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Mamta Manwani. ,Fashion Design Second year Diploma Student of Dezyne E'cole College

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Portfolio of Student of Dezyne E'cole College ,Mamta Manwani ,student second year diploma programme alng with her B.Sc-Fashion Design .This is her complete showcasing of her year working of second year .www.dezyneecole.com

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Mamta Manwani. ,Fashion Design Second year Diploma Student of Dezyne E'cole College

  1. 1. On Development Of Collection Women’s Wear At Dezyne E’cole College Submitted Towards The Partial Fulfillment Of The Two Year Diploma In Fashion Design Confirming To NSQF Level 6 Of NSDC By Mamta Manwani Dezyne E’cole College 106/10,civil Lines ,Ajmer Tel:0145-2624679 www.dezyneecole.Com 2016-17 Project Report
  2. 2. Dezyne E’cole College Civil Lines, Ajmer www.dezyneecole.com This Project Of Ms. Mamta Manwani 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]
  3. 3. I take this opportunity to express my profound gratitude and deep regards to Dezyne E’cole College for their exemplary guidance, monitoring and constant encouragement throughout the course of this project. I also take this opportunity to express a deep sense of gratitude to the mentors of Dezyne E’cole College for their cardinal support, valuable information and guidance, which helped me in completing this task through various stages. MAMTA MANWANI ACKNOWLEDGEMENT
  4. 4. SYNOPSIS During my course of study I learned about fashion history and took a lot I inspirations from the history. Then I made a fashion timeline in which I collected all the historical inventions that I liked the most. I also learned the fashion market and design basic to achieve the needs and desire of my clients. Also garment engineering and designing the surface are important aspects to be learned to manipulate these basic in in own creation. After learning all of these topics in the field of fashion design, I worked upon my own collection where i was given a case study to design a collection for young working women, in which I designed 6 coats and jackets for women and constructed one out six in reality. Not only this I worked upon one more collection in which I was inspired from the crystals and colours inside the glacial caves. I've also done some extra works which I’ve included in this project.
  5. 5. Fashion Studies Fashion History Fashion Timeline Fashion Market Design Basics1 Garment Structure & Surface Design Pattern Engineering Garment Technology Print Development Saree Design Project2 Collection Making Project 1 : I Named Her Allura Project 2 : Frozen Blue 3 Other Skills Doodle work Paper Dresses Neckties Pockets Waist belts4
  6. 6. Fashion Studies Fashion History Fashion Timeline Fashion Market Design Basics 1
  7. 7. The Fashion History To generate the look book of ideas I studied ‘The Fashion History’ during my study program. Where I came across with the various time periods and how fashion evolved through that time to this age of dressing. A project on the timeline of fashion history and major inspirations of famous designers study was done by me, which you can see in the following slides as snapshots.
  8. 8. The Fashion Timeline After studying fashion history I got to know about how different concepts have been chosen by the fashion designers and how they worked upon their collection. I also studied the market to understand the client as well as to make my creations acceptable by the people. I also came across with award names in the field of fashion design. To collect all the information at a sepal point place I decided to write it down in a timeline format, which includes the changes in fashion and the famous fashion designers with their remarkable collections. I also highlighted a few points which I liked the most about that very time period. The main purpose behind making this paper is to provide myself a guideline while working upon my own collection project. That’s like what I’m supposed to make ? How to make ? And for whom to make ?
  9. 9. Fashion Market The continual change, i.e. fashion, involves the exercise of creative design skills which result in products that range from the basic to the rare and elaborate. The creative design personnel provide part of the mechanism by which the industry responds to the need of change. At the same time the ability to identify products that the customer needs and will buy is also essential to the industry. Marketing can help to provide this additional and skills needed to ensure that the creative component is used to best advantage, allowing businesses to succeed and grow. During my course of study I learned about different market levels, market concept, fashion cycle, etc.
  10. 10. Fashion Markets Fashion Market Haute Couture Pret-A-Porter Mass Market Haute Couture : Haute couture houses are the major fashion houses of the world, run by recognized, internationally famous designers. Pret-a-porter : Pret-a-porter is designer wear. The move into ready to wear clothing by designers meant that they could offer their stylish designs and high quality to a wider audience. Mass Market : Mass market or street fashion is the market area in which most people buy their clothes. New fashions can be in the high street stores extremely quickly and what the customers lose in exclusively they can make up for in value for money.
