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

1. RICHA TILWANI
FASHION DESIGNER

2. A Project On
HOW TO
COLLECTION
WOMEN’S WEAR
Submitted To
Dezyne E‟cole College, Ajmer
Civil Line,
www.dezyneecole.com
By Richa Tilwani
2nd Year Fashion Design Diploma
Confirming To NSQF Level Of NSDC

3. Dezyne E‟cole College
106/10 Civil Lines
Ajmer-305001, Raj
Tel. 0145-2624679
www.dezyneecole.com
This project report of Mrs. Richa Tilwani student of 2nd Year Fashion Design Diploma, NSQF Level 6 NSDC, has been checked and has been
graded as
Thanking you
Principal
(seal & signature

4. ACKNOWLEDGEMENT
I 'am Richa Tilwani, student of Fashion Design department of Dezyne E‟cole College. I would like to show my gratitude to
the mentors who had helped me in the completion of this project
I also thank Dezyne E‟cole College for giving me this opportunity to make this project and looking for my insight capability
and helped me to understand the working of this project.

5. CONTENT
1 FASHION HISTORY
2 PATTERN ENGINEERING
3 GARMENT TECHNOLOGY
4 SURFACE DESIGN TECHNIQUE
5 CASE STUDY
6 EXTRA WORKING

6. THE FASHION TIMELINE
The Fashion History where I came across the various time
period and how fashion evolved through the time to this age
of dressing a project on timeline of Fashion History and
major inspiration of famous designer study was done by me
by which I had made a timeline chart which shows all the
time periods and the fashion involved there. The chart
showcases about the study of fashion in earlier times and the
designers collection which you can see in the chart and the
following link.

15. FASHION MARKETING
Fashion marketing is the application of a range of techniques
and a business philosophy that centers upon the customer
and potential customer of clothing and related products and
service in order to meet the long-term goals of the
organization. The very nature of fashion, where change is
intrinsic, gives different emphasis to marketing activities.
The role of design in both leading and reflecting consumer
demand results in a variety of approaches to fashion
marketing.
Design centered Fashion
marketing
concept
Failure Marketing
centered
Low High
Low
High
Concern for customers and profit
Concernfor
fashiondesign

16. Fashion marketing organization
Customers Design
research
Price, Products And Service, Place, Promotion,
Marketing Mix
Marketing
research
Marketing Environment
The structure indicates of all the firms operate within a
wider commercial environment that influences their
activities. Changes in value added tax may inhibit
demand for certain garments whereas a fall in
unemployment may stimulate demand for work wear.
The Fashion Marketing Process
Apart from technology, another reason why fashion is
now available to the masses that there are several levels
at which fashion clothing functions.
Haute Couture
Designer wear
Street fashion or
mass market
Trickle
up
Trickle
down

17. DESIGN BASICS
Design is a matter of mixing known elements in new and
exciting ways in order to create fresh and pleasing
combination. Generally, a successful and good design is
achieved when all the elements and principles of design
work together harmoniously with the theme of the garment is
carried out with nothing overdone or forgotten. “ The
formula to create good designs must incorporate a
harmonious combination of all the design elements and
principles.
+ + =
The Principles
Of Design
Balance
Proportion
Emphasis
Rhythm
The Elements
Of Design
Line
Shape
Texture
Pattern
Colour
Harmony
Pleasing visual unity
GOOD DESIGN

18. FASHION DESIGN ELEMENTS:-
The main elements of fashion design are line, shape, texture,
pattern and colour. Awareness on 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 to good designing.

19. PATTERN ENGINEERING
As a student of fashion design I‟ve learnt many things. One
important consideration before we start designing is to focus
on the different kinds of silhouettes developed through the
years in fashion timeline. Along with t he silhouettes we
have to focus on the different kinds of silhouettes developed
through the years in fashion timeline. Along with the
silhouettes we have to focus on the elements and the
principles to be followed while developing a design,. This
generation of silhouette, I learnt through the practical
experienced during my study of draping and garment
construction. The garment construction taught me the basics
of stitching and how fabric behaves when cut on the straight
grain and bias. Pattern engineering has two methods:-
Pattern Engineering
Draping MethodFlat-Pattern Method

20. Flat pattern method is a method where in 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. Flat
pattern making should be done in conjunction with a dress
form so that as the design evolves, proportion and the
balance in the garment can be checked side by side.
Flat pattern cutting is now widely used because of its
accuracy of sizing and the speed with which complicated
design are made.
• This method is logical and easy to understand
• It brings consistency and accuracy of both size and fit of
mass-produced garments.
FLAT-PATTERN METHOD

21. Draping method is the oldest method and is generally
regarded as a creative approach. In this method a piece of
two-dimensional fabric is draped directly on a dress form or
figure and made to fit on the dress form to achieve the
desired look or shape. The fabric may conform to the basic
shape of the form or be arranged artistically in folds for a
specific design.
FASHION DRAPING

24. GARMENT TECHNOLOGY
After doing a study on how people accepted history in the
past and how fashion evolved I studied about the garment
Technology because for creating any design creating any
design creation just ideas will not be sufficient which also
includes structural elements like trousers, collars, necklines,
sleeves and bodice. I will have to pay attention to the various
other points like the garment costing, pattern cuttings and
trimmings, fusing, pressing and quality check of the
garments. In this regard I had done a in-depth study of the
same in the subject garment technology before developing a
collection we created a look book and a project on this which
can be seen on the following link.

