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Harsha Parihar, M.Sc-Fashion Design +One Year Fashion Design In Women's Wear Diploma Programme Portfolio


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Student of Dezyne E'cole College ,the student is updating her industry required skills of Fashion Design through the Diploma Programme.This is a work showcase of student after one year of her study of Fashion Design Programme in Womens Wear.

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Harsha Parihar, M.Sc-Fashion Design +One Year Fashion Design In Women's Wear Diploma Programme Portfolio

  1. 1. Fashion Technology PORTFOLIO Harsha Parihar M.Sc. in Fashion Technology+ 1st year diploma
  2. 2. ACKNOWLEDGMENT I would like to convey my gratefulness to Dezyne E'cole college for the excellent guidance, study skill and knowledge which I have gained throughout my project. I am thankful to my mentors who give me this opportunity of making this project and help me to show my working abilities through this project. Harsha Parihar M.Sc. Fashion Technology +2 Yrs. Advanced Diploma In Fashion Technology
  3. 3. This Project of Ms. HARSHA PARIHAR student of M.Sc. in Fashion Technology with 2yrs advance women’s wear Fashion Diploma Program has been checked and grade as………………………………………………………………………… …………………………………………………………………………… ………………... . Thanks Principal [Seal and Signature Dezyne E’cole college civil line, Ajmer
  4. 4. SYNOPSIS During my 1yr course I have learned what all knowledge are required as a student of fashion designer to work in industry .i have learned element and principle of design to drafting and pattern making draping and any more subject. In draping we drape fabric on dress form according to a design with the help of pins. We learned vortex and origami method in draping during my project. Use of fabric manipulation to create a texture effect in a simple dress We also learned about Indian Traditional embroidery phulkari of Punjab , kantha of Bengal, kasuti of Karnataka .We can use this embroidery to decorate fabric. We create fusion or give a dress indo western look we use west silhouette and give them Indian touch with Indian embroidery
  5. 5. HARSHA PARIHAR FASHION DESIGNER  9829024839 PROFILE I am a fashion designer from Dezyne E’cole college. I have learned that I can do everything through fabric. To be a successful designer, it help to have formal training ,especially in subject like elements and principle of design, art of manipulating fabric, decorate garment with traditional Indian embroidery from which I am able to communicate a good design. EXPERIENCE Pattern Engineering - collection of casual women wear Fabric Manipulation- Manipulating fabric by pleats ,tucks etc. Draping- Dart manipulation Vector Origami Embroidery- Indian traditional embroidery INTERST Pinterest Painting Music Sketching SKILLS Pattern Engineering Traditional Indian Textile Draping Fabric Manipulation Corel Draw- graphic Design Foundation Design Presentation Techniques LANGUAGE Hindi , English EDUCATION Identity – I had work in annual exhibition held in college M.Sc. Fashion Technology M.A. in Sociology B.A 12th C.B.S.E Board 10th C.B.S.E Board Dezyne E'cole college 2015-2017 Government college 2014-2016 Sophia college Mayoor school Queen’s Mary girls school
  6. 6. Fashion does not mean wearing clothes fashion is not something that exists in dresses only which are in latest trends and style. It is an area where we need to understand any attire which enhances a person’s personality and comfort in fashion design is a very vast industry that gaining popularity and increase intern day by day . To be industrial friendly we learn what are the techniques and skills are required for the fulfillment the need of industry and start paying attention on elements and principle of design. This is what i learnt here at Dezyne E'cole college creating fashion does not entail a vivid imagination and instinct for creativity. It also involves many decision and myriad techniques, focused on central idea. In Dezyne E'cole college fashion design has made me build a strong foundation in terms of design sense. Conceptualization independent research creative application and individual artistic expression. As a part of fashion industry. I am training my self through skill education in master degree in fashion technology and industry oriented diploma program in built with this study. During a course duration of diploma i had an exposure towards practice knowledge in fashion design. I have learnt during my 1st year master of science in fashion technology. LEARNING EXPERIENCE