  11. 11. Fashion Market ConceptDesign Centered Fashion Marketing Concept Failure Marketing Centered ConcernFor FashionDesign High Low Low High Concern For Customers And Profit low concern for customers, profit and design leads to failure. This occurs as a consequence of overestimating design ability while disregarding custom preferences and the need for profit. The fashion marketing concept attempts to embrace the positive aspects of high concern for design customers and profit by recognizing the of marketing and design. If designers under stand how marketing can enhance the creative process and marketing personnel appreciate that within the fashion industry design can lead as well as respond to customer requirements, progress can be made.
  12. 12. Fashion Cycle Fashion cycle – a period of time or life span during which the fashion exists, moving through the five stages from introduction through obsolescence. When a customer purchases and wears a certain style, that style is considered accepted. The acceptance leads to the style becoming a fashion.
  13. 13. Levels Of Fashion Market Prét-A- Porter Mass Market Haute Couture Trickle Across Trickle up Theory: Trickle up Theory of fashion suggests that the flow of fashion moves upwards from the poor to the wealthy or from the lower class to the upper class. It is opposite to the trickle-down effect. Pertaining to the theory that change and information moves upward in a hierarchy. Trickle Down Theory: Fashion begins at the top of the class structure & spreads downward, slowly, through the class structure. The people of the upper class display their wealth by participating in an extravagant lifestyle, including wearing apparel made of expensive modes of production and using costly materials. One person’s style is towards imitation; the other’s is towards differentiation. Trickle Across Theory: The Trickle Across Theory is a hypothesis that states that fashion acceptance begins among several social classes at the same time. There are fashion leaders in all groups. Members of each social group look at the leaders of their own group for fashion trends.
  14. 14. Design Basics
  15. 15. Principles And Aesthetics Beauty is a quality that gives pleasure to the sense. It creates a positive emotional reaction in the viewer. Most psychologists believe beauty and aesthetic are essential to human life. The principles of aesthetic constitute an important part of the Aesthetic Values required in fashion design, which are also the determinants of the effect of any designs. Aesthetic value and aesthetic judgment both play important roles in the success of any designs. These two aspects help to judge any designs objectively. PRINCIPLESOFDESIGN BALANCE PROPORTION EMPHASIS RHYTHM
  16. 16. Fashion Design Elements Design is a matter of mixing known elements in new and exiting ways n order to create fresh and pleasing combinations. The main elements of fashion design are line, shape, texture, pattern and colour. Awareness of these elements will help to evaluate whether a design is good or not, create fashion illusions and spot trends and changes in the fashion world. In addition, understanding how these elements can be executed and manipulated is essential for good designing. ELEMENTSOFDESIGN LINE SHAPE TEXTURE PATTERN COLOUR
  17. 17. Good Design The formula to create good designs must incorporate a harmonious combination of all the design elements and principles. Design is the plan used to put an idea together, the process of designing is the selecting and combining of the design elements according to the principles of design in order to achieve harmony. THE PRINCIPLES OF DESIGN THE ELEMENTS OF DESIGN HARMONY GOOD DESIGN
  18. 18. Garment Structure & Surface Design Pattern Engineering Garment Technology Print Development Saree Design Project2
  19. 19. Pattern Engineering Being a fashion designer one important consideration before I start designing is to focus on the different kinds of silhouette developed through the years in the fashion timeline. Along with the silhouette we have to be followed while developing a design. This generation of silhouette I learnt through the practical experience during my study of draping and garment construction. The garment construction taught me the basics of stitching and how a fabric behaves when cut on straight grain and bias.
  20. 20. Flat Pattern Method Flat pattern method is a method where the body or dress form measurements are taken for developing a pattern. Following a logical stepwise procedure, the measurements are then converted into a pattern. In other words this system depends on accurate measurements to complete the paper pattern. There are limitless designs, which can be achieved for workable garments. Flat pattern making should be done in conjunction with a dress form so that as the design evolves, proportion and balance in the garment can be checked side by side. It is important to transfer the pattern on to a muslin (toile) to test the fit, on a dress form or a human figure.
