The document appears to be a portfolio from a student named Shivangi Singhal who is in the first year of a Fashion Technology diploma program. It includes sections on her project acknowledgments, grade sheet, project synopsis, profile, experience, education, skills, interests and a content section that provides an overview of what was learned in the program including topics like fashion history, women's wear, elements of design, and surface design techniques.

1. Fashion Technology
PORTFOLIO
Shivangi Snghal
Fashion Technology
Diploma 1st year

2. I am thankful to all those whose guidance helped me to complete my project .
I am thankful to my mentors of Dezyne E’cole making this project and helped
me to show my working abilities through this project.
Shivangi Singhal
I year Diploma in Fashion Technology
ACKNOWLEDGEMENT

3. GRADE SHEET
Dezyne E’cole College
Civil Lines, Ajmer
www.dezynee’cole.com
The project of Ms. ‘Shivangi Singhal’ student of 1st year diploma in Fashion
Technology with one year women’s wear fashion diploma program has been
checked and graded as
Thanks
Principal
(Seal & Signature)

4. SYNOPSIS OF PROJECT
During this project I studied about FASHION DESIGNING program through
Foundation Design, Illustration, Surface Design Technique (Fabric
Manipulation, Embroidery,, Drafting, Coral Draw, Draping, Garment
Construction.)
My year end project is a formal salwar kammez for engineering college
lecturer which I have done with one of the SURFACE DESIGN TECHNIQUE
which is EMBROIDERY which goes with every outfit.
As I’ am the part of this industry and I need to present my skills in front of
industry experts.

5. SHIVANGI SINGHAL
Fashion Designer
 Dezynee’cole.com  9829024839
PROFILE: I am a fashion designer
from dezyne e’cole, Ajmer. I
appreciate the hand skill and art of
manipulating fabric. I have enjoyed
doing integrating work and have a
keen eyes for detail and finishing .
For me aesthetics is equally
important as the functionality of a
project. A design process followed
in an organized and designed
manner is the key of a successful
end product and a good design is
complete by the use of elements
and principle of design.
EXPERIENCE
PROJECT NAME:
• Garment Construction
(collection of casual women’s
wear)
• Embroidery (Indian Traditional
embroidery)
• Fabric Manipulation (manipulate
fabric by tucks, pleats etc.)
• Draping (dart manipulation)
vortex and origami
EDUCATION:
• PGDM-ILLM College, Jaipur
(2012-2014)
• BBA- Sophia College, Ajmer
(2009-2012)
• Ist year Diploma in Fashion
Technology- Dezyne E’cole,
Ajmer (2015-2016)
• 12th CBSE Board- St Mary’s
Convent Se. Sec. School, Ajmer
(2008-2009)
• 10th CBSE Board- St Mary’s
Convent Se. Sec. School, Ajmer
(2007)
SKILLS:
• Garment Construction
• Surface Ornamentation
• Presentation Skills
• Foundation Design
• Draping
• Corel Draw
• Embroidery
INTRESTS
• Music
• Dancing
• Reading
LANGAUAGE
• Hindi
• English

6. CONTENT
 Introduction to Fashion
Fashion History
Introduction of women's wear
Indian women wear
Element of design in women wear
Learning experience
Foundation design
Illustration
Surface design technique
-Fabric manipulation
- Embroidery
Drafting
 Corel draw
 Garment Construction
- Flat pattern method
- draping
 Pattern markings/Symbols
Type of sillohute
Terminology
Tools and equipment

7. Case study
- Observation
- Research Board
- Mood Board
- Material Board
- Idea Generation
- Final Creation
- Design and Development
- Estimation and layout
- Specification sheet
- Working process

8. INTRODUCTION TO FASHION
Fashion today is the key driving force in running not just a country’s economy but
in linking the country with its partners on different sides of the networked globe.
Fashion is a dynamic force which influences lifestyle choice made by consumer . It
drives international trends in a multitude of areas from apparel, accessories
automobile, cuisine, wellness, vacations and more.
Fashion industry is at its infancy at the moment and has great potential to make
the mark on the world stage . Fashion in India has thousands of years of tradition
behind it. India has a rich and varied textile heritage where each region of India
has its own native dress and traditional costumes .
Fashion industry is growing at a rapid pace with international developments , such
as the India Fashion week gaining popularity and annual shows by fashion
designers held in major cities of India.
After the Independence, Indian Industry witnessed the effects of globalization .
Due to this, changes occurred in the dressing styles of Indians.. Which even led to
the fusion of Indians and western dresses. Indian Fashion Industry covers the
whole range of clothing from Haute, couture, ready to wear and mass production.

