Rishita Pahariya ,Fashion Design ,Dezyne E'cole College

Rishita Paharya
2nd Year Fashion Design Diploma.
Confirming to NSQF Level 6 of NSDC.
PORTFOLIO
Rishita Paharya
2nd Year Fashion Design Diploma.
Confirming to NSQF Level 6 of NSDC.

Project Report
On
Portfolio
At
Dezyne E'cole College
Submitted to
Towards
Partial Fulfillment
Of 2nd year Fashion Design Diploma
NSQF Level 6 Of NSDC
By
Rishita Paharya
www.dezyneecole.com
2017-2018
Project Report
On
Portfolio
At
Submitted to
Towards
Partial Fulfillment
Of 2nd year Fashion Design Diploma
NSQF Level 6 Of NSDC
By
Rishita Paharya
www.dezyneecole.com
2017-2018

The project of Ms. RISHITA PAHARYA Student of 2nd year Fashion Design with two year Women’s
Wear Fashion Diploma Programme has been Checked and Graded As - _____________
_____________________________________
Thanks
Principal
(Signature & Seal)
Today a Reader
Tomorrow A Leader
Dezyne E’cole College
Civil Lines, Ajmer
www.dezyneecole.com
The project of Ms. RISHITA PAHARYA Student of 2nd year Fashion Design with two year Women’s
Wear Fashion Diploma Programme has been Checked and Graded As - _____________
_____________________________________
Thanks
Principal
(Signature & Seal)

ACKNOWLEDGEMENT
I am deeply grateful to all those whose guidance has been of tremendous value and enabled me to
complete this project successfully.
I am thankful to my mentors of Dezyne E’cole who gave me an opportunity to show my abilities by
working on this project on the esteem organization.
RISHITA PAHARYA
2nd Year Diploma in Fashion Technology
ACKNOWLEDGEMENT
RISHITA PAHARYA

SYNOPSIS
The purpose of this portfolio is to showcase my work done during the course of my study at Dezyne
E’cole College.
This includes various projects and case studies. It starts with Foundation Design that includes the
Elements and Principles of Design. And based on this I have designed a collection inspired by fashion
designer Issey Miyake on Plisse’ Effect. I have also worked on orbito that is the pattern making
software and the project on print development that includes the repeat patterns and designs of saree
borders.
After gaining knowledge of all the subjects, I have designed a collection based on archives in which I
tried to combine the traditional Indian art and craft with style lines.
You can see my working in the following pages.
The purpose of this portfolio is to showcase my work done during the course of my study at Dezyne
E’cole College.
This includes various projects and case studies. It starts with Foundation Design that includes the
Elements and Principles of Design. And based on this I have designed a collection inspired by fashion
designer Issey Miyake on Plisse’ Effect. I have also worked on orbito that is the pattern making
software and the project on print development that includes the repeat patterns and designs of saree
borders.
After gaining knowledge of all the subjects, I have designed a collection based on archives in which I
tried to combine the traditional Indian art and craft with style lines.
You can see my working in the following pages.

CONTENTS
Foundation Design
Plisse’ Effect
Print Development
Pattern Engineering- CAD
Collection

Rishita Paharya
2nd Year Diploma in Fashion Design (NSQF Level 6 Of NSDC)

In my study program I have learnt about the Elements of Design as they are the
fundamental components of any design composition. They are required to be arranged
as components for creating design compositions. Elements include Point, Line, Shape,
Color, Texture and Value. A point always has a dimension and it is the simplest of the
design element. Lines has various types such as Vertical line, Horizontal line, and
Diagonal line and each line has a different impact on the human body. These lines help in
creating shapes. I have created various basic shapes like- pentagon, hexagon, heptagon
etc. which will help me in pattern making, graphic design and sari design.
The golden ratio- in the form of golden rectangle in which the ratio of the longer side to
the shorter is the golden ratio, believing this proportion to be aesthetically pleasing. The
Fibonacci sequence ties directly into the golden Ratio because if you take any two
successive Fibonacci numbers their ratio is very close to the golden ratio.
INTRODUCTION
In my study program I have learnt about the Elements of Design as they are the
fundamental components of any design composition. They are required to be arranged
as components for creating design compositions. Elements include Point, Line, Shape,
Color, Texture and Value. A point always has a dimension and it is the simplest of the
design element. Lines has various types such as Vertical line, Horizontal line, and
Diagonal line and each line has a different impact on the human body. These lines help in
creating shapes. I have created various basic shapes like- pentagon, hexagon, heptagon
etc. which will help me in pattern making, graphic design and sari design.
The golden ratio- in the form of golden rectangle in which the ratio of the longer side to
the shorter is the golden ratio, believing this proportion to be aesthetically pleasing. The
Fibonacci sequence ties directly into the golden Ratio because if you take any two
successive Fibonacci numbers their ratio is very close to the golden ratio.

