book Created By Them Or Magazines Which Discloses The Secretes And Facts Of Fashion Industry. While Brainstorming I Came Across Various Designers Who Worked For Showcasing Their Creativity And Imagination With Their Creations And Found Conceptual Influence Very Attractive And I Researched About Those Designers Who Had Worked Upon This Influence . At This Stage Of Final Collection With Conceptual Design Idea A Comprehensive Research Work Was Undertaken To Bring Out The Design Idea. I Have Been Influenced By The Conceptual Collections Of Various Minimalist Designers . Following Pages Will Discuss The Consideration That Will Provide A Brief Approach To My Influence And Collection Presented Here: LIBRERAY
  38. 38. CONCEPTUAL INFLUENCE “There Is Beauty In The Unfinished,” Kawakubo Said. “The Very Fact Of Something Being Unfinished Gives It More A Feeling Of Something Projecting Ahead Into The Future.”
  39. 39. MINIMALIST Minimalist Designers Are Those Who Work More With Structural Designing And Not Much Work On The Decorative Part Of A Garment. Designers Like Hussein Chalayan , Helmut Lang And Jil Sander Are Known For A Minimalist, Exacting Aesthetics, Which Owns Much To The Rigors And Precision Of Innovative Architecture And Reductive Product Design. Hussein Chalayan
  40. 40. YOHJI YAMAMOTO While Studying About The Creations Of Various Designers I Got Attracted To A Creation Of One Of The Great Japanese Designer, Yohji Yamamoto Who Had Created A Dress With Pleats And Was My Idea Towards Aquatic Life.
  41. 41. DESIGN PROCESS This Stage Of Collection Involves The Process Of Designing On The Basis On The Previous Research This Level Includes The Storyboard For Our Collection Which Will Then Be Projected With A Titled Concept And Color And Textures For Developing The Specific Mood To The Collection Which Will Be Proceeded In The Ideation Of The Designs.
  42. 42. MARINE MAMMALS NEED HELP STORYBOARD In This Step I Created A Story For My Collection Which Projects The Aqua Life And How It Is Being Destroyed And Is On The Verge Of Extinction Due To The Continuous Use Of Non Biodegradable And Chemical Substances. I Researches And Collected The Current Affairs Which Are Presented In A Collage Form: The beauty of aquatic life needs your voice to survive as due to our selfish and artificial lifestyle they are being endangered. The chemicals and plastics we use in our industrial and commercial activities are deposited in the water bodies which are mistaken as food by the marine mammals like jelly fish and various others.
  43. 43. Save THE BLUES We Need To Focus On This Concept And This Issues Needs To Be Solved By Our Concern And Should Be Immediately Actioned For The Conservative Remedies . For This Reason I Showcased A Collection Based On The Silhouette Taken From An Octopus To Tackle The Problem And Add Power To My Thought.
  44. 44. CONCEPT At This Stage Of Final Collection With Conceptual Design Idea I Have Chosen The Concept Of Raising Voice To Conserve The Marine Mammals And For This I Found That My Idea And Thoughts Could Be Completely Matching With The Shape Of An Octopus As The Head Of The Octopus Says That The Problem Is Wide But When We Human Pledge To Take That Problem Into Our Hands It Could Be Solved And Will Diminish With Time As The Tentacles Of An Octopus.
  45. 45. These are certain manipulation ideas related to aquatic life BOOK LOOK IDEAS FOR CONCEPTUAL DESIGNING
  46. 46. CONCEPT I Like Things That Speak About Themselves And Provide A Message Or Inspires Us About Their Making, I Found Octopus As More Expressive With My Concept And Have Made A Conceptual Design Which Is Inspired From The Various Conceptual Designers Like Yohji Yamamoto , Jil Sander. And Have Observed That – The Very Fact Of Unimaginable Always Becomes Unforgettable – As Said By The Famous Futuristic Fashion Designer Geoffrey Beene And Something Being Unimaginable Gives It More A Feeling Of Something Projecting Ahead Into Future. With This Ideology , I Got Attracted To The Designers Who Have Worked With This Influence And As I Studied During My Education About Conceptual Collection And It Attracted Me As They Were Beautiful , Timeless , Ageless And Dislocated From Most Visual Narratives.