9. FASHION HISTORY
Fashion as we know it, is relatively new concept . In ancient and medieval
times, clothing styles remained partially unchanged for a century at time.
Fashion change began to accelerate during the renaissance, as western
civilization discovered different cultures, customs and costumes.
France the center of fashion
France’s dominance over international fashion began in the early 18th century.
Until the Industrial Revolution, people belonged to one of two main classes;
the wealthy landowners or the poor laborers and farmers, because wealth
was concentrated in the landowning class, these people were the only ones
who could afford to wear fashionable clothes.
the industrial revolution marked the beginning of technological advances in
textile and apparel production . The modern textile industry, which enabled
,ore fabrics to be produced in less time, began in England with John Kay’s
development of the flying shuttle in 1733, James Hargreaves invention of the
spinning in 1764, Richard Arkwright's water frame in 1769,& Edmund
Cartwright’s power loom in 1785.
Great economic, social and fashion changes throughout the western world
accompanied the Industrial Revolution in the late 18th century. Fashion
became a status symbol, a wheel means to show off wealth. Fashion
conveyed the rigid differences between the roles of the sexes . Men wore
trousers, which symbolized dominance, while women wore contrasting
garments characteristics of their restricted lifestyles and obedience to their
husbands and fathers. The introduction of separate blouses and skirts in the
1880’s made it possible to manufacture ready to wear clothes for women.

11. INTRODUCTION OF WOMEN’S WEAR
“Fashion is not something that exists in dresses only. Fashion is in the sky, in
the street, fashion has to do with ideas, the way we live, what is happening”
- Coco Channel
Women's wear has always enjoyed the center stage in fashion.
Clothing in past were custom made i.e. stitched for an individual using her body
measurements by a tailor or a dressmaker.
The introduction of the domestic sewing machine revolutionized the home
manufacturing of clothes by substantially reducing the long hours of hand
sewing. Later, paper patterns for fashionable styles in graded sizes become
available. Their growing interests and activates took them out of their homes and
made ready to wear clothing a convenient answer to suit their new lifestyle.

12. The radical social change among women naturally led to a gradual shift
towards simple silhouettes, away from the elaborate clothing that had
prevailed in the past. The social change coincided with the development of
manufacturing facilities for large scale production of ready to wear garments.
With changing times, the role of the women have become multi- dimensional.
Working for home or for office with a hectic schedule has led to the
requirement of an easy to wear , maintain and comfortable dressing, which
has become a necessity for today’s lifestyle.
There is a huge market with various segments of women with explicit needs.
Fashion Studies
The experience of mas manufacturing uniforms for men and women during
two world wars facilitated the preparations of size charts for the western
consumer
Influence of Trends on women's Wear
Women’s ready- to wear garments follow specific trend prediction for the
season to enable the designer, Fabric manufacturer, garment manufacturer,
and retailer to plan the design and production of garments.
The prevalent trends are perceived and analyzed by each company to create
a mood board suitable for their clients for a particular season.
Couture and Pret a porter show held in Paris, London, Milan and New York
are the main source of fashion trends for women swear.
The shows are held twice a year. At the time of the show all the partners in
the fashion value chain flock to these cities to review the new styles.
As soon as the shows are over the fashion editors select styles they feel are
prophetic and splash trend features and stories with glossy pictures of the
styles in fashion magazines and newspapers. Consumers become aware of
the latest trends through these magazines and media broadcasting. The
trend forecast information indicates the new colour palette the new fabric
trends, surface treatments, silhouettes and design details.

13. INDIAN WOMENSWEAR
Indian women swear market continues to be largely driven by Indian aesthetics
infused with the regional sensibilities inspired by the Moghul and British
influences over a period of time.
Traditionally, Indian women wore draped styles, it is only since a little more
than two hundred years ago, that the sari being worn..
It is during the Moghul rule that Indian women were introduced to stitched
garments such as salwar kameez, kalidar are weavers tailors and embroideries
who are specially brought in form the Moghul countries to make garment for
there Moghul; royalty. The Moghul style is very feminine, elegant and dignified.
Another influence impacting the Indian women wear was the British influence
of tailored jackets, blouses, pants, dresses and gowns.
However the menswear clothing for work, followed by casual wear extensively
revolutionized.
Today, we see a comfortable and seamless coexistence of Indian, Moghul and
western style in I Indian women wear.