I have also worked on Islamic patterns which are made with geometric patterns rather
than figurative images. These patterns are created using repeated circles and squares
which maybe overlapped or interlace to form complex patterns.
After making all the two dimensional designs, I have worked upon forms and paper
foldings.
I have learnt how the principles of design ascertain the manner in which the elements of
design are organized to create a framework for design. They are termed as Designers
tools for design solutions. The formula to create good designs must incorporate a
harmonious combination of all the design elements and principles.
My work has been shown in the following pages.
I have also worked on Islamic patterns which are made with geometric patterns rather
than figurative images. These patterns are created using repeated circles and squares
which maybe overlapped or interlace to form complex patterns.
After making all the two dimensional designs, I have worked upon forms and paper
foldings.
I have learnt how the principles of design ascertain the manner in which the elements of
design are organized to create a framework for design. They are termed as Designers
My work has been shown in the following pages.

ELEMENTS
of
DESIGN
ELEMENTS
of
DESIGN

The Elements of design are the fundamental components of any design composition. They
are required to be arranged as components for creating design compositions.
The following elements of design include:
 Point
 Line
 Shape
 Color
 Texture
 Value
 Plane
 Volume
 Form
 Mass
 Space
 Ornament
 Time
 Place
 Structural Design
 Decorative Design
 Structure
 Light
 Pattern
INTRODUCTION
The Elements of design are the fundamental components of any design composition. They
are required to be arranged as components for creating design compositions.
The following elements of design include:
 Point
 Line
 Shape
 Color
 Texture
 Value
 Plane
 Volume
 Form
 Mass
 Space
 Ornament
 Time
 Place
 Structural Design
 Decorative Design
 Structure
 Light
 Pattern

Line is the simplest of the design element. It has linear dimension. It is a series of connected
points. All lines have direction, Length and width.
Line has various types:
1. Line By Position
This involves straight lines, diagonal lines,
intersecting lines, and parallel lines.
LINE
2. Line By Direction
This includes converging and radiating lines.
3. Line Weight
This refers to adding weight to a line.
Radiating Converging

Lines are of various types, and they can
be used in a garment in a variety of
ways. It could be through print, weave,
surface ornamentation, structural,
decorative, trims and haberdashery as
well. Here I have made few different
types of lines. It could be zigzag, clouds,
loops and many more.
TYPES OF LINES
Lines are of various types, and they can
be used in a garment in a variety of
ways. It could be through print, weave,
surface ornamentation, structural,
decorative, trims and haberdashery as
well. Here I have made few different
types of lines. It could be zigzag, clouds,
loops and many more.

SHAPE
In the fashion industry, the term silhouette is normally used to describe the shape of garment.
Silhouette is a fundamental consideration in the design process. Lines help in creating shapes
and they can be incorporated in fashion in variety of ways. It could be structural in the form of
yoke, gores, panels or decorative like print, surface ornamentation etc. Shape can be used in a
dress in a variety of ways as follows,
In the fashion industry, the term silhouette is normally used to describe the shape of garment.
Silhouette is a fundamental consideration in the design process. Lines help in creating shapes
and they can be incorporated in fashion in variety of ways. It could be structural in the form of
yoke, gores, panels or decorative like print, surface ornamentation etc. Shape can be used in a
dress in a variety of ways as follows,
Surface
Design
Prints
Weave
Garment
Construction

WORKING WITH TRIANGLE
This motif has been created on paper by hand. This motif has been created on corel draw.

WORKING WITH SQUARE

WORKING WITH PENTAGON

WORKING WITH SEPTATAGON

WORKING WITH OCTAGON

WORKING WITH DECAGON

1
THE GOLDEN RECTANGLE
1
1.362

The Moroccan patterns are
created with the help of lines and
semicircles. I have studied and
worked on these patterns. And
the working you can see in my
subsequent pages.

MOROCCON PATTERN

WORKING WITH MOROCCON PATTERNS

ISLAMIC GEOMETRYISLAMIC GEOMETRY

Islamic patterns are made with
geometric patterns rather than
figurative images. This art is often
made on combinations of squares
and circles, which are overlapped
or interlaced, to create intricate
and complex patterns.
Here I have learnt how to create
Islamic motifs and the working
you can see in my subsequent
pages.
Islamic patterns are made with
geometric patterns rather than
figurative images. This art is often
made on combinations of squares
and circles, which are overlapped
or interlaced, to create intricate
and complex patterns.
Here I have learnt how to create
Islamic motifs and the working
you can see in my subsequent
pages.

ISLAMIC PATTERN

FORM
In fashion design, form refers to the silhouette. Shapes are used in creating forms
which are three dimensional. The silhouette could be a cube, a cuboid or a pyramid
like structure. I have created various forms which could be taken as silhouette and it
also helped me to think beyond the ordinary.
Since garments are three dimensional, the silhouette changes as the garment is
viewed in 360 degrees from different angles. It determines people’s first impression
of an outfit, meaning that they look at a garment’s overall shape before examine its
fabric, texture or detail.
In fashion design, form refers to the silhouette. Shapes are used in creating forms
which are three dimensional. The silhouette could be a cube, a cuboid or a pyramid
like structure. I have created various forms which could be taken as silhouette and it
also helped me to think beyond the ordinary.
Since garments are three dimensional, the silhouette changes as the garment is
viewed in 360 degrees from different angles. It determines people’s first impression
of an outfit, meaning that they look at a garment’s overall shape before examine its
fabric, texture or detail.