  7. 7. “Elegance is not standing out, but being remembered” Giorgio Armani. Fashion today is the key driving force in the running not just a country’s economy but in linking the country with its partners different sides of the global networked globe. The need of the consumer and the ongoing process of globalization has paved the way for new job avenues and opportunities is the arena of fashion. In response to the demand fashion industry the subject fashion studies was introduced an independent elective Fashion studies offers in sight into the components and processes of design, manufacturing ,marketing in apparel and text Fashion study offers in sight into the components and processes of design, manufacturing, marketing in apparel and textile. It encompasses the process from provide an overview of fashion, an understanding and elements of garment making Fashion theory and practice are built on a academic foundation where history anthropology, sociology , psychology and economics intermingle to shed light on clothing as one of the three most essential needs of the human race fashion is a dynamic force which influence lifestyle choices made by consumers. It drives international trends in a multitude of area from apparel, accessories, automobiles ,wellness, vacations and more. Glamour not withstanding fashion is a series globe a business with high financial states. The increasing references to Indian textiles clothing and culture on international fashion scenario are indicative of India being center stage on the global fashion map. INTRODUCTION OF WOMEN FASHION WEAR
  8. 8. WOMEN WEAR Fashion is not something that exist in a dress only fashion is in the sky, in the street, fashion has to do with ideas, the way we live , what is happing- by Coco Chanel Women were no longer spending their lives at home .They were not studying teaching , including in offices. Their growing interest and activities took them out of their homes. With the changing times , the role of the women have become multi dimensional working for home for office, with a hectic schedule has led to the requirement of the easy to wear , maintain and comfortable dressing which has become a necessity for today’s lifestyle . This radial social change among women naturally led to a gradual shift towards simple silhouettes away from the elaborate clothing that had prevailed in the past . This social change coincided with the development of manufacturing for large scale production of ready to wear garments. Indian women wear market continues to be largely driven by Indian aesthetic infused with the regional sensibilities inspired by the Mughal of British influences over a period of time..
  9. 9. Fashion is the accepted day to day of dressing at a given time. If we see everyone wearing the same color or style when they have not been the trend before, such is in fashion. In fashion some style come back, it apply for now . Even the retro fashion is never the same Traditionally ,Indian women wore draped styles ,it is only since a little more than two hundred years ago , that the sari is being worn It is during the Mughal rule that Indian women were introduced to stitch garments such as the salwar kameez , kalidar kurta , pyjama, sharara and ghagra. The Mughal style is very feminine , elegant and dignified. Women’s ready to wear garments follow specific trend prediction for the season to enable the designer fabric manufacturers garment manufacture and retailer to plan the design and production of the garments. The prevalent trends are perceived and analyzed by each company to create a mood board suitable for their clients for a particular season. Couture and pret-a-porter show of fashion trends for women wear. CONCLUSION Clothing in past were custom made i.e. stitched for an individual using her body measurements by a tailor or a dressmaker. During earlier or a dressmaker. During earlier centuries the majority women . However wore clothes, made at house by the women of the house . Today we see a comfortable and seamless coexistence in Modern, Mughal in Indian women ear.