14. It is during the Moghul rule that Indian women were introduced to stitched
garments such as salwar kameez, kalidar -

15. ELEMENTS OF DESIGN IN WOMENSWEAR
The three primary elements that make garment are its colour, fabric and
shape.
 Colour: Colour prediction in women wear is very important. Every season
the palette has 4 groups pastel, neutral, bright and deep colors
 Fabric: Fabric is the fundamental element of garment and is responsible for
50-80% of the cost of the garment. Texture , handle and surface qualities of
a baric play an important role in achieving the total effect of the style.Prints
and woven designs can be in a variety of patterns like small, delicate floral,
large floral in bold colors, geometric designs. Embellishments may include
appliques, hand and machine embroideries and other decorative
techniques.

16.  Shape/Silhouttes : a silhouette is the shape or the outline of the clothing
when worm. The basic shapes or silhouettes of each season can change
suddenly or evolve slowly. Different combinations of shapes made by
separate garments worn together lends style to the overall shape or
silhouette of the outfit.

17. LEARNING EXPERIENCE
As a part of this fashion industry I am training myself through formal
education in Ist year Diploma in fashion Technology . During my course of
study, I learnt about the fashion industry and its history and how it evolved as
it is today during a course of time, my mentors helped me to understand the
art of constructing a garment into reality through different method like draping
garment construction, drafting and to design and develop we must have and
ideal dress form for the size we need for our client. Draping method worked
as a very helpful method of developing a garment. While working with
draping method we created many basic and innovative garments . We have
created garments with the use of darts , dart manipulation technique, other
3D art like origami, vortex and fabric manipulation.
In garment construction/Pattern Engineering we have made several
garments for women like basic bodice block, plain blouse, choli blouse,
pjama, kurta etc.
Apart from this we have also learned the elements and principles od design.
During my study, I practice some of the surface design techniques like the art
of embroidery, where in I learned various decorative stich type use in the
traditional embroidery. I also practice many embroidery like Kantha kasuti
phulkari etc.
Apart from this, I also mastered the art of fabric manipulation in which I
practice some including tucks, box pleats, smoking etc.
In order to develop an idea into reality, we have also learnt the illustration
method so as to see on the design world work on form and if it need some
correction and addition to be done and graphic design method through the
coral draw software.

18. DFOUN ATION
ESIGN

19. FOUNDATION DESIGN
 Colors
Colors is one of the most vital tools in the hands of a designer. It is the most
perceptible and prominent aspect of an designer and hence is the central to the
success or failure of a design scheme. Therefore, it is very important that a
designer has the full knowledge and understanding of this tool. With the colour
wheel being used as a tool and colour scheme providing a body of practical
guidance to colour mixing.

20. ASSIGNMENTS OF COLOUR
Adjacent Colour Scheme
Split Complimentary Colour
Scheme

21. Neutral Colour
Scheme
Polychromatic Colour Scheme

22. Achromatic Colour Scheme
Accented Neutral Colour
scheme

23. Monochromat
ic colour
scheme
Single
complimenta
ry colour
scheme

24. GREY SCALE
OPTICAL MIXTURE

25. One And The
Same Colour
Can Be Seen
Different

26. TONE
SHADE
TIN
T

27.  Elements of Design-
Design is always created keeping in mind the final usage . It has a problem
stage where the designer finds out why any product needs to be created, then
the client using the product is studied, their anthropometrics and ergonomics are
studied and finally a brainstorming of idea generation is done to attrite at
possible outcomes that can be provided as solution to the problem. The last
stage is then choosing the one best outcome suitable for the problem stated . So
at Dezyne E’cole college we have learned as to how the various elements and
principle of design help in the creation of the garment.
 Line : a line is a series of connecting points
` a) Straight Line
b) Curved line
c) Zig-Zag Line
d) Composite Line
Lines are used in different ways in any garments are-
Structural Lines
Style line
Hemline
Neckline
Plackets
Collars
Cuffs
Decorative Lines
Tucks
Darts
prints
Embroidary

28.  Shape: Two dimensional flat forms, having only lengthy and width, are
usually described as shapes. Shapes are of different kind-
Organic shape
Geometrical Shape
 Value: it is the lightness and darkness of a colour. It’s a quality which makes
the light blue different from dark blue.
Color white Tint
Color Black Shade
Color Grey Tone