Working on formsWorking on forms

ICOSHEDRON PYRAMIDTRUNCATED OCTAHEDRON
CUBOCTAHEDRON SQUARERHOMBICUBOHEDRON

WORKING WITH PENTAGON
MOUNTAIN AND VALLEY FOLD
Mountain Fold
Valley Fold

TEXTURE
Texture is the surface quality of an object. In
fashion design, the texture is the surface
interest of a fabric, created by the weave and
by light reflection. All the fabric textures
depend on the variations of four factors: fibre
content, yarn structure, fabric structure, and
finishes. All these factors affect the visual,
tactile, and performance quality of a texture. It
can also create the illusionary effect of
narrowness and fullness in the wearer.
Texture is the surface quality of an object. In
fashion design, the texture is the surface
interest of a fabric, created by the weave and
by light reflection. All the fabric textures
depend on the variations of four factors: fibre
content, yarn structure, fabric structure, and
finishes. All these factors affect the visual,
tactile, and performance quality of a texture. It
can also create the illusionary effect of
narrowness and fullness in the wearer.

COLOR
Colors have always been a key element in women’s clothing and a fundamental consideration
in the design process as they are the very first element to catch shopper’s attention. Colors
are often the starting point of the design process. Color symbolism often varies with
geographical location.
I have studied the various color schemes, that you will see in subsequent pages and I have
created them in corel draw software.
Colors have always been a key element in women’s clothing and a fundamental consideration
in the design process as they are the very first element to catch shopper’s attention. Colors
are often the starting point of the design process. Color symbolism often varies with
geographical location.
I have studied the various color schemes, that you will see in subsequent pages and I have
created them in corel draw software.

COLOR SCHEMES
RELATED COMPLIMENTARYRELATED COMPLIMENTARY
• POLYCHROMATIC COLOR SCHEME
• MONOCHROMATIC COLOR SCHEME
• NEUTRAL COLOR SCHEME
• ACHROMATIC COLOR SCHEME
• ACCENTED NEUTRAL COLOR SCHEME
• ANALOGUS COLOR SCHEME
• SINGLE COMPLIMENTARY
• DOUBLE COMPLIMENTARY
• SPLIT COMPLIMENTARY
• TRIAD

TYPES OF COLOR SCHEMES
MONOCHROMATIC COLOR SCHEME
When we use tints and shades of a
color.
ANALOGOUS COLOR SCHEME
When we use any hue and also its
neighboring colors.

POLYCHROMATIC COLOR SCHEME
When we select any four to five colors from
the color wheel and make a dress.
ACCENTED NEUTRAL COLOR SCHEME
When we use black, white, grey, brown and
one bright color.

NEUTRAL COLOR SCHEME
When we use black, white, grey and
brown color.
ACHROMATIC COLOR SCHEME
When we use white, black and grey color.

SINGLE COMPLIMENTARY COLOR SCHEME
Select a color and take the opposite color
from the color wheel.
DOUBLE COMPLIMENTARY COLOR SCHEME
Select a color and take the opposite
color from the color wheel.

SPLIT COMPLIMENTARY COLOR SCHEME
When we make Y in the color wheel.
TRIAD COLOR SCHEME
When we make a triangle in the color
wheel.

PRINCIPLES
of
DESIGN
PRINCIPLES
of
DESIGN

I have learnt how the principles of design ascertain the manner in which the elements
of design are organized to create a framework for design. They are termed as Designers
 Radiation
 Repetition
 Contrast
 Balance
 Rhythm
 Proportion/ scale
 Gradation
 Harmony
 Unity
 Radiation
 Repetition
 Contrast
 Balance
 Rhythm
 Proportion/ scale
 Gradation
 Harmony
 Unity

radiation
Radiation
Principle of
Radiation is the use of
design lines that fan out
from a pivotal point. Based
upon the sunburst effect,
the eyes move from the
central point of the
sunburst to the outer area
of the design.
RADIATION USED IN
DRESS
Radiation is the use of
design lines that fan out
from a pivotal point. Based
upon the sunburst effect,
the eyes move from the
central point of the
sunburst to the outer area
of the design.

Formal balance is symmetrical. Its
design detail are divided equally to
create a centered balance. In other
words, both sides are the same, like
the way how we have two arms and
two legs. A symmetrical garment
design must have exactly the same
details in just the same place on
both sides. Formal balance is the
easiest and the most logical way to
achieve stability.
A sensitive use of fabric, rhythm and
space relationships is essential to
keep a symmetrical design from
being any less exciting . This kind
of design is the simplest and least
expensive to produce.
Symmetric
BalanceCreates Interest
Stability
Lessexpensive
SYMMETRIC BALANCE
USED IN DRESS
Formal balance is symmetrical. Its
design detail are divided equally to
create a centered balance. In other
words, both sides are the same, like
the way how we have two arms and
two legs. A symmetrical garment
design must have exactly the same
details in just the same place on
both sides. Formal balance is the
easiest and the most logical way to
achieve stability.
A sensitive use of fabric, rhythm and
space relationships is essential to
keep a symmetrical design from
being any less exciting . This kind
of design is the simplest and least
expensive to produce.
Symmetrical Formal
Stability