  11. 11. GREY SCALE
  16. 16. FOUNDATION DESIGN Colour play a vital role in our daily life. happiness and sadness dependent on the Color you wear . Color is the significant aspect in fabric first thing one notice about clothes is their color. An impression of fine color in dress will be gained if the colors are becoming to the person who is to wear them. Colour in a costume should be in a way that they balance each other. While studying the colors I learned more about color the colour wheel is made up of three main color primary, secondary and tertiary colors and tint, tones and shades of a colour. Color has a physiological effect on others . Color – color is the most important of all design element .every color has three characteristics i.e. hue, value and chrome. Types of color Primary color •Poster red •Chrome yellow •Cobalt blue Secondary color •Orange •Violet •Green Tertiary color •Orange-yellow •Red-orange •Red-violet •Blue –violet •Green-blue •Yellow-green COLOR WHEEL
  17. 17. ELEMENTS OF DESIGN LINE- A line is a series of connecting point. It is the simple design element line have direction length width. Line creates movement by leading eye up down, side to side, line may be straight , curved, bent, horizontal, vertical, diagonal. Line - decorative and structural Seam line hemline, panel tucks godets dart gores yoke plackets pleats neckline VALUE- it lightless or darkness of a color. It is a quality which make light blue different from dark blue. Color+ white = Tint Color+ dark= Shades Color+ grey =Tone TEXTURE- texture is surface quality of an objects is of 3 types Visual Tactile audible
  18. 18. Colors are used in many ways to assert recognition because they are fairly easy to read and understand. Colors have a demonstrable psychological effect The first thing that is ever noticed about a garment is the color. Color is the most important of all the design element. It is important to understand the basic relationship of color. Hue is the name of a color (their warmth or coolness - hue) for e.g. yellow hue, red hue blue hue etc.. Value is lightness and darkness of color. Chroma is purity of color or intensity of hue ( their brightness or dullness - intensity) Color Terminology Color schemes Contrast Complimentary Opposite Color Scheme Simple complimentary color scheme Double complimentary color scheme Triad complimentary color scheme Split complimentary color scheme Neutral Color Scheme Accented neutral color scheme Achromatic color scheme Related Color Scheme Analogous color scheme Adjacent color scheme Monochromatic color scheme Polychromatic color scheme Warm Color Cool Color
  19. 19. GRADATION SHADE ( RED + BLACK) TINT ( RED + WHITE) TONE ( RED + GREY) Monochromatic a color scheme where we use tints, tones, and shade of any single color to design anything. This color scheme tends to make a person appear tall if his/her height is short.
  20. 20. White Purity Truth, Peace ,Innocence, Simplicity, Coldness, Virginity, Birth, Freedom ,Elegance, Honesty. Black Intelligence, Mystery, Corruption, Forceful Rebellion, Modernity, Power, Formality, Elegance, Evil, Death, Quality Grey Confident, sophisticate, dignity, seriousness, Elegance, Respect, Wisdom, Old, Bored , Dullness, Neutral, Pollution, Formal, Military, Education. Orange Happiness, Powerful, Inviting, Friendship, Rich, Quiet, Classic, Reliability, Energy, Balance, Heat, Enthusiasm ,Playfulness, Warming, Optimisms , Abundance Yellow Joy, Happiness, radiant, quiet, bright, strong, bold, electric, feminine, rising, Summer, Illness, Fertility, Warming. EFFECT OF COLORS
  21. 21. Red Life, Passion, Energy, Love, Warmness, Strength, Boldness, Beauty, Awareness, Speed, Danger, Anger, Wealth, Luck, Marriage. Green Nature, Fertility, Environment, Wealth, Generosity, Eternal life, Jealously, Growth, Heath, Calmness, restful. Pink Tough, Sweetness, Softness, Paleness, Natural, Gentle, Youth, Innocence, Reality, Overpowering. Purple Cool, Challenging, Magic, Surprise Wisdom, Confusion, Pride, Royalty, Instability Nobility, Spirituality, Creativity, Mystery. Blue Water, Reliable, strong, Ocean, Peace, Unity, Calmness, Confident ,Conserved, Loyalty, Idealism, Dependability, holy, Victory, Innocent, overpowering EFFECT OF COLORS
  22. 22. ELEMENTS OF DESIGN LINES A line has various functions: Movement is created by moving line the eye along the line up and down, side to side or curved, vertical ,horizontal and diagonal around the garment.