  47. 47. CREATIVE RESEARCH With This Concept In Mind I Had To Design A Dress Based On The Silhouette Of An Octopus . For This I Researched On The Different Types Of Octopus And Have Collected Their Images .
  48. 48. CEPHALOPODS These deep-sea cephalopods are well known for changing colour to match their surroundings, The fact that this happened after the skin had been removed from the octopus proves its ability to operate independently. INDEPENDENT AND CONFIDENT ATTITUDE COLOUR BOARD
  49. 49. MOOD BOARD
  50. 50. MATERIAL BOARD RAW SILK RAW SILK Cotton lining
  51. 51. MAKING OF COLLECTION Development /Ideation/ Formation Of Toile /Finalizing Ideation CONCEPT IDEATION
  52. 52. IDEATION PROCESS SKETCH BOARD Converted The Ideas From Imagination To 2D Ideation On Paper And Photoshop Software The Illustration Is That Part Of Ideation In Which The Designer Expresses The Imagination About The Creation In Front Of Other Personnel's Like The Pattern Maker Or The Garment Engineer For Further Process.
  53. 53. TOILE FORMATION Side view Front view Back view
  54. 54. FINALISING IDEATION The Final Ideation Of The Dress After Including All The Steps From Design Development Process. Here I Have Used The Colors From Color Board And Octopus Silhouette. Description: The 3D Procession Of The Ideation On Dress Form For The Final Garment To Be Specified. The Materials Are Taken From Material Board.
  55. 55. SPECIFICATION SHEET DESIGN SPECIFICATION Raw silk top cloth with fusible finishes Orchid red color with raw silk with gray cloth and cotton used for binding and making the structure. The aubregine color taken from the color and mood board with raw silk fabric to make the garment lustrous. Gray cloth molded with curves with the help of twisting wires to make them stiff cotton is stuffed inside.
  56. 56. Final PROMOTIONAL After The Making Of The Creation It Is Very Important How It Is Been Promoted To Wider Audiences And For This I Am Thankful To Dezyne E’cole College Who Has Helped Me In Promoting My Collection And Introducing My Skills And Work To A Wider Audience With The Social Connectivity And Dezyne E’cole Has Provided Me A Platform To Present My Working In Front Of College Premises.
  59. 59. CONTENT 1 Tie And Dye Project 2 The Temple Story 3 Bagru Visit 4 Collars 5 Fundamental Dress 6 Prints 7 Card Dress 8 Purses
  61. 61. TIE & DYE After studying the various techniques of tie and dye. I experimented the methods of tie and dye on the sample pieces and observed the results. I got very fascinated with them and decided to use it in innovative manner of designing. Here are the products which I designed while practicing this art of surface designing. Here I took the cloth and dyed it in the Marbelling technique of tie and dye. Then used it to mold my design of handbags by applying it as a bow and on string of the chain Another is the short cut pieces from my samples which I re incarnated in the form of clips for styling. SAMPLE PRODUCTS CREATED DURING MY COARSE OF STUDY
  63. 63. THE TEMPLE STORY During My Study Program I Also Took Part In The Annual Event Of Our College- The Kaleidoscope And Designed A Traditional Attire Using Doodling Print Which Was Done Manually. For This Work I Chose The Temple Motif As They Are Referring To Traditional Theme And Are Commonly Used In Ethnic Garments Like Saree. I Searched About The Temple And Collected Some Of The Pictures Of The Temples Then Traced Them On To The Butter Paper To Create Stencil. After Creating The Stencil I Doodled The Print On To The Dress With Permanent Marker Pen And Finally Colored The Gray Cloth With Fabric Colour.
  64. 64. THE TEMPLE STORY These are some snapshots of the video which I had made on the temple story dress providing the steps of creation.
  66. 66. BAGRU VISIT When We Are Studying In This Practical Field ,We Need To Know The Practical Aspect Of The Industry. To Know How The Industry Works With Prints, I Went To Bagru For Industrial Visit. I Learnt About How They Are Still Working With Natural Technique To Color The Fabric. I Gained Knowledge About The Varieties Of Resist Dyeing Techniques And Blocks They Use. I Also Learnt About The Indigo Dye Which They Preserved From Years Back And Are Still Practicing With The Same Process. Here Are Some Pictures Of Dyes Used In The Bagru Area Which I Captured.