Asymmetric
Balance
Interesting
Imbalance
Informal balance is
asymmetrical. Its design
details are divided unequally
from the centre. Its
composition is different
arrangements on each side.
Its often achieved with
diagonal line and off
centered closings. Striking
line, texture or colour can
appear to balance is usually
reserved for fashionable
garment for its dramatic and
technical effects. Informal
balance should not look
heavier on one side than the
other. If done properly, the
design should appear to be
balanced.
ASYMMETRIC BALANCE
USED IN DRESS
Dramatic
Off Centered Unequal
Interesting
Informal balance is
asymmetrical. Its design
details are divided unequally
from the centre. Its
composition is different
arrangements on each side.
Its often achieved with
diagonal line and off
centered closings. Striking
line, texture or colour can
appear to balance is usually
reserved for fashionable
garment for its dramatic and
technical effects. Informal
balance should not look
heavier on one side than the
other. If done properly, the
design should appear to be
balanced.

Repetition
Principle ofCreates Interest
Unity
Movement
Repetition is the repeated use of
certain design elements, details or
trims in a garment. A feature could
be repeated either regularly or
irregularly. This multiple effect
could be used to unify a design.
In fact, repetition is a sense of
movement. Repetition is
necessary in creating interest in a
design and carrying out the
central theme. Repetition in
design can be achieved by the
repetition of shapes, lines and
colours. The dominant line,
shape, colour or detail of a
garment could be repeated
elsewhere with variation. In a
design, a re-occurred shape, line
or detail helps carrying the theme
throughout the whole collection.
REPETITION USED IN
DRESS
Movement
Creates rhythm
Repetition is the repeated use of
certain design elements, details or
trims in a garment. A feature could
be repeated either regularly or
irregularly. This multiple effect
could be used to unify a design.
In fact, repetition is a sense of
movement. Repetition is
necessary in creating interest in a
design and carrying out the
central theme. Repetition in
design can be achieved by the
repetition of shapes, lines and
colours. The dominant line,
shape, colour or detail of a
garment could be repeated
elsewhere with variation. In a
design, a re-occurred shape, line
or detail helps carrying the theme
throughout the whole collection.

Rhythm
In fashion design, rhythm is
the flow of lines, shapes,
textures and colors of
garment. The flow should
gently carry the eyes from
one area of the garment to
another. When all the lines of
an outfit work well together, a
sense of rhythm is followed.
The use of rhythm is
important in achieving
pleasing effects. Rhythm in
design results repeating lines
and masses. These
repetitions can be of uniform
size or of decreasing or
increasing sizes.
RHYTHM USED IN DRESS
Creates Interest
Pleasing
Effects
Movement
Principle of
In fashion design, rhythm is
the flow of lines, shapes,
textures and colors of
garment. The flow should
gently carry the eyes from
one area of the garment to
another. When all the lines of
an outfit work well together, a
sense of rhythm is followed.
The use of rhythm is
important in achieving
pleasing effects. Rhythm in
design results repeating lines
and masses. These
repetitions can be of uniform
size or of decreasing or
increasing sizes.
Movement
Powerful
Pleasing
Effects

Harmony
Harmony is the pleasing
arrangement of all parts of a
garment. It is not the exact
opposite of contrast but it does
imply similarity than differences in
areas such as the use of colors or
textures that blends well with one
another.
Harmony is achieved when
design elements work well
together. Soft fabrics and
rounded forms a better
harmonious design than sharp
cutting or pressed garments.
Fabric pattern, trims, colors, lines,
shapes, texture and proportion all
give a sense that they belong
together.
HARMONY USED IN
DRESS
Togetherness
Movement
Principle of
Harmony
Harmony is the pleasing
arrangement of all parts of a
garment. It is not the exact
opposite of contrast but it does
imply similarity than differences in
areas such as the use of colors or
textures that blends well with one
another.
Harmony is achieved when
design elements work well
together. Soft fabrics and
rounded forms a better
harmonious design than sharp
cutting or pressed garments.
Fabric pattern, trims, colors, lines,
shapes, texture and proportion all
give a sense that they belong
together.
PleasingArrangement
Principle of

BIBLIOGRAPHY
Course Book – How To Make Collection
Fashion Studies Book

Plisse’ EffectPlisse’ Effect
Rishita Paharya
2nd year fashion design diploma,
Confirming to NSQF Level 6 of NSDC

Contents
Introduction
Plisse’ Effect
Forms
Foldings
Collection
Identity Exhibition
Kaleidoscope
Introduction
Plisse’ Effect
Forms
Foldings
Collection
Identity Exhibition
Kaleidoscope

As you have seen in my previous pages, I have
learnt elements of design, diaper patterns and
also worked upon 2 dimensional geometric
motifs with help of lines and shapes which were
made with protector and compass manually and
also on corel and Photoshop. And by using lines
and shapes I made three dimensional forms
which creates the silhouette of the dress. I also
created pleats with the use of lines and shapes.
Without knowing design basics I will not be able
to make my creation.
In the Identity Exhibition 2017, which is students
work exhibition and was held on 9th and 10th
November wherein a lot of jury members came
to see our collection and a lot of students from
various schools came to hear us which helped
us to build our confidence.
Introduction
As you have seen in my previous pages, I have
learnt elements of design, diaper patterns and
also worked upon 2 dimensional geometric
motifs with help of lines and shapes which were
made with protector and compass manually and
also on corel and Photoshop. And by using lines
and shapes I made three dimensional forms
which creates the silhouette of the dress. I also
created pleats with the use of lines and shapes.
Without knowing design basics I will not be able
to make my creation.
In the Identity Exhibition 2017, which is students
work exhibition and was held on 9th and 10th
November wherein a lot of jury members came
to see our collection and a lot of students from
various schools came to hear us which helped
us to build our confidence.
Here is my working learnt at Dezyne E’cole
college that you will see in subsequent pages.