25. STRUCTURAL ELEMENTS

26. 1COLLARS & NECKLINES

28. 2SLEEVES

30. 3BODICE

32. 4TROUSERS

41. SURFACE DESIGN TECHNIQUE
Surface design technique is essentially the process of
creating designs for woven, knitted or printed fabrics or
surface ornamented fabrics.
It can be done through the printing, embroidery, applique
work, patchwork, quilting, fabric manipulation. Surface
design is used to decorate the fabric surface through different
techniques which gives the fabric a new look.

42. TIE AND DYE
Tie and dye or tie-dyeing is a resist-dyeing process. It
consists 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 these areas which are resisted.
In India tie and dye was known as „bandana‟ work. This has
become associated with the small resist or coloured spots,
which are arranged to form pattern on a dyed ground.
Techniques of tying fabric:-
• Marbelling
• Twisting and Coiling
• Knotting
• Binding

43. TIE AND DYE

48. PRINT DEVELOPMENT
Print development is the process of applying colours to
fabric in definite patterns or designs. In properly printed
fabrics the colour is bonded with the fibre, so as to resist
washing and friction. Textile printing is related to dyeing
properly the whole fabric uniformly.
In printing, wooden blocks, stencils, engraved plates, rollers,
or silkscreens can be used to place colours on the fabric.
Colourants used in printing contain dyes thickened to
prevent the colour from spreading by capillary attraction
beyond the limits of the pattern or design.

49. PRINT DEVELOPMENT

51. SAREE DESIGN DESIGN PROJECT

55. CASE STUDY
As a student of 2nd year Fashion Design I 'am supposed to design a collection for my year end portfolio
submission to the industry. This portfolio showcases my skill sets to the Fashion Design Industry. I request the
industry professionals to make my selection to the industry based on the skills I have showcased here in the
following pages:-
• To make my portfolio college has provided us with a case study which is as under:-
1. You are supposed to design the collection for a young women of age group of 24-26. the students have to
create a collection of dresses.
2. The student has to clearly state about their collection.

56. During my study program I studied about the various designers in which I got inspired from Robert-Cary William‟s
“STAMPS COLLECTION”.
• Robert- Cary William:- An avant-garde British
Fashion Designer. His clothes have been described as
experimental severe, “yet surprisingly wearable
deconstructed designs, which fused military references
with an essence of vintage couture, often dotted with his
trademark gunshot holes. He also used to work upon
stamps which was on the sun newspaper.

57. Basically, by the inspiration of stamps by the designer Robert-Cary William. I researched about more designers who worked
on stamps collection:-
• Mary Katrantzou:- A Greek Fashion Designer who
currently lives and works in London graduating from her
Bachelor course in 2005, Katrantzou switched her focus
from prints for interiors to fashion prints.
• As I was more inspired by stamps so I focused on her
stamps collection. She is digital print queen of her
generation. She used postage stamps and bank notes
from different countries including Mongolia and Finland
for her prints. She used the Mongolian Vintage Postage
stamps for prints.

58. HER COLLECTION ON STAMPS

60. THE STORY BEHIND MY
COLLECTION

61. As I was very much inspired by Robert-Cary William and Mary Katrantzou and their Designer related to stamps. I was
constantly searching for an idea to spark for my collection. It was then I remembered my brother‟s passion and hobby of
collecting stamps that is PHILATELY. I requested him to show his collection and when I saw that I got the idea to work
ahead.

62. EMPOWERING
STAMPS

63. I went on searching and seeing all stamps and then finally I was fascinated by one of the stamps which is
very important “THE REVENUE STAMP” because of its red colour because I want to show my dress
powerful..

64. BRAINSTROMING

65. MOOD BOARD

66. MAKING OF TOILE

67. MAKING OF
FINAL DRESS

68. FINAL DRESS

69. EXTRA WORKING

70. Participated in annual event “KALEIDOSCOPE” in which
we‟d made the dress which has the 24 panels skirts and the
side panel kurta. In which we‟d done the doodling with
hands of different patterns and I‟d chosen the foliage pattern
and dubbed it with particular colour.

72. MY CREATION
• PRODUCT:- Cushion Covers
• FABRIC:- Cotton
• METHOD:- Marbelling and Knotting method

73. INDUSTRIAL VISIT

74. As we were gone to the industrial visit Bagru which is near Jaipur. Here we learnt about the tying and dyeing method
through different processes. We also learnt about the different procedures that how the used to make the plain garment to
printed garment. They use various process to dye a fabric and to sell it out. We learnt about the temperature, time periods
methods and many other things about the place and the things.