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Richa Tilwani ,Fashion Design Student NSQF Level -6

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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

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Richa Tilwani ,Fashion Design Student NSQF Level -6

  1. 1. RICHA TILWANI FASHION DESIGNER
  2. 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. 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. 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. 5. CONTENT 1 FASHION HISTORY 2 PATTERN ENGINEERING 3 GARMENT TECHNOLOGY 4 SURFACE DESIGN TECHNIQUE 5 CASE STUDY 6 EXTRA WORKING
  6. 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.
  7. 7. 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
  8. 8. 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
  9. 9. 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
  10. 10. 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.
  11. 11. 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
  12. 12. 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
  13. 13. 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
  14. 14. 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.
  15. 15. STRUCTURAL ELEMENTS
  16. 16. 1COLLARS & NECKLINES
  17. 17. 2SLEEVES
  18. 18. 3BODICE
  19. 19. 4TROUSERS
  20. 20. 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.
  21. 21. 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
  22. 22. TIE AND DYE
  23. 23. 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.
  24. 24. PRINT DEVELOPMENT
  25. 25. SAREE DESIGN DESIGN PROJECT
  26. 26. 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.
  27. 27. 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.
  28. 28. 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.
  29. 29. HER COLLECTION ON STAMPS
  30. 30. THE STORY BEHIND MY COLLECTION
  31. 31. 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.
  32. 32. EMPOWERING STAMPS
  33. 33. 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..
  34. 34. BRAINSTROMING
  35. 35. MOOD BOARD
  36. 36. MAKING OF TOILE
  37. 37. MAKING OF FINAL DRESS
  38. 38. FINAL DRESS
  39. 39. EXTRA WORKING
  40. 40. 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.
  41. 41. MY CREATION • PRODUCT:- Cushion Covers • FABRIC:- Cotton • METHOD:- Marbelling and Knotting method
  42. 42. INDUSTRIAL VISIT
  43. 43. 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.

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