Pleats are basically folds in the fabric that
are formed by folding a fabric onto itself. It
is commonly used in clothing to gather a
wide piece of fabric to a narrower
circumference. In industries these sort of
folding are done by pleaters (a machine
which is an easy way to make pleats) this is
a very classic way of designing which not
only gives the attire a sophisticated and
appealing look but also carries flow and
movement which makes the dress stylish
yet comfortable for the wearer. Famous A
designers nowadays, have found their
inspiration in origami such as Issey Miyake,
it is also used in upholstery. I have made
various pleats by hand using method like
plait, gather, dart or wrinkle and many other
specific terms which are used to relate
manipulation of fabric.
Plisse’ Effect
Pleats are basically folds in the fabric that
are formed by folding a fabric onto itself. It
is commonly used in clothing to gather a
wide piece of fabric to a narrower
circumference. In industries these sort of
folding are done by pleaters (a machine
which is an easy way to make pleats) this is
a very classic way of designing which not
only gives the attire a sophisticated and
appealing look but also carries flow and
movement which makes the dress stylish
yet comfortable for the wearer. Famous A
designers nowadays, have found their
inspiration in origami such as Issey Miyake,
it is also used in upholstery. I have made
various pleats by hand using method like
plait, gather, dart or wrinkle and many other
specific terms which are used to relate
manipulation of fabric.

Plisse’ Effect
The aesthetic design is derived from
experiments with folded paper. After
making all the foldings, I have chosen
these two foldings for my dress.
First I created foldings on paper so that I
was able to identify the estimation of
the fabric and look of the dress.
The aesthetic design is derived from
experiments with folded paper. After
making all the foldings, I have chosen
these two foldings for my dress.
First I created foldings on paper so that I
was able to identify the estimation of
the fabric and look of the dress.
1. 2.

Collection
I have made a boat neck bodice, it has a
wide neckline that runs horizontally front
and back, almost to shoulder points,
across the collar bone. There are two mid
armhole dart for the fitting purpose.
The folds on my skirt are interlinked with
each other. I have used gradation
principle in it. The first tier is of 7’’ in
length and the second tier is of 11’’. The
skirt has a spherical structure.

I have made a stole by combining mountain
fold and isosceles triangle shape which are
formed by using pleating which allows the
garment to expand its shape when moving.
The stole is made using diamond shape
converting into pleats.

I have to create an underskirt for my
collection. As I am a learner, so I created
a petticoat skirt in which I inserted wires
so that it can take the shape I wanted. I
took the inspiration from the crinoline
which were used in the time period of
(1790- 1900) From Revolution to
Frivolity by Charles Worth.
I have to create an underskirt for my
collection. As I am a learner, so I created
a petticoat skirt in which I inserted wires
so that it can take the shape I wanted. I
took the inspiration from the crinoline
which were used in the time period of
(1790- 1900) From Revolution to
Frivolity by Charles Worth.

Collection – Plisse’ Effect

Identity Exhibition
Identity Exhibition is our students works exhibition and I have showcased my collection in it. A lot of jury
members came with lot of students to see our creations.

Kaleidoscope
I have also showcased my collection in college annual function i.e. Kaleidoscope and in front of our honorable
Chief Guest Mr. Vasudev Devnani. He is the State Minister of primary and secondary education in the Govt. of
Rajasthan.

Print
Development
Print
Development
Rishita Paharya
B.Sc.Fashion Design 2nd YearDiploma
NSQF Level 6 ofNSDC

In this project I studied about the Indian traditional motifs and the Central Asian motifs and their
significance. I have also studied about the various types of sarees worn in India and the various types of
border repeats. I have done exercise on repeat and also created designs using lines and shapes. I have done
motif simplification using the papyrus flower . And created sarees with different border repeats. You can see
my working in my subsequent pages.
Synopsis
In this project I studied about the Indian traditional motifs and the Central Asian motifs and their
significance. I have also studied about the various types of sarees worn in India and the various types of
border repeats. I have done exercise on repeat and also created designs using lines and shapes. I have done
motif simplification using the papyrus flower . And created sarees with different border repeats. You can see
my working in my subsequent pages.

Contents •Motif Repetition
• Designs Created
• Border repeat
• Motif Collage
• Papyrus flower
• Sarees
•Motif Repetition
• Designs Created
• Border repeat
• Motif Collage
• Papyrus flower
• Sarees

MotifRepetition
Ihave createdvariousmotifsusing shapes and lines and then I have selectedan appropriate motif forrepetition.

The motif I have selected forrepetition.

Question1 Draw a semi circle of 24cmdiameter.
Prepare a design for wall decoration using the followingmotifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Two triangles of different sizes. (d) Two
decorative fish forms.
The color scheme used is polychromatic color scheme.