  21. 21. Fashion Draping Many a times it is not possible for a designer to directly create a draft of a design when the designer wants to see the look of a toile on a dummy. Then there is the need of an art of draping, in which one can directly drape a fabric on a dress form. It’s a technique used by designers to create garments by draping fabric on dress from. A pattern is then cut from the designer’s sample garment. The garment is made of unstitched cloth that is held to the body by means of pins, fibulae, or clasps, sashes or belts tying, or frictional gravity alone. Many draped garments are one piece. Even when there is a need to give some natural falls to the garment according to the design through draping it is done.. Also there are so many arts of draping includes, vertex and origami lets a designer to create something that is out of reach from the mind of common people. Snapshots of the garments learnt under this section have been showcased in the following slides.
  22. 22. Garment Engineering Under a free enterprise system it is accepted by the business world that money is the name of game, and the clothing industry is no exception. Under this topic I learnt about pre sales design room process, proper utilization of materials, garment trimmings etc. I also learnt about the principles of fusing technology, sewing technology, pressing technology and finishing and inspection of the garment. A great deal of responsibility is involved when a completed sample is handed over to the marketing department. By this action the designer has confirmed that the garment meets all the planned, relevant commercial and technical criteria, and above all that the quality is precisely what is required by the market. Following slides will showcase the outcome of my learning under this topic.
  23. 23. Surface Ornamentation Surface ornamentation is a way of designing t he surface of the fabric either structurally or decorative. Designing the surface of fabric gives fabric a volume and an attractive look whenever required. It works like a major helping agent while designing the outfit for an individual not having a standard body figure. This technique is very much useful when used in garments keeping the elements and principles of design in mind. One can design extraordinary things if he/she has knowledge about several surface design techniques. These includes, fabric manipulation, traditional Indian embroideries, traditional Indian woven textiles, dyed textiles, printed textiles, painted textiles etc.
  24. 24. Tie & Dye Tie and dye is a resist dyeing process. It consist of knotting, binding, folding or sewing certain parts of the cloth in such a way that when it is dyed the dye cannot penetrate into those areas which are resisted. The different methods of tie & dye are twisting and coiling, stitching, folding and binding method.
  25. 25. Print Development I was assigned a task to work with geometry and a square of size 3” I had to inscribe the ideas inside it. Nearly 15 such ideas using geometry inscribed inside the square had to select any five ideas and then repeat them through simple repetition. After this repetition I had to check this idea with colours using achromatic, monochromatic and simple complementary colour scheme in the 5 selected ideas followed by the use of Photoshop. We used Photoshop for generating prints further and finally applying same on the shift dress.
  26. 26. Traditional Indian Sarees The saree is a traditional garment worn by most Indian women. The word saree described In Sanskrit ‘Sati’ which means ‘strip of cloth’ and ‘sadi’ in Pali, and which was corrupted to saree in modern Indian Language. Although at present there is a lot of western influence in the way people dress. Today, saree comprises over 30% of total textile mills, the number of saree-manufacturing centers are in hundreds and so there are innumerable types of fabrics, weaving techniques, methods of dying, printing or embellishing, designing patterns, kind of motifs, colour scheme etc. can be found. There is something about the saree that makes a woman look dignified, charming and every bit stylish. Over the years, the saree has evolved into a fashion statement which most fashion designers glorify the look and feel of this traditional garment. A saree consist of a drape varying from five to nine yards in length and two to four feet in breadth, that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff. There are various styles of saree draping, the most common being the Navi style, which originated in Andhra Pradesh. The saree is usually worn over a petticoat, with a fitted upper garment commonly called a blouse. The saree is associated with grace and is widely regarded as a symbol of grace in cultures of the Indian Subcontinent. Assignments done under this topic are in the following slides.
  27. 27. Collection Making Project 1 : I Named Her Allura Project 2 : Frozen Blue 3
  28. 28. I Named Her Allura By
  29. 29. Case Study I Named Her Allura By To design a collection of coats and jackets for young working women of age group 26-28 years. The student have to create a collection comprising of nearly 6-8 dresses. The student have to clearly state about their collection the following points: 1. Story Boards 2. The Market 3. Influence 4. Illustrations 5. Garment Technology Processes 6. Final Look 7. Label
  30. 30. Design Rationale Clientele Market Level Muse I Named Her Allura By
  31. 31. Clientele Age group: 26-28 years Profession: CEO, Manager, Boss, Leader Prominent : Confident, bold, Powerful, traits Energetic, Leading, Moving. Occasion: Multiple occasions Observations In the market there are multiple women who will look forward to my collection. I have seen many young woman in India who a working by their own and most of them are business women. This new change has lead me towards this collection and I’ve made many more observations to consider while working upon this collection I Named Her Allura By
  32. 32. Market Level I Named Her Allura By PRÉT-A-PORTER FASHION MARKET HAUTE COUTURE PRET-A- PORTER MASS MARKET
  33. 33. Muse I Named Her Allura By The muse taken for this case study is a working woman who owns a post of CEO in a company and she is elegant, powerful, bold and energetic.