29.  Colour: Colour is one of the most significant aspect in fabric and often
the determining factor for purchasing it. Color in a costume should be so
distributed that the balance each other ..
warm color's make us feel
cheerful and happy, but
overuse may make us feel
nervous .
Cool colour make us feel
quiet, restful and if they are
overdone, they can make us
feel depressed.
Colour
 Texture: Texture is the surface quality of an object. It is of three types-
 Visual Texture- visual texture is a visual quality of a surface.
• Tactile Texture- change in fabric through arrangement of threads in
weaving and knitting can be felt on skin here.
• Audible Texture- through friction when fabric rub over each other a sound
can be heard.

30.  PRINCIPLES OF DESIGN
 Repetition: Repeating visual elements such as line, color, shape,
texture, value or image tends to unify the total effect of a work of art as
well as create rhythm. Repetition can take the form of an exact duplication
(pattern), a near duplication, or duplication with variety. Repetition can be-
a. Regular
b. Irregular
c. Dropped
d. Altered

31.  Rhythm: Rhythm is an organized motion and it is the feature of design
because of which the eyes move on the garment. Rhythm is through
reputation and gradation. Rhythm is of three types:
a. Regular Rhythm: It is an identical repetition pattern.
b. Graded Rhythm: It is regular but in increasing and decreasing order.
c. Random Rhythm: It occurs at an irregular interval in a design
 Balance: Balance occurs when the visual weight of different parts of a
design are equally distributed as to create equilibrium. The concept of visual
balance is similar to that of physical balance where stability is achieved when
parts of a design are evenly distributed around a balance line or points. It
really works just like a pair of scale.
 Gradation: Gradation is a variation of repetition. It can be in ascending and
descending order.
 Proportion: Proportion is the way all parts in a design relate to each other
so that a person looks tall, slim and more youthful.
 Contrast: Contrast in any design creates attraction. It is a highlighting
principle because it focuses attention to the place where the difference
occurs. It is one of the most powerful and commanding of all visual design
principles. The principle of contrast can be used in small amount on the
dresses instead of more contrast in a dress is distributing.
 Harmony: Harmony occurs when two or more qualities of a design are
similar. The design is creating a feeling of consistency in mood, a pleasing
combination of different things used in similar ways.
 Dominance: Dominance is the creation of a focal point, the most important
center of interest to which all others are subordinate in order of their
importance.
.

32.  Radiation: Radiation is the outward movement in all direction from the
center point. The powerful movement spreading from the center focuses
interest on the center as well as the outer edge. The placement of any
radiating element should be carefully handled or else it can produce
negative effect.
 Unity: The most important principle of design is unity. It is considered last
because it is culmination of the design process. The final step which can
only be completed when all other elements and principles have been dealt
with. Unity exists in a design when every component supports the central
concept and there is a sense of oneness.

34. ILLUSTRATION
Very base of the fashion designing is illustration. Before manufacturing a
costume or accessory the first thing a fashion designer prefers is to see a
visual picture as what is to be created. This is very necessary to create an
idea on how it will look on models when they wear it in a fashion show. By
means of fashion illustration, the fashion designer can make changes to the
ideas and create a new one.
If the fashion designer wants to make any alteration to his/her creation then
the illustration provides that flexibility. To express one ideas of the design one
must be knowledgeable towards expressing on paper.

36. The yoke is a flat area of a
garment. It is often in
contrasting material. piped to
emphasize the shape or it may
incorporate quilting,
embroidery, pleating, tucks,
appliqué or decorative stitching.
The yoke is placed on a
garment to add to the design
and can produce a variety of
shape .
YOKES

37. SKETCHING NECKLINES AND COLLARS

38. Band Collar
This is the inside
structure or base
for the spread or
shirt collar
Spread or shirt collar
This collar has “wings”
sewn on the band that
help the collar stand up,
away from the neck, to
rest on the shoulder line
Convertible Collar
Here part of the bodice, when open, appears to be part of the
collar, folding over, until the bodice is closed
Convertible
collar closed
Lapels
This is the name given to the
bottom portion of this type of
collar when it is on a suit jacket or
coat
Notched Collar
The notch is the cutaway section
of a single or two-part collar. The
cutaway usually creates some
form of a “V”