  23. 23. Straight lines are seen on seams ,yokes, edges, dart, panels, zippers, tucks, rows of buttons and braids. Straight lines signify neatness, strength power , stability, dignity and give effect of slimness. Curved lines emphasize body curves and body look rounder give effect of feminity, confidence, gracefulness movement, richness elegance and gentle youthfulness. Perpendicular lines can be seen on yokes, darts, and trims. Perpendicular lines of the yoke attracting to the dress. Small shapes and space add interest than a regular shape and space. LINES
  24. 24. Dominating thick lines seen on borders, bands, belts, cuffs, add weight and convey forcefulness, expansion, roughness, assertiveness and masculinity. Horizontal lines are seen on yokes, waistlines, hemlines necklines and sleeves. It has shortening and widening effect. Psychologically, it shows flatness, balance, rest and peace. Vertical lines are seen on side seams, pleats, fabric pattern and trims. It lengthens and being bold, sophisticated, strong and elegant, vertical lines show forces, gravitational pull, mobility, flatness, balance and rest. Diagonal lines are seen on pockets, panels, seams, fabric patterns, necklines, collar lapels, flared trousers, A-line skirts, raglan sleeves are interesting and dramatic in effect. It has a slimming effect if more vertical and widening effect if more horizontal. LINES
  25. 25. TEXTURE TEXTURE feel of the surface is texture and quality of is following of three types: VISUAL : light falling on the surface creates shadows, highlights, on a knitted surface. Cloth appears transparent when light passes through it. Surface treatment like printing, embroidery, smoking applique and quilting are all visual texture. TACTILE : changes in fabric through arrangement of thread in weaving and knitting can be felt on skin here coarseness, softness and crisped by feel of hand on fabric is seen. AUDIBLE : through friction when the fabric rub over each other, a sound can be heard. The crisp rustle of silk. Texture wheel
  26. 26. Proportion is the way all the parts in a design related to each other so the person looks tall, slim and more youthful Scale is an aspect which is mainly dealing with fashion accessories a huge hand bag on a small woman look oversized while a handbag on a large woman look different and makes wearer look larger. Similarly the size of pocket color, sleeves, cuff, peplums, belt, button, fabric prints, texture and trims. Should all be as per body size of the person wear it. Contrast can be use in small amount of the dress add interest and attention. A contrast occur when two or more totally unrelated features occur in one design. Contrast sometimes becomes very important in a design. Balance weight of the different elements is the design is equally distributed to create balance. The concept of visual balance is similar to that of physical balance were stability is achieve when the part of design are evenly distributed around a balance line or point. Balance is of two types formal or informal: 4 4 7 1 1 7 Formal balance is similar and occur when one side is repeated another on other side of axis or to become a mirror image formal balance draw attention to the feature if repeated. Informal balance is a similar and occur when object on both side of the axis are equal in visual weight but not identical his difference may be simple variation or strongly contrasting. Structural balance in a garment can be adjust by moving of seams, yokes, panels, darts by adding or subtracting fullness and also by arranging openings. PRINCIPLE OF DESIGN
  27. 27. RHYTHM The elements are placed in a manner that eye moves in a direction. It is a organized motion and feature of a design because of which the eye moves over a garment. Rhythm is seen on gathers, pleats, frills, drapes, flowing hemlines, seams, laces and edges. Regular Rhythm – rhythmic effect becomes stronger when the pattern is repeated. It could be an identical repetitive pattern . Graded Rhythm – that is it is regular increase and decrease in pattern. Random Rhythm – occurs at irregular interval in a design. UNITY All elements of design strive to have unity when place together in a pieces of art. The elements of principle of design should be so placed that neither should be over done .There should be no competition between the elements. A completely united design is that which spoils with the removal or addition of even a single dot, line, shape, color or texture. The elements are placed in perfect harmony with each other. Rhythmiceffect created by frillsof the dress