Question2 Construct a square 18cm as one of its sides and organize the following motifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Three fish forms of different sizes.
The color scheme used is monochromatic color scheme.

Question3 Construct a circle with radius measuring 10 cm and organize the following motifs.
(a) Three curved lines touching the circle. (b) Two circles of different sizes (c)a line dividing the circle in
two unequal parts (d) a square with one side measuring4cm.
The color scheme used is Analogus color scheme.

Question4 Construct a rectangle with two of its sides measuring 24cm and 18 cm. Divide it into two
unequal parts and organize the followingmotifs.
(a)Any suitable shape you like (b) Three kite forms of different sizes (c)Three circles of different sizes.
The color scheme used ispolychromatic color scheme.

Question5 Draw a circle with its radius measuring 10 cm. Draw another smaller circle of 4 cm radius in
sucgh a way that it would touch the circumference of the larger circle and organize the following motifs.
(a) Five flower forms of different sizes (b) Two circles of different sizes (c)Three squares of differentsizes.
(b) A bird form if necessary.

Question6 Draw a semi circle with its radius measuring 10 cm and organize the following motifs.
(a) Two triangles of different sizes (b) Two circles of different sizes (c) a square (d)Two rectangles (e) Two
or three straight lines, if necessary.

Question7 Draw a line of 18 cm in the middle. Using the line as diagonal, prepare a hexagon. On two
parallel sides of hexagon, construct two rectangles of 2 cm in width, from outside of the hexagon.
(a) Two straight lines joining opposite angles of hexagon (b) Three circles of different sizes with a little
width to the circumference (c) a square with somewidth.
The color scheme used is single complimentary color scheme.

Question8 Prepare a design for a vase with its height measuring 30 cm. Width and outer shape of the vase
are left to your choice. Use the followingunits
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.

Question9 Draw an attractive hand fan. The outer shape may be of your choice but it should be not less
than 20 cm. Use the followingunits
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.

Question10 Draw square ABCD one of its sides measuring 15 cm. Produce BC and DC to P and G
respectively outside the square. So that CP and Cg are 5 cm each in length. Use the following units
(a) A circle of any radius(b) Three decorative forms of birds, (c).Decorative forms of leaves , if necessary.

Question11 Draw a triangle ABC with base measuring 14 cm and its altitude 14 cm.Draw a semi circle,
with centre D of the baseAB as its centre on the other side of the triangle.. Use the following units (a) use
of geometrical shape, if necessary.(b).Decorative forms of leaves, flowers, fruits andbirds
The color scheme used is Accented neutral color scheme.

Question12 Draw a hand bag and in one section prepare the design with the help of decorative forms of
leaves, branches, flowers, butterflies or birds. Trace the design in other section. Use complimentary
colours.

Question13 Draw a line of 18 cm in the middle. Using the line as diagonal, prepare a hexagon. On two
parallel sides of hexagon, construct two rectangles of 2 cm in width, from outside of the hexagon. Make six
triangles and in one triangle create a design with decorative flowers, leaves and birds. Trace the design in
rest of the triangles.
The color scheme used is Analogus color scheme.

PeacockMotif PaisleyMotif
Treeof
LifeMotifParrotMotif
ConchMotif FishMotif ElephantMotif Peepalleaf Motif
Treeof life motif Lotusmotif Creepingvine motif Flowermotif

Papyrusflower
One of the most complex and enduring symbols of both Buddhism and
Hinduism has been the papyrus flower. This is used in religious
iconography. It also symbolize the material world in all of its many forms.
The papyrus flower is an Egyptian oriented flower and is the symbol of
prosperity and material world.
It was used to make everything! The ancient Egyptians used papyrus to
make paper, baskets, sandals, mats, rope, blankets, tables, chairs,
mattresses, medicine, perfume, food, and clothes. Truly, papyrus was an
important "gift of the Nile. The ancient Egyptians soaked papyrus to
soften it, and then mashedit.
One of the most complex and enduring symbols of both Buddhism and
Hinduism has been the papyrus flower. This is used in religious
iconography. It also symbolize the material world in all of its many forms.
The papyrus flower is an Egyptian oriented flower and is the symbol of
prosperity and material world.
It was used to make everything! The ancient Egyptians used papyrus to
make paper, baskets, sandals, mats, rope, blankets, tables, chairs,
mattresses, medicine, perfume, food, and clothes. Truly, papyrus was an
important "gift of the Nile. The ancient Egyptians soaked papyrus to
soften it, and then mashedit.
The Papyrus Flower

MOTIFSIMPLIFICATION
I have done motif simplification of the papyrus flower by hand.

MotifSimplification
5’’
2.5’’2.5’’2.5’’
2.5’’1.75’’
I have done motif simplification of the papyrus flower on Corel Draw..
1.75’’ 1.75’’ 1.75’’

BorderRepeat
I have made Regular Border Repeat for a saree by hand and also on Corel Draw with measurements.

HalfdropRepeat
I have made Half Drop Border Repeat for a saree by hand and also on Corel Draw with measurements.

BrickRepeat
I have made Brick Repeat for a saree by hand and also on Corel Draw with measurements.