39. CUFFS
Sleeves are
finished
either with a
simple hem
or with a
cuff, many
design effect
may be
achieved
with,
trimimg,
pleating,
tuck, gathers
and shirring

40. Sketching Sleeves

41. WAISTBAND SHAPES WITH STYLE FEATURES

42. Folds Gathered skirt Tiered skirt
Layered skirt Accordian Mixed Pleats
Side Pleats Box Pleats
SKIRTS

43. DIFFERENT TYPES OF POCKETS

44. SURFACE
DESIGN
TECHNIQUE

45. SURFACE DESIGN TECHNIQUE
Surface design technique is a way of designing the surface of a fabric either
structurally or decorative
designing the surface of fabric gives fabric a volume and an attractive look
wherever required it works like a big helping agent while designing the outfit for
an individual not having a standard body figure.
This technique is very useful when used in a garment keeping the elements
and principles of design in mind.
Structural
Design
Weaving
Dying
Fabric manipulation
Patch work
Decorative
Embroidery
Printing
Painting
Applique
Surface Design
Technique

46. Fabric Manipulation is when we
simply create shapes patterns out of
fabric, this often makes the fabric
more 3D like not flat. Fabric
Manipulation involves producing
patterns for cloth used in clothing,
household textiles and decorative
textiles. The field encompasses the
actual pattern making as well as
supervising part or all the production
process.
Fabric Manipulation

47. FABRIC MANUPLATION ASSIGNMENTS
TUCKS
BOX PLEAT

49. EMBROIDERY
Embroidery is a technique of surface design or in other words it is a surface
design technique.
Embroidery is the handcraft of decorating fabric or other materials with needle
and thread or yarn. Embroidery may also incorporate other materials such as
metal strips, pearls, beads, quills and sequins. Embroidery is also referred as
“painting with a needle”
.
Embroidery is also available with a wide variety of thread or yarn colour. The
basic techniques or stitches on surviving examples of the earliest times are-
Chain Stitch, Running Satin Stitch Cross Stitch, etc. remain the foundation/
fundamental techniques of hand embroidery today. Embroidery is most often
used on hats, coats, skirts, dresses, stocking, golf skirt, etc. In fashion
designing it is important to study embroidery because through embroidery we
can learn about the traditional textile prevailing in different parts of the
state/towns of a country. We can learn as to what a particular traditional textile
symbolizes, what is the meaning, what colors are used more frequently in it
and the most important the motif behind it.
Phulkari
GujratiKasuti

50. Embroidery from the saurashtra and Kutch regions in Gujarat is not only
famous but also versatile. There are plenty of stiches used to beautify the
product. Abhala is the embroidery where small round pieces of mirror are
fixed on the fabric using button hole stitching, the embroidery is done in a
herringbone stich using silken thread. Rust, light green, indigo, blue, deep
red, pink and purple are the colours used.
EMBROIDERY OF GUJARAT

51. A kantha is rich multicolored embroidery from west Bengal. It is done with
simple running stiches. Rural women in Bengal typically use discarded saris,
dhotis and cloth and layer them with stiches to make a quilt, light blanket
shawls, throws or bedspread. Kantha shows the folk expression of the
embroidery's art. Archilata is used as a wrap for mirrors and combs.it meassurd
8 by 12. it has a wide border and in the center lotuses, creepers or trees and
birds or a linear pattern.
KANTHA

52. DRAFTING

53. DRAFTING
Drafting is the basic step to create a shape with accurate measurement.
The systematic presentation and dimensional specification of any shape from
which we create motif then a pattern.
the Drafting is an important technique followed by designers and stylists
when designing an outfit. Before patterns are traced onto fabric, a similar
sketch is prepared on paper. This process is called drafting and it generally
requires a lot of focus and expertise. Drafting is typically combined with
pattern making, which helps give designers an idea of how the final look will
turn out. Several experienced designers and sewers depend on the
implementation of this technique to ensure the perfect garment. In general,
drafting is highly specialized technique, therefore the knowledge gained from
learning it may refine and add to your skills as a designer.