  28. 28. Corel draw is a vector graphic software it is used for graphic designing in this software I have learned how to use vector graphic software to give perfect look to my illustration through shape tool logo design, text editing typography, cover pages, layouts and pattern making with the help of editing tool use 2 point curve, 3 point curve, mathematical defined curved line, smooth looking graphics saved on bitmap file format design are easy to select color, move re-size and many other effect and tools.. COREL DRAW
  30. 30. C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k Co c o Ch a n e l b o yis h lo o k s t yle cla s sic in s p ira tio n yo ke re a d ym a d e a rt fa s h io n d e s ig n p rin t co lo u r te x tu re e le g a n t lo o k h ig h p ro file f a s h io n s h o w m a g a z in e p h o to s h o p c re a tiv e in s p ira t io n f a b ric tro p ic a l flo w e r s ilk m a d e to o rd e r, sim p licit y e le g a n t lo o k , co n t e m p o ra ry lo o k a rtis tic lo o k w a rm c o lo u r silk , co re ld ra w fre e h a n d , a rt ist ic m e d ia t e xt w e b sit e fa s h io n h is to ry s im p licit y h ig h e r e n d fa s h io n cu lt u re , lo o k, f a sh io n , s ty le , c o lo u r p rin t C oco C h a ne l bo yis h look sty le cla ss ic fa s hio n d es ig n p rin t co lou r tex ture e leg an t loo k fa s hio n s h ow ma g azin e p h otos h op crea ti ve ins p irat ion fa b ric tro pica l flo we r s ilk m a de t o ord er, s im p licity ele ga n t loo k, con tem pora ry look art istic lo ok w a rm colo ur s ilk, corel dra w freeh an d , art istic m ed ia te xt w eb site fa s h ion his tor y s imp licity hi gh er en d f as h ion cult ure, lo ok, fa sh io n, s ty le, colou r p ri nt fre eha n d eleg an t fa s hi on cla s sic n ew look Co co C ha n el b oy ish lo ok s ty le cl as si c fa sh ion d esig n prin t colo ur te xtu re eleg a n t look fa sh ion s ho w m a ga zin e ph ot osh o p crea tive in s pira tio n fa bric trop ica l flow er si lk m a d e to o rder, sim p licity eleg a nt lo ok , con te mp ora ry lo ok a rtis tic look wa rm co lou r sil k, coreld ra w freeh a n d , a rtis tic m ed ia tex t w ebs ite fa sh io n h is tory sim pl ici ty h ig h er e nd fa sh io n cu ltu re, loo k, fas h ion , s tyle , co lou r prin t freeh a n d ele ga n t fa sh ion cla ss ic n ew lo ok Coco Chanel boyish look style classic fashion design print colour texture elegantlook fashion show magazine photoshop creative inspiration fabric tropical flower silk made to order, simplicity elegant look, contemporary look artistic look warmcolour silk, coreldraw freehand, artistic media text website fashion history simplicity higher end fashion culture, look, fashion, style, colour print freehand elegant fashion classic new look Coco Chanel boyish look style classic magazine vogue website fashion design print colour texture elegant look fashion shows fashion show magazine photoshop creative inspiration coco chanel fabric tropical flower silk made to order, simplicity creative look elegant look, contemporary look artistic look warm colour style silk, coreldraw freehand, artistic media textwebsite print colour texture fashion history simplicity higher end fashion culture, look, fashion, style, colour print freehand elegant fashion classic new look CocoChanelboyishlookstyleclassic fashiondesignprintcolourtextureelegantlook fashionshow m agazinephotoshop creativeinspiration fabrictropicalflow ersilkmadeto order,simplicity elegantlook,contemporarylookartisticlook warm colour silk,coreldraw freehand,artisticm edia textwebsite fashionhistorysim plicityhigherendfashionculture,look,fashion, style,colourprintfreehand elegantfashionclassicnew look C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k C o c o C h a n e l b o y i s h l o o k s t y l e c l a s s i c f a s h i o n d e s i g n p r i n t c o l o u r t e x t u r e e l e g a n t l o o k f a s h i o n s h o w m a g a z i n e p h o t o s h o p c r e a t i v e i n s p i r a t i o n f a b r i c t r o p i c a l f l o w e r s i l k m a d e t o o r d e r , s i m p l i c i t y e l e g a n t l o o k , c o n t e m p o r a r y l o o k a r t i s t i c l o o k w a r m c o l o u r s i l k , c o r e l d r a w f r e e h a n d , a r t i s t i c m e d i a t e x t w e b s i t e f a s h i o n h i s t o r y s i m p l i c i t y h i g h e r e n d f a s h i o n c u l t u r e , l o o k , f a s h i o n , s t y l e , c o l o u r p r i n t f r e e h a n d e l e g a n t f a s h i o n c l a s s i c n e w l o o k GRAPHIC DESIGN