Overlapping
I have made Overlapping Border Repeat for a saree by hand and also on Corel Draw with measurements.

StripeRepeat
I have made Stripe Repeat for a saree by hand and also on Corel Draw with measurements.

Scattered Repeat
I have made Scattered Repeat for a saree by hand and also on Corel Draw with measurements.

Group Repeat
I have made Group Repeat for a saree by hand and also on Corel Draw with measurements.

GroupRepeat
215’’
43’’
215’’
4’’
2’’

HalfDropRepeat
215’’
43’’
215’’
4’’
5’’

StripeRepeat
215’’
43’’
215’’

RegularRepeat
215’’
43’’
215’’
4’’
2’’

ScatteredRepeat
215’’
43’’
215’’
5’’

Brick Repeat
215’’
43’’
215’’
8’’
4’’

Pattern Engineering
CAD
Pattern Engineering
CAD
Rishita Paharya
2nd Year Diploma in Fashion Design (NSQF Level 6 Of NSDC)
Dezyne E’cole College,

SYNOPSIS
Orbito is a pattern making software for designers. I have made various patterns on this like collars,
sleeves, kurta, and skirts. I have also created garments in reality of the respective patterns with
the help of garment construction. You can see my working in subsequent pages.
Orbito is a pattern making software for designers. I have made various patterns on this like collars,
sleeves, kurta, and skirts. I have also created garments in reality of the respective patterns with
the help of garment construction. You can see my working in subsequent pages.

LEHENGA
Measurements
Skirt length – 37’’
SCALE – 1SCALE – 1

HALTER NECK
Measurements
Round waist – 38’’
Length – 19’’
Across back – 16’’
SCALE – 1
SCALE – 1

BODICE BLOCK
Measurements
Length – 17’’
Apex – 3.5’’
Round Bust – 34’’
SCALE – 1
SCALE – 1

KIMONO SLEEVE
SCALE – 1/2
SCALE – 1
Measurements
Sleeve round – 12

RUFFLE SLEEVE
Measurements
Bicep circumference – 11’’
Cap Height – 5’’
SCALE – 1/2
SCALE – 1

TULIP SLEEVE
SCALE – 1/2
SCALE – 1
Measurements
Sleeve length – 6’’

PLAIN SLEEVE
Measurements
Elbow – 10’’
SCALE – 1/2
SCALE – 1
SCALE – 1/2

RAGLAN SLEEVE
SCALE – 1/2
SCALE – 1
Measurements

PUFF SLEEVE
SCALE – 1/2
SCALE – 1
Measurements

BELL SLEEVE
SCALE – 1/2
SCALE – 1
Measurements

Measurements
Round hip – 36’’
Full Length – 36’’
SCALE – 1/2
SCALE – 1
HIP TIGHT PETICOT
SCALE – 1/2

A LINE SKIRT
Measurements
Skirt Length – 20’’
SCALE – 1/2
SCALE – 1

WRAP AROUND SKIRT
Measurements
SCALE – 1/2
SCALE – 1
SCALE – 1/2

STRAIGHT SKIRT
Measurements
SCALE – 1/2
SCALE – 1

PETER PAN COLLAR
Measurements
Round Neck – 12.5’’SCALE – 1
SCALE – 1/2

SAILOR COLLAR
Measurements
Round Neck – 12.5’’
SCALE – 1
SCALE – 1/2

COLLECTIONCOLLECTION
Rishita Paharya
2nd Year Diploma in Fashion Design (NSQF Level 6 OfNSDC)

RISHITA PAHARYA
Acknowledgement
RISHITA PAHARYA

After learning all the subjects related to fashion design at Dezyne E’cole College, I was given a case
study where I have to design a collection to showcase my skill set into the industry.
Since Indian culture has always been known primarily for its diversity and color, the Indian fashion
market seems almost ideal to act as an inspiration. I have designed a summer collection for a girl of
20 years of age and I tried to combine the traditional Indian art and craft with the style line, using the
various surface design techniques and with the combination of elements and principles. You will see
my working in subsequent pages.
Synopsis
After learning all the subjects related to fashion design at Dezyne E’cole College, I was given a case
study where I have to design a collection to showcase my skill set into the industry.
Since Indian culture has always been known primarily for its diversity and color, the Indian fashion
market seems almost ideal to act as an inspiration. I have designed a summer collection for a girl of
20 years of age and I tried to combine the traditional Indian art and craft with the style line, using the
various surface design techniques and with the combination of elements and principles. You will see
my working in subsequent pages.