56. Corel
draw

57. COREL DRAW
For designing my layouts and presentation I have mastered vector graphic
software . Corel Draw which helps me to visualize my design specification
and pages . Few of my works are complied there. For a designer , Corel
draw graphics suite is a trusted graphic design software solution. With its
content- rich environment and professional graphic design, photo-editing and
website design software, where we have everything which we need to
express our design, style and creativity with endless possibilities. Here , I am
presenting some of my work which I had done on Corel

61. GARMENT CONSTRUCTION
Fashion design runs the garment from eveningwear to sportswear,
women’s wear to means war and kids wear to knitwera4. garment
construction popularly calls as pattern engineering has a great
importance in the fashion design industry, the companies like Van
Huesan, Levis, adidas etc., are all providers of perfect fit and this is what
we have learn at Dezyne E’cole through the art of pattern making.
Pattern making is the process of transforming a design into its
constituent flat pattern pieces and then drafting them out. The job of
pattern-maker is to interpret the designs into sample pattern pieces and
then drafting them. Pattern making can be divided in two parts namely
measuring correctly & knowledge of technique devised to include
necessary seam allowances. Measuring the human body is the precursor
to developing garments to fit the body.
Pattern for garments is the blue print on the basis of which fabrics is cut
and the same is achieved by two methods:
Flat
Pattern
Method
Draping
Method

62. Flat pattern method:
It 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 covered into a 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 to test the fit, on a dress form or a human
figure.
It is widely used for the following reasons:
The basic block includes ease allowance which allows the body to perform a
variety of normal body functions requiring of various body parts.
The method is logical and easy to understand
It brings consistency and accuracy of both size and fit of mass -produced
garments
It is also the fastest and most efficient pattern design method even for
complicated designs.

63. PAPER PATTERN OF SIMPLE SAREE
BLOUSE
Scale= 1/2”
Measurements
Waist Length- 15”
Round Bust- 36”
Across Back- 14”
SIMPLE SAREE
BLOUSE
Saree blouse is a loose-
fitting upper garment that
was formerly worn by
workmen, peasants, artists,
women and children. It is
typically gathered at the
waist or hips (by a
waistband or belt) so that it
hangs loosely ("blouses")
over the wearer's body.
Modern blouses can be
paired with multi-types saree
to look stylish every time.
Recently, mix & match
fashion is in full demand,
wherein simple saree with
less detailing is paired with
fashionable blouse for
outstanding glamorous
look. The contemporary
version of saree blouses
becomes hot favorite style
statement.

64. PAPER PATTERN OF CHOLI BLOUSE
Scale= 1/2”
Measurements
Waist Length- 15”
Round Bust- 36”
Across Back- 14”
WOMEN’S CHOLI
BLOUSE
The choli is usually cropped,
allowing exposure of
the navel; the cropped
design is particularly well-
suited for wear in the hot
South Asian summers. Cut-
out backs and front-opening
buttons are some of the
features of contemporary
designs. The choli may be
sewn so that the elaborately
woven borders of the sari
material form the bottom
edges of the choli sleeves.
However, cholis need not
match the sari. There is a
growing trend towards
stretchy, comfortable cholis
made from knit materials.

65. Scale= 1/4”
Measurements
Length-40”
Round Bust-34”
Round Waist- 26”
Round Hip-37”
Waist Length-14”
Hip Length-7”
Hem-22”
Slit-7”
Across Back- 14”
Kurta is paired ensemble
from the continent of Asia.
A Kurta is a traditional item
of clothing worn by men in
the Indian Subcontinent. It is
a loose fitting shirt that falls
just above or somewhere
below the knees of the
wearer. When a woman
wears a kurta, it is called
a kurti. Kurtis are usually
much shorter than the kurta
worn by men and usually fall
between the waist and the
mid-thigh. With changing
times the kurta/kurti has
become a designer favorite.
.
PAPER PATTERN OF
WOMEN’S KURTA(KURTIES)
WOMEN’S
KURTA(KURTIES)

66. Scale= 1/4”
Measurements
Length- 36”
Round Leg- 14”
Round Bottom- 12”
WOMEN’S CHURIDAR
PAJAMAS
Churidars, or more properly
churidar pajamas, are tightly
fitting trousers worn by both
men and women in South
Asia. Churidars narrow
more quickly, so that
contours of the leg are
revealed. They are usually
cut on the bias (at a 45°
angle to the grain of the
fabric) which makes them
naturally stretchy. The word
“churidar” is from Hindi and
made its way into English
only in the 20th century.
PAPER PATTERN OF WOMEN’S
CHURIDAR PAJAMA