  31. 31. Harsha Parihar M.Sc.Fashion Technology 2015 - 2016 GRAPHIC DESIGN
  33. 33. FA SH IO N TECHNO LO G Y Harsha Parihar technology 2015-2017 GRAPHIC DESIGN
  34. 34. 2015 - 2017 GRAPHIC DESIGN
  35. 35. TEXTILE STUDIES For any fashion designer its very important to study about the fabric and its properties For design new cloth designer should be aware about the fabric finishes should be aware about fabric finishes like fire repellency, water repellency, aroma fabric ,anti wrinkle property of fabric. Fiber Classification :- Fiber is a raw material of yarn it gives us different sources. It comes from various sources such as Natural and Man-made fibers. Natural fiber Stable fibers Short fibers (cm and inches) Man - made fiber Filament fiber Long fibers (meters and feet). Silk is only natural filament which is filament. Weaving Knitting Non - woven FABRIC FORMATION (TECHNIQUES)
  36. 36. TYPES OF LOOM
  37. 37. creel Warp beam
  38. 38. WEAVING is the process of interlacement of two sets of yarn warp ( length wise running yarn) and weft(cross wise running yarn). KNITTING is the process of interloping with single yarn it s done by flatbed machine, circular machine and with knitting needles NON – WOVEN is the process entangling fiber and filament mechanically, thermally, chemical they are flat, porous, sheets that are made directly from separate fiber or from or from molten plastic or plastic film. Knitted Warp knitting Weft knitting Tricot Single jerseyRachel Purl Rib Interlock SatinPlain Sateen Twill Jacquard Honeycomb Weaves FABRIC FORMATION
  39. 39. Weaving structure Plain Weave the simplest of the weave and the most common. Consist of interlacing of warp and filling yarn in over one and under one. Twill weave Satin weave Plain weave Twill weave A distinct design in the form of diagonals is characteristic of the second basic weave twill. Satin weave A four shaft with warp floats in interrupted diagonal. Variation of plain weave in satin weave.
  41. 41. Neckline and collar
  42. 42. SKIRTS
  43. 43. CUFF
  44. 44. WAIST BAND
  45. 45. YOKES
  46. 46. Surface design technique is a method to decorate surface of a fabric and add value to it . It is a technique to give new look to any surface of fabric . There are 2 methods of surface design technique Structural Decorative Structural techniques add a design at the time of weaving Ikat, brocade tie and dye, are some of the example of it. Decorative art embroidery( pulkari , kantha , chamba rumal are some examples of embroidery ) printing (block print, kalamkari, sanganeri print are example of printing textile and decorative art by manipulations (tucks, darts, flower manipulations , applied art mirror ,sequence and other decorative elements used to embellish part of a fabric and many other method using for decorate any surfaces There are infinite technique to decorate a fabric which give them functional as well as decorative effect. SURFACE DESIGNING TECHNIQUE
  47. 47. DRAFTING
  48. 48. Drafting is a method of creating a shape with accurate measurement. In drafting I learned about line, shape , form etc. Through joining two points create a line . Through lines (vertical , horizontal , diagonal ,curve line ) we create a shape from shape to motif and from motif to pattern we can also called as The systematic representation and dimensional specification of any shape from which we create motif then a pattern. Drafting is a basic step to create a shape with accurate measurements. Design idea into and a coherent proposal, to communicate ideas and concepts, to convince client of the merits of a design. Drafting is a method from which we create DRAFTING
  49. 49. DRAFTING