  34. 34. Design Rationale Inspiration Influence I Named Her Allura By
  35. 35. Inspiration I Named Her Allura By The "executive look which first found expression in the 1970s as part of the working woman's wardrobe, matured by the mid-1980s into "power dressing". It was only when enough women were clearly established as authoritative in the work environment, that it was possible to renovate the women suit: no more feminized imitations of men’s professional garments but suit different in fabric, cut, color and ornament, helping women to show both their authority and their femininity. Wearing a suit did not represent an effort to camouflage with men but an effort to stand out and define a clear visual presence. In fact, it was only in the second half of the 1980s that more feminine garments were introduced in the "power uniform". For instance blouse, usually seen as romantic, were now worn with intricate stock or cravat effect neck wrappings, made up in silk or polyester satin foulard. Jersey knit bodies, were used to have an elegant silhouette.
  36. 36. Influence I Named Her Allura By INFLUENCES CONCEPTUAL FORM & FUNCTION WORKWEAR SPORTSWEAR FUTURISTIC POLITICAL GLOBAL ARCHIVISM Form And Functions
  37. 37. Story Boards Mood Board Research Material Board I Named Her Allura By
  38. 38. Mood Board I Named Her Allura By In the mood for of this collection I’ve collected all the key wards and tearing from the magazines. Also all the colours that are related to the mood of my design. The mood that I’ve selected here is energetic and powerful mood.
  39. 39. Research I Named Her Allura By I searched various cutting lines in women's coats and jackets to make further variations in it. Also I searched about the details that I can use during the ideation process.
  40. 40. Material Board I Named Her Allura By Wool 100% Satin Stitching Threads Shoulder Pads Buttons
  41. 41. Ideation Process Brainstorming Illustrations I Named Her Allura By
  42. 42. Brainstorming I Named Her Allura By This process helped me to figure out what exactly I want to create. I collected all of the ideas that came into my mind while studying for this collection.
  43. 43. Illustrations I Named Her Allura By After the ideation process I selected 6 ideas out of more then 20 ideas. I illustrated those ideas and made illustration board.
  44. 44. Pre Sales Design Room Process Specification Drafts Marker Costing I Named Her Allura By
  45. 45. Specifications I Named Her Allura By This specification sheet of selected design consist of all the details with flat drawing.
  46. 46. Drafts Of Design I Named Her Allura By
  47. 47. Marker Planning I Named Her Allura By
  48. 48. I Named Her Allura By Costing
  49. 49. The Final Collection Making Of The Dress Elements & Principles Used Design Explanation Final Dress Collection Name Designer’s Label I Named Her Allura By
  50. 50. Making Of The Outfit I Named Her Allura By Toile Making Marking & Cutting & Sewing Final Trial
  51. 51. Elements And Principles Used I Named Her Allura By Repetition Rhythm Asymmetrical Balance A design is not considered as a good design without the use of elements and principles, these are important to be used to make it completely wearable. I’ve used following principles in my design.
  52. 52. Design Explanation I Named Her Allura By As the influence that I’ve chosen for this collection is ‘forms and functions’, I’ve made certain variations in the cutting lines of following coat which are explained below. S-shape placket line which is ending a bit longer then the usual one Jacket pockets are been used over here Princess Line which is not crossing the bust line instead it is given a bit aside to hide the curves.
  53. 53. Final Dress I Named Her Allura By
  54. 54. I Named Her Allura Collection Name I’ve selected ‘I named her Allura’ title for this collection because whenever a woman names her daughter she use to give a name that relates to what she wants her daughter to become. ‘Allura’ means strength, power and an attractive woman. She expects her to become powerful independent and attractive. So with these expectations she names her Allura.