67. Scale= 1/3”
Measurements
Length- 40”
Round Leg- 39”
Round Bottom- 15”
WOMEN’S PATIALA
SALWAR
Patiala salwar is a type of
female trousers which has
its roots in Patiala city in
Northern region Punjab
state in India. Since he
Patiala salwar is very loose
and stitched with pleats it is
a very comfortable outfit to
wear. Its distinguishing
characteristic is folds of
cloth stitched together that
meet at the bottom. Patiala
salwar require double the
length of material to get
stitched
PAPER PATTERN OF WOMEN’S
PATIALA SALWAR

68. Scale= 1”
Measurements
Length- 21”
Round hip- 37”
Front Hip – 9.3”
Back Hip- 9.6”
WOMEN’S BASIC
SKIRT BLOCK
PAPER PATTERN OF WOMEN’S
BASIC SKIRT BLOCK
A skirt block is the
simplest of the blocks
to draft and is the best
place to start for any
pattern drafting novice.
This block is one of the
easiest blocks to draft,
but it is rarely used on
its own, unless you're
actually making a quick
skirt, for which are
many other methods!
However, this block is
important because it is
often combined with
other blocks.

69. Scale= 1”
Measurements
Front length- 14.5
Front width-9
Center Front Length- 12.5
Apex –3.5
Under arm seam length-
7.5
Across Shoulder- 15
Back width-13,5
Back length-13.5
WOMEN’S BASIC
BODICE BLOCK
Basic bodice block
normally represents the
dimensions of a
specific form or figure.
It has darts to fit to the
contours of the body
but no other design
features. It is a
foundation that is used
to make the pattern for
a design and has no
seam allowances.
PAPER PATTERN OF
WOMEN’S BASIC BODICE
BLOCK

70. Draping method:
It is the oldest pattern-making and id generally
regarded as a creative method 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 can be
arranged artistically in folds for a specific
design. The muslin pattern is then transferred in
the paper, and corrections are made and then
the same are converted into a final pattern.
Draping for fashion deign is a process of
positioning and pinning fabric on dress form to
develop the structure of a garment design.
So, at Dezyne C’cole College we have learned
draping method in which we have learned
various dart manipulation, single dart series,
double dart series and dart clusters and even
had a group activity within which we have
experienced vortex and origami.

71. PRINCESS PANEL SHOULDERDART
DART LESS BODICE
BLOCK

72. DOUBLE DART
SERIRS
WAIST DART MID
SHOULDER
TO PRINCESS
LINE SKIRT

73. ORIGAMI
VORTEX
GROUP ACTIVITY

74. PATTERN MARKINGS/SYMBOLS
Cutting Line
Multi-Size Cutting Line
Grain Line
Place to fold lines
Alteration Lines
Seamline or Sitching Line
Seam Allowance
Center Front or Back
Hem Allowance or Hemline
Button Hole
Button Positions
Dart
Pleat

75. Tuck
Waist or Hipline
Markings to be transferred
from pattern pieces to the
fabric for matching or to the
fabric for matching or to
indicate detail
Single Notches
Double notches
Triple notches
Zipper Placement

76. THE HOURGLASS: Upper and lower
body similar in proportion with a small,
near waist
THE TRIANGLE :Lower body (hips) is
larger than the upper body (bust and
shoulders)
THE RECTANGLE: Upper and lower body
are of similar proportions.
THE WEDGE: Upper body (bust and
shoulders) is larger than lower body
(hips).
TYPES OF SILHOUETTES

77. TERMINOLOGY
• BLOCK/SLOPER
Sloper is a term given to a very basic set of pattern pieces used to make
additional patterns of any style. It refers to paper cutting of basic bodice, skirt,
sleeve or nay such basic pattern from which all the other designs are
developed. The block normally represents the dimensions of a specific form or
figure. It has darts to fit to the contours of the body but has neither features
nor seam allowances. It is the foundation used to make the pattern of design.
The basic blocks can be drafted to fit individual figures by using personal
measurements
• WORKING PATTERN/ PRODUCTION PATTERN
It is made with the help of sloper and includes all the information needed for
cutting and production of the garment including seam allowance.
The following should be included on a pattern:
Grain line
Centre Front or Centre Block
Style number or code number
Pattern piece
Size
Cutting information
Notches
Directional fabrics
Date
Seam allowances