  50. 50. DRAFTING
  51. 51. DRAFTING
  52. 52. DRAFTING
  53. 53. DRAFTING
  54. 54. DRAPING
  55. 55. Draping Is A Method In Which Fabric Is Directly Drape On A Dress Form According To Our Design Easy And Fast Only With Pins. The Fabric May Be Conform To The Basic Shape Of The Form Or Be Arranged Artistically In Fold , Gathers, Pleats, Darts, According To A Specific Design .Draping For Fashion Designer Is A Process Of Positioning And Pinning Fabric On Dress Form To Develop The Structure Of A Garment Design. So At Dezyne E’cole College We Have Learned Draping Method In Which We Have Learned Various Dart Manipulation, Single Double, Clusters And Even Had A Group Activity Within Which We Have Experienced Vortex And Origami DRAPING
  63. 63. PHULKARI Some of my assignment of Indian Traditional Embroidery KANTHA
  64. 64. KASUTI GUJARATI Some of my assignment of Indian Traditional Embroidery
  65. 65. PATTERNS Pattern are available not only for clothes, but for a whole range of crafts and soft furnishing projects . when using a paper pattern to create a garment ,we will need to take your body measurements so that you compare them to those of the pattern. Pattern Making Pattern making is a method of transforming a design into its constituent flat pattern pieces and drafting them out. Pattern for a garment is the blue print on the basis of which the fabric is cut and the same is achieved by two methods: 1. Flat pattern method 2. Draping Flat Pattern Method is a method where in body or dress form measurements are taken for developing a pattern. Its is depend on accurate measurements to complete the paper pattern. Its is wide used because of its accuracy of sizing and the speed with which complicated design are made. It is a system of creating pattern by manipulating a basic block. • The basic block include seam allowance. • The method is logical and easy to understand. • It brings consistency and accuracy of both size and fit of mass-produced garments. • It is also the fastest and most efficient pattern design method even for complicated designs. GARMENT CONSTRUCTION
  66. 66. Name of the block example :- Shirt front 2 pieces, back 1 piece ,sleeves 2 pieces etc. Grain line straight grain Size example 32,34,36 OR Small , Medium , Large Terminology Block/ Sloper Sloper is a tern given to a very basic set of pattern pieces used to make additional pattern of any style. It is refers to cutting of basic bodice, skirt , sleeves or any such patterns. Basic Bodice block Size 34” Pattern is developed from the block that includes all the information needed for cutting and production of the garment including seam allowance.
  67. 67. The following should be included on a pattern: Grain line Centre front or Centre back Style number or Code number of the pattern set may which be evolved e.g. AB 01 here AB identifies type of the garment and 01 identifies the piece number of complete set . If there are 3pieces in a garment, the pieces will be numbered as AB 01, AB 02 and AB 03. Pattern pieces e.g. Shirt front, shirt back, side front etc. Size as 32, 34 etc. Cutting information it should be clearly mentioned as to how many pieces are to be cut e.g. cut1, cut2, cut on fold Notches marks that are needed to help assemble garment sections correctly. Directional fabrics for fabrics which have design in one direction such as floral print, velvet, stripes etc. A symbol “cut one way ” is indicated on the pattern. Seam allowance Basic Bodice block Size 34”
  68. 68. Cutting line Grain line Place to on fold Alteration line Seam or stitch line Seam allowance Button hole Button position Combined button and button hole Dart Pleat Tuck Bust point Waist or hip line Single notches Double notches Zipper placement
  69. 69. Child’s Basic Bodice Block . A bodice indicates the upper part of a dress. This is covering the body from neck to the waist. The children’s basic bodice block is the slopper for all the garments for children’s
  70. 70. Child’s Basic Block
  71. 71. Women’s Basic Bodice Block A bodice, is an article of clothing for women covering the body from neck to the waist. A bodice indicates the upper part of a dress. This construction was standard for fashionable garments from 18th century until the late19th century.
