Dezyne E'cole College. www.dezyneecole.com

1. Kriti Tolani
2nd Year Diploma in Fashion Design
NSQF Level 6 Of NSDC
How to
Make a
Collection?

2. Project Report
on
How to make Collection
At
Dezyne E’cole College
Submitted to
Dezyne E’cole College
Toward The Partial Fulfillment of the
Two Year Diploma in Fashion Design
By
Kriti Tolani
NSQF Level 6, NSDC
Dezyne E’cole College
2017-18

3. Dezyne E’cole College
Civil Lines, Ajmer
www.dezyneecole.com
This Project Of Ms. Kriti Tolani Student Of 2nd Year Advance Diploma In Fashion Design, Confirming To
NSQF Level 6 Of NSDC Has Been Checked And Graded As __________________________________
Thanking You
Principal [Seal & Signature]
Thanks
Principal
[Seal & Signature]

4. I am Kriti Tolani student of 2nd year diploma Fashion Technology of Dezyne E’cole College, would Like to express my
gratitude to each and every person who has contributed in stimulating suggestions and encouragement which really help
me to coordinate in finishing my project.
I also thank Dezyne E’cole College who provided insight and expertise that greatly assisted the project also a special
thanks to my teachers, Parents and colleagues who have supported me at every step. Not to forget the almighty who
blessed me with good health because of which I worked more efficiently and better.
Kriti Tolani
2nd Year Diploma In Fashion Design
NSQF Level 6, NSDC
Acknowledgement

5. Reviving The Legacy
From Starting, I Was Very Attracted To Indian Culture As Well As By Indian Art And Craft And It
Has Fascinated Me And Even The People Over The World. So Taking Art And Craft Of India As
My Inspiration, I Have Designed A Collection After Studying The Subject ‘How To Make
Collection’ And Taking Knowledge About Various Designers During My Course Of Studies. This
Project Gives An Insight To All The Process And Steps Which Helped Me To Create My
Collection Into Reality.
Synopsis

6. Contents
1. Influences
2. Cristobal Balenciaga
3. Art and Craft Of India
4. Design Development
Brain Storming
Story Board
Mood board
Material Board
5. Motif Development
6. Final creation

7. Influences
It is possible to group or identify common themes in
fashion, those which influence the creative process in
developing a collection, or how we choose to wear
clothes. Recurring influence include traditional
costume, active sports, work wear, the military, politics
and Futurism.
Each new collection can explore a subtle redefinition of
these recurring influences through the use of colors,
fabrics, proportion and juxtaposition.
Archivism
Archivism refers to the way in which designers look
back to previous collections for inspiration. In particular,
the original aesthetic of a well-established label may be
revisited decades later. For example Italian nobleman
Emilio Pucci was popular throughout the 1960s for his
use of wild, colourful patterns taken from Renaissance
paintings, filigree, animals, stained glass windows and
ceramic tiles.
My collection is based on the Archivism influence. I
am inspired from Cristobal Balenciaga's ‘Fit and
Flare’ dress. I am reviving Indian art in the form of
traditional Indian embroideries by taking motifs and
embroideries of different states on that dress.
Influences
Conceptual Influence
Forms & Function
Workwear
Sportswear
Futuristic Influence
Archivism Influence
Global Influence
Political Influence

8. A private man, monastically dedicated to the pursuit of
perfection, Cristobal Balenciaga let his dramatic, fluid
clothes speak for him. Although lauded less than Dior,
he anticipated aspects of the New Look, headed the
most exclusive Paris maison in the immediate post –
war era through the 1950s, helped create 1960s
garment shapes, and most importantly invented a
totally new silhouette for women.
Balenciaga had a legendary talent for cut, seaming, and
finish. He understood how fabric draped and how the
stiff materials he loved dictated sculptural shapes. Born
in a fishing village in Basque Spain, the young
Balenciaga absorbed a great deal from his mother, a
dressmaker to local wealthy women. In his early teens,
a local aristocrat, who later became both patron and
client, helped him secure a superior tailoring
apprenticeship.
An Insight in the principal characteristics of
Balenciaga’s work and his crucial contribution to
the history of fashion and design is on the next
page.
Cristobal Balenciaga
1895-1972

9. A Couturier must
be an architect for
design, a sculptor
for a shape, a
painter for colour, a
musician for
harmony, and a
philosopher for
temperance.

10. Art and Craft of India
From starting, I was very attracted to Indian culture as
well as by Indian art and craft. It is the backbone of
India.
Traditional Indian arts are truly in a league of their own,
the beauty of Indian arts and crafts extends to various
levels. There is the physical beauty which is purely
aesthetic, whether you speak of the vibrant, blue hues
of Rajasthani pottery or the stark symmetric designs of
Warli art. They depict A socio-cultural narration.
Through their forms and motifs, they tell stories and
sagas. On a deeper level, the Indian traditional arts are
fascinating and that has fascinated me and even the
people over the world. But nowadays, it is losing its
identity, people want easy going work which can be
done through machines, so hard work is been lost from
India. Like the Kasuti of Karnataka which was at one
time been the livelihood for people has now being lost.
I am reviving Indian art in my collection, by the use
of Indian traditional embroideries. I am being
inspired by the Archivism influence in which we
revive the past.
I researched and made a list of art and craft of each
states and union territories of India. I also
researched about the Indian traditional clothing.