• Influences
• Archivism Influence
•Designer
• Story Board
• Look Book
• Mood Board
• Material Board
• Brain Storming
• Illustrations
Contents
•Surface Design Techniques
• Corel Draw Design
• Golden Ratio
• Principles Of Design
• Production Sketch
• Design Development
• Specification Sheet
• Influences
• Archivism Influence
•Designer
• Story Board
• Look Book
• Mood Board
• Material Board
• Brain Storming
• Illustrations
•Surface Design Techniques
• Corel Draw Design
• Golden Ratio
• Principles Of Design
• Production Sketch
• Design Development
• Specification Sheet

First I have learnt about various influences and how designers work under these influences before I
start working on my own collection. Recurring influences 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 color, fabrics, proportion and juxtaposition. Designers
respond to influences and translate them into a fashion reality reflecting their own design identity.
Influences
First I have learnt about various influences and how designers work under these influences before I
start working on my own collection. Recurring influences 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 color, fabrics, proportion and juxtaposition. Designers
respond to influences and translate them into a fashion reality reflecting their own design identity.
Futuristic
Influence
Conceptual
Influence
Workwear
Influence
Sportswear
Influence
Global
Influence
Archivism
Influence
Form and
Function

As I have studied about all the
influences, I was mostly
attracted towards archivism
influence. As archivism refers
to the way in which designers
look back to previous
collections for inspiration. I
was fascinated by the
collections of designers who
have worked upon this
influence.
Archivism Influence
As I have studied about all the
influences, I was mostly
attracted towards archivism
influence. As archivism refers
to the way in which designers
look back to previous
collections for inspiration. I
was fascinated by the
collections of designers who
have worked upon this
influence.

Jean-Paul Gaultier is a French Haute
couture and prêt a porter fashion designer. His first
individual collection was released in 1976,and his
characteristic irreverent style dating from 1981 has led
to his being known as the enfant terrible of French
fashion. Many of Gaultier's subsequent collections have
been based on street wear, focusing on popular culture,
whereas others, particularly his haute couture
collections, are very formal, yet at the same time
unusual and playful.
Jean Paul Gaultier
Jean-Paul Gaultier is a French Haute
couture and prêt a porter fashion designer. His first
individual collection was released in 1976,and his
characteristic irreverent style dating from 1981 has led
to his being known as the enfant terrible of French
fashion. Many of Gaultier's subsequent collections have
been based on street wear, focusing on popular culture,
whereas others, particularly his haute couture
collections, are very formal, yet at the same time
unusual and playful.

The story for my collection projects the human relations nowadays and how they are getting
destroyed. The two flowers personifying the purity of two souls, lost in their own world. The
race for money, the mobile phones, the on- line friends, leaving behind the pure relations,
the happiness which is real. The faded smiles which will enlighten on their meet. The pure
smiles, the brighten faces, pleasure, the cheerfulness that will be experienced on their
foregather.
Story Board
The story for my collection projects the human relations nowadays and how they are getting
destroyed. The two flowers personifying the purity of two souls, lost in their own world. The
race for money, the mobile phones, the on- line friends, leaving behind the pure relations,
the happiness which is real. The faded smiles which will enlighten on their meet. The pure
smiles, the brighten faces, pleasure, the cheerfulness that will be experienced on their
foregather.

Applique Craft
Surface Design Techniques
I have used applique work in my
collection wherein a fabric shape is sewn
over a base layer. For the dress the petals
are been appliquéd on the net fabric and
are sewn together..
I have used applique work in my
collection wherein a fabric shape is sewn
over a base layer. For the dress the petals
are been appliquéd on the net fabric and
are sewn together..

For my collection I have used the tie and
dye method in gradation principle i.e.
from orange to yellow color, which gives
the dress an amazing look.
Tie and DyeEmbroidery
As embroidery is the embellishment of
fabric enriching it with a needle and thread.
In my collection I have used kantha
embroidery which is West Bengal and is the
simple running stitch which will strengthen
the fabric and decorate it.
As embroidery is the embellishment of
fabric enriching it with a needle and thread.
In my collection I have used kantha
embroidery which is West Bengal and is the
simple running stitch which will strengthen
the fabric and decorate it.

Corel Draw Design
I have first created the design on corel
draw as to see the look of the final outfit.

I have used golden ratio in my dress that is in the
ratio of 5:8 and this ration is considered to be very
pleasing to the eyes as it is very close to 1.618 which
is the golden mean.
The total length of my dress is 40’’ so I converted it in
the ratio.
25’’
40’’
Golden ratio
I have used golden ratio in my dress that is in the
ratio of 5:8 and this ration is considered to be very
pleasing to the eyes as it is very close to 1.618 which
is the golden mean.
The total length of my dress is 40’’ so I converted it in
the ratio.
40’’

Gradation
Repetition
Rhythm
Principles of Design
Asymmetrical Balance
Proportion 5:8

Production Sketch
A tube inside top
with a princess
panel
The tent dress

DesignDevelopment
Process
DesignDevelopment
Process

Two flowers personify two individuals
Kantha stitch depicting the amount of problems
in the lives of individuals
French knot
Design
Specification Sheet
Tube top inside
Hemline finished with picot

DESIGN SPECIFICATION
Season Description Size Make Up
Spring Tent Foundation 34 Standard
Fabric
Specification Sheet
Fabric
Supplier No. Color Composition
Threads
Color CompositionSupplier No. Type
Shrey Textiles 634 White Soft net
R.K. Textiles 8181 White Mulmul cotton
Vinod Textiles 124 Yellow 100% cotton
Anchor 4625 Black 100% cotton
Anchor 4625 White 100% cotton
Coats 3856 White 100% cotton
Coats 2564 Yellow 100% cotton
6 ply yarn
6 ply yarn
3 ply yarn
3 ply yarn

Front view
Back view
Side view

Rishita Pahariya ,Fashion Design ,Dezyne E'cole College

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