  72. 72. Women’s Basic Bodice Block
  73. 73. Women’s Basic Skirt Block A skirt is a tube of cone shaped draped garment that hangs from the waist of hip, but most skirts are fitted the body at the waist of hip and fuller below, with the fullness introduced by means of dart, gores, pleats of panels. The hemline of skirt can vary from micro to floor length and can vary accordingly.
  74. 74. Women’s Basic Skirt Block
  75. 75. Saree blouse A blouse is a upper garment loose – fitted garment for women, covering the body from the neck or shoulder more or less to the waistline, with or without collar, button and sleeve.
  76. 76. Saree blouse
  77. 77. Kameez Kurta is a upper garment a long shirt of tunic falling above of somewhere below the knee. The side seam ( known as the chaak ) are often open below the waist line. They were traditionally wear with loose salwar or paijama. Kurta are worn both as casual and party wear.
  78. 78. Kameez
  79. 79. Churidar Pyjama Churidar pyjama are tightly fitted trousers worn by both men and women. Churidar are variants of the common salwar pants. Salwar are cut wide at the top and narrow at the ankle. Earlier tight fitting churidar like pants worn in India were referred to by the British as Mughal breeches.
  80. 80. Churidar Salwar
  81. 81. Patiala Salwar Salwar is the lower garment it is a traditional outfit originating in South Asia. Salwar is the traditional garment worn by both women and men salwar are loose pajama like trousers. The legs are wide at the top and narrow at the bottom. They were traditionally worn with kurta. Variations of salwar Dhoti salwar, Patiala salwar, Afghani salwar etc.
  82. 82. Patiala Salwar
  83. 83. Kalidar Kurta A kali of kalidar kurta is similar to a frock and has many panels. The kalidar kurta is made up of several geometrical pieces. It has two rectangular central panels in the back and the front. The kalidar kurta is worn by men and women.
  84. 84. Kalidar Kurta
  85. 85. Night suit TOP – The top is made up of front opening with a comfort fitting and is loosely fitted garment for night wear. PYJAMA – Pyjama is loose fitted two piece garment derives from the original garment and worn chiefly for sleeping.
  86. 86. Kalidar Kurta
  87. 87. CASE STUDY
  88. 88. CILENT BOARD Make a salwar kameez for a lecturer in engineering college age 30 to 32 years using any surface design technique ? MY CLIENT CLIENT NAME MRS. REENA CHOUHAN AGE 31 OCCUPATION LECTURER WORKING HOUR 9 to 5 OBSERVATION CALM ,CONFIDENT, INTELLIGENT ,QUALITY , ENERGY ,POWER, BALANCE
  90. 90. IDEA GENERATION C 91 M 75 Y 45 K 71 C100 M 83 Y33 K36 C 0 M 60 Y 100 K 0 C 0 M 0 Y 0 K 100 C 0 M 0 Y0 K80 C 0 M 20 Y60 K20 C 0 M 60 Y 100 K 0 C 75 M 68 Y 65 K 90 C40 M 100 Y0 K0 C 22 M 46 Y100 K3 C 33 M 89 Y100 K49 C84 M 73 Y60 K81
  92. 92. basic block front size 34” basic block back size 34” center panel size 34” side panel size 34” cut 2 piece side panel size 34” cut 2 piece center panel size 34” back size34” basic sleeves size 34” backfront FINAL GARMENT DRAFT
  93. 93. basic block front size 34” basic block back size 34” center panel size 34” side panel size 34” cut 2 piece side panel size 34” cut 2 piece center panel size 34” back size34” basic sleeves size 34” backfront ESTIMATION SHEET