  55. 55. I Named Her Allura By Designer’s Label Designing a label for a collection is the most important process. It is the identity of the collection. For this collection I’ve chosen a finger nail shape as women use to grow their nail and it’s a part of feminism.
  56. 56. Frozen Blue
  57. 57. Market Level HAUTE COUTURE FASHION MARKET HAUTE COUTURE PRET-A- PORTER MASS MARKET
  58. 58. Design Rationale Inspiration Influence
  59. 59. Inspiration From a very long time I was very much attracted towards the beauty of snowfall. Although many people relate snow with silence and death but I believe this is like a heaven and the most beautiful thing on earth. I always wanted to take the colours and crystals inside the glacial caves onto the dress.
  60. 60. Influence INFLUENCES CONCEPTUAL FORM & FUNCTION WORKWEAR SPORTSWEAR FUTURISTIC POLITICAL GLOBAL ARCHIVISM CONCEPTUAL INFLUENCE
  61. 61. Story Boards Mood Board Research
  62. 62. Mood Board For the mood board of this collection I’ve collected all the key wards and tearing from the magazines. Also all the colours that are related to the mood of my design. The mood that I’ve selected here is cold and icy. I’ve taken all the colours that appear while the lights scatter through the crystals inside the glacial caves.
  63. 63. Research During my research for making of this collection I came across with a very few designers who have taken snow as their inspiration. So I collected a few ideas to try to come up with new ones.
  64. 64. Ideation Process Illustrations
  65. 65. Illustrations For this collection I made 4 illustrations and tried to take up the concept of glacial caves onto my dress designs.
  66. 66. The Outfit Making Of The Dress Design Explanation Final Dress Designer’s Label
  67. 67. Making Of Dress
  68. 68. Design Explanation The dress below is made just to see the look of the dress when made into reality. The trash DVDs are used on low cost fabric to create the look and the fabric is hand painted. Expensive embellishments can be used while making it for haute couture market. The design is explained below. Gradation is used for the eye movement from down to upward Stiff collar is used with reflecting crystals With the acrylic colours the effect of lines that can be seen on the layers of glacial is created here.
  69. 69. Final Dress
  70. 70. Designer’s Label Frozen Blue As this collection is inspired from crystals inside the caves I’ve taken the shape of snow flake for the label.
  71. 71. Other Skills Doodle work Paper Dresses Neckties Pockets Waist belts4
  72. 72. Doodle Dress I participated in Kaliedoscope annual event fashion show in which printed the fabric using doodling method and coloured the fabric using gradation. Here I selected fish motif and repeated it on a gored skirt.
  73. 73. Paper Dresses I also participated in annual identity exhibition where we were assigned a task to create dresses using papers. Under this project our team made two dresses one of which was inspired from nature and we used origami to construct that. Another one was inspired from Islamic cut work in which we took snow flakes as motif.
  74. 74. Neckties Other than my course I also studied about neckties and made a few creations and also practiced different types of knots.
  75. 75. Pockets I also studied about various types of pockets and as I was inspired with English alphabets and shapes I designed a few pockets.
  76. 76. Waist belts After studying history of fashion there were many different things that were inspiring. Taking peplums from Christian Dior's ‘New Look’ as inspiration I designed a few waist belts and made them stiff to change the silhouette.
  77. 77. Industrial Visits Bagru Hand Block Printing Brocade of Banaras 5
  78. 78. Bagru We traveled to Bagru, 30 km from Jaipur for block printing workshop. Bagru is a town that is famous for their expertise in block printing and more specifically, their printing with vegetable and natural dyes. Bagru printing is one of the traditional techniques of printing with natural colour followed by the chippas of a remote place of Rajasthan. The process starts from preparing the cloth to finished printed fabrics through their indigenous methods. Motifs having some specialty are transferred onto light coloured background with wooden blocks following two styles direct and resist style.
  79. 79. Brocade Brocade is a class of richly decorative shuttle- woven fabrics, often made in colored silks and with or without gold and silver threads. I visited to some Silk Houses in Banaras where I saw how actually this beautiful textiles are made.
  80. 80. THANK YOU FOR WATCHING By Mamta Manwani 2nd Year Diploma In Fashion Design Confirming To NSQF Level 6 Of NSDC Dezyne E’cole College

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