  68. 68. REVIVE MEDIEVAL I Studied About The Historical Time Period And Was Attracted Towards The Medieval Time Period. In That Era People Were More Into Embellished Clothing And Preferred Collars And Cuffs. The Collars At That Period Were The Most Adorable Part Of The Dressing And Even The Men And Women Used To Have Huge Collars. After I Learnt About This Time Period I Found That There Are Various Types Of Collars And Also Found That Valentino And Balenciaga Had Worked With Collars.  This is the huge voluminous collar made from net and fusible to keep it stiff  Ruffled collar  Detachable collars
  70. 70. CASE STUDYFUNDAMENTAL DRESS Firstly I Learnt About The Fundamental Dress That It Combines Two Textures , Colors And Lines Which Gives A 3d Appearance To The Garment. The Variation Of The Fundamental Dress With The Use Of Elements And Principles I Worked By Combining Two Textures And Colors For Making The Eye Move From The Shapes Of The Contours Which Is Created By The Perfect Use Of Elements In The Dress. Here I Combined The Front And Back With Different Colors And Has Shown The Movement Of Eyes Which Runs Where The Designer Wants The Viewer To Look From.
  72. 72. CASE STUDYHAND PRINTING The Printing Is The Process Of Surface Design Technique Which We Generally Use To Create Any Fabric Or Garment Look Attractive. It Has Various Ways From Which I Chose The Hand Printing Method Of Printing And Have Used Various Hand Made Stencils And Natural And Creative Technique To Decorate The Surface Of The Cloth. I Have Created 3 Samples Of Designs From Various Stencils, One Is By The Use Of Tea Cup And Tea As The Pigment Of Dye. Making Of Stencil To Create Shapes On Fabric. These Stencils Were Created Using Clay And Were Molded Into Required Shapes Then They Were Dipped In Color To Apply On Fabric. These were the samples which were created using the stencils and were then kept for some time to make them dry and after that one sample piece was selected by me to create pattern . This is the selected pattern , was made using the tea as a pigment and was applied by the cup to create bubble design.
  73. 73. CASE STUDYDIGITAL PRINTING As In This Present Time Of Increasing Use Of Technology I Learnt About Digital Printing And Also Had Practiced It For Creating Prints On Various Garments. I Learnt The Technique For A Week And Then Practiced It By Printing My Own Label And College Logo . Following Images Shows The Practice Of Creating Digital Printing On The Fabric. First I Have Entered The Design And Check The Colour Preview Then I Entered The Sample Piece Size And Started The Machinery. The Dezyne E’cole Logo Started To Get Visible After Printing . The Logo Printed But It Was Mirrored As To Be Printed On The Fabric.
  75. 75. CASE STUDYPLAYING CARDS Creativity Matters A Lot In Our Life And Same Is With Dressing. It Is Up To The Designers Thought How She/he Uses Creativity Into The Dressing. I Created A Dress From Playing Cards And Used Approx. 12 Packs Of Playing Cards And Converted It Into Dress Form With The Help Of Ribbons And Pins To Tuck It On The Lining And Followed The Creative Aspect With The Crown And Wings.
  77. 77. CASE STUDYHANDBAGS A Creation From The Inspiration Of Coins From 1940-60. The Creation Is Done At A Preliminary Study Program And Following Is The Creation Of Mine On Handbag Designed With Inspiration From Coins. This is another creation of handbag which is on the inspiration taken from the blue pottery.
  78. 78. CASE STUDYHANDBAGS A Creation From The Inspiration Of Coins From 1940-60. The Creation Is Done At A Preliminary Study Program And Following Is The Creation Of Mine On Handbag Designed With Inspiration From Coins. This is another creation of handbag which is on the inspiration taken from the blue pottery.
  79. 79. THANK YOU For Watching My Working Special Thanks To Dezyne E’cole For Giving Us An Industrial Friendly Atmosphere To Grow Ayushi Khilani Student Of 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6 Of NSDC.