11. 1.Andhra Pradesh
KalamKari
2. Arunachal
Pradesh Weaving
3. Assam
Muga silk
4. Bihar
Madhubani
5. Chattisgarh
Godna Print
6. Goa-Jute and
Crochet Work
7. Gujrat
Mirror Work
8. Haryana
Surahi-Pottery
9. Himachal
Pradesh Chamba
Rumal
10. Kashmir
Shawla
11. Jharkhand
Channapatna toys
12. Karnataka
Kasuti
13. Kerala
Embroidery
14. Madhya Pradesh
Carpets
15. Maharashtra
Himroo and Mashru
16. Manipur
Shamilami
17. Meghalaya
Weaving
18. Mizoram
Weaving
19. Nagaland
Jewellery
20. Odisha
Pipli Craft
21. Punjab
Phulkari
22. Rajasthan
Bhagru Prints
23. Sikkim-Woven
File fold
24. Tamil Nadu
Tanjore Painting
25. Telangana
Crochet Laces
26. Tripura-Can
and Bamboo work
27. Uttar Pradesh
Chickankari
28. Uttarakhand
Woolen weave
29. West Bengal
Kasuti
30. Delhi
Ivory Carving
31. Daman & Diu
Tortoise Shell Work
32. Lakshdweep
Wood Work

12. Design DevelopmentThis Stage Of Collection Involves The Process Of Designing. It Includes The Storyboard For
my Collection Which Will Then Be Projected With A Titled Concept And Colour And Textures
For Developing The Specific Mood To my Collection Which Will Be Proceeded In The Ideation
Of The Designs.

13. Brain Storming
After The Research Part I Found
That The Indian Traditional Art
And Craft Are Really Very
Interesting. After Taking
Knowledge About Various Arts
And Crafts I Stressed On Where
My Aesthetics And Interest Takes
Me.

14. I Created Story For My Collection, Which Tells That How
Indian Art And Craft Are Dying.
The Traditional Arts Have Stood The Test Of Time-until
Now. I Researched And Found That The Arts And
Crafts Have Shown A Declining Trend Over The Past Few
Decades. After Prospering For Centuries, Many Arts Are
Now Fighting For Survival.
For Example The Case Of Kasuti, A Hand Embroidery
Technique Native To North Karnataka. Despite The Fact
That It Is A 10th Century Craft, Wages Have Traditionally
Been Quite Low And With The Introduction Of Power
Looms And Sewing Machines, An Appreciation For The
Skilled Application Of Hand Embroidery Has Largely Been
Replaced By 'Efficiency' That Enables The Reproduction
Of Such Images In A Very Short Timeframe.” Another
Example Is That Of The Patan Patola, The Ancient Art Of
Double Ikat Weaving. Despite Being A 750-year-old Craft,
It's On The Verge Of Extinction Today, As It's Being
Practised By Only Four Families In Gujarat.
Despite The Flagrant Decline Of Indian Arts, There Is
Hope On The Horizon. A Dedicated Community Of
Individuals And Groups, Scattered All Across The Country,
Are Trying To Protect And Revive Indian Art And Craft.
Their Modes Of Operation Do Differ, But The Objective Is
The Same-to Preserve The Legacy Of Traditional Indian
Arts In All Its Vibrancy And Glory.
Story Board
Reviving A Legacy:
Traditional Indian Arts
With My Collection I Am
Trying To Play My Part
By Protecting Indian Art
And Craft To Protect
Our Glorious Traditions
From Fading Away Into
Oblivion.

15. Shophisticated
Harmonious
rejuvenating
Charm

17. Motif Development
The Indian Traditional Art And Craft Are Really Very Interesting. After Taking Knowledge About
Various arts and crafts of states I Stressed On Where My Aesthetics And Interest Takes Me.
And I found that Embroideries of different states attracted me very much. So I developed a
motif which has motifs of different different states. It has fishes of Kantha embroidery, Paisleys
of Kashida, Mirror work of Gujrat, Murri and fanda work of chickankari, Phulkari motif,
geometric pattern of Kasuti, Ari work, cut work, applique work.

18. 8.66 cm
11cm
Geometric Pattern Of Kasuti
Embroidery
Jali Work With Ari Work
2 Paisley Motif With Chain
Stitch Of Kashida
Murri And Phanda Work Of
Chickankari
2 Fish Motif With Running
Stitch Of Kantha
Geometric Pattern With Satin
Stitch Of Phulkari
Mirror work of Gujrat
This piece of fabric is applied
on the skirt using running
stitch
Motif developed on Corel Draw Colour selection for the developed motif

19. Placement of motif on Fabric
12 cm 10 cm
13 cm 11 cm
14 cm 12 cm
15 cm 13 cm
16 cm 14 cm

20. Final Creation

21. Toile of the
skirt
Draping
Draping
Stitching Of Toile
Fitting and checking
of toile

22. Working On Final
Dress

23. Elements and
Principles Of design in
my dress
Elements:
• Point
• Line
• Shape
• Colour
Principles:
• Repetition
• Gradation
• Contrast
• Proportion
• Balance
• Harmony
• Unity
Color
PANTONE EMERALD:
Pantone No.- 17-5641
C-65
M-0
K-81
Y-23
PANTONE PEACH COBBLER:
Pantone No. – 14-1231
C-0
M-15
Y-27
K-0
Strapless
Wrapped Bodice
Ankle-length
columnar skirt
Embroidery
Flowing Sash

25. THANK YOU
Kriti Tolani
2nd Year Diploma in Fashion Design
NSQF Level 6 Of NSDC