78. • SEAM ALLOWANCES
The amount of seam allowance required for each seam line may vary
depending on the location and end purpose. Generally these are the
measurements followed:
1/4” for sharp curves, neckline, armhole, sleeves cap, etc.
½” straight lines, shoulders & plackets
1” for side seam, center line
2” for straight hem line.
• GRAIN LINE
Grain line is a line drawn from end to end on each pattern piece to indicate
how the pattern should align with the lengthwise grain of the fabric. Whichever
be the direction in which the grain line is drawn, it will always be placed parallel
to the selvedge on the fabric. The direction in which the yarn is woven or knit.
 LENGTHWISE GRAIN (WARP): Yarns parallel with selvage and at right
angles to the crosswise grain. It is the strongest grain and drapes best
when perpendicular to the floor.
 CROSSWISE (WEFT): Yarns woven across the fabric from selvage to
selvage. It is the filling yarn of woven fabrics, cross wise grain yields to
tension.
 Selvage: the narrow, firmly woven, and finished strip on both lengthwise
grain edges of the woven fabric. Clipping selvage releases tension.
• DART
Dart is a wedge-shaped or triangular shape marked on the pattern that controls
the fit of the garment. Dart legs- the two sides of the triangular shape & should
be of the same length.
Dart point- the point at which the dart ends.
Dart intake: the amount of suppression taken between the dart legs.
Apex: the highest point on the bust.

79. Darts radiate from the highest point of a mount on a body, these mounts are
generally rounded. If the darts on front bodice are stitched till the apex they
would create a point on the apex and strain the garment. The body is rounded
and not pointed hence to avoid these strains or pulls on the garment the dart
need to be finished from apex.
SINGLE DART PATTERN
In this a single dart is there for entire suppression required. Dart ends ½” away
from the bust point.
TWO DART PATTERN
Waist dart is 1/4” to 1” away from the bust point.
Other dart is ¾” to 1 1/2”away from the bust point.
• PUNCH/CIRCLES
 Dart intake
 Dart back-off points
 Dart, curves
 Buttonholes/buttons
 Trimmings
 Pocket place

80. • NOTCHES
When a piece of fabric is first cut out, it has none of the markings that are seen
on the pattern. Notches are small marks made on the pattern to ensure that one
pattern piece will match up to the pattern next to it. They can be used to show
what the value of the seam allowance is, and can also be used as markers
along a seam to make sure that the two pieces of fabric will come together
correctly when sewn.
On a cardboard pattern, they will look like small indents around the outside edge
of the seam allowance. The notches that are made on the cardboard pattern are
transferred onto the cut fabric by the cutter.

81. TOOLS AND EQUIPMENT'S

82. Make a salwar kameez for a lecturer in engineering
college. Age 32to 34 years using with any surface design
technique like manipulation and embroidery.
CASE STUDY
Client Board
• Women’s Wear
• Engineering College Lecturer
• Age 32- 34 years
• Requirement- formal wear as per college, soothing colour,
comfortable, ease, as per the trend.

83. My observation and also according to clients requirements-
• Purpose- College wear/ Lecturer
• Age - 30’s
• Working - Engineering College Lecturer, standing for long
Hours, hands movement, demonstrating, presentation.
• Dress Code - Salwar Kameez
• Dressing - Power Dressing/ professional
• Personality - Confident, Independent, Decision-Maker,
Organized, warm, Kind.
• Silhouette- Rectangular (Upper and lower body are of similar
proportions. )
OBSERVATION

84. RESEARCH BOARD
There are various types of salwar
Kameez-
•Churidar
•Parallel salwar Kameez
•Kameez with straight salwar
•Trouser salwar
Types of fabric and their quality:-
•Cotton
•Linen
•Silk
•Chiffon

85. Designs Of Salwar Kameez With Rectangular
Silhouette And For Professional Wear .

86. FABRIC SUITABLE TO MY DESIGN AND CLIENT REQUIREMENT
Cotton is everywhere. It is casual, but it can be dressy.. It’s easy.
Its light breathy, cool and easy to wear.
Cotton is blended with other fabrics too like- chanderi, twill, voile, plaids
and more.
From casual to formals cotton clothing suits all day.
Its cheap, easy to clean, durable, ubiquitous, comfortable

87. FABRIC FINISHES
For any designer, its very important to study about fabric and its
properties. As the garment represent the status symbol and also
make the fashion statement, therefore it is required to know
fabric:-
 Aroma fabric
 Wrinkled resistant fabric
 Stretchable/Comfortable
 Durable
 Easy to clean
 Soft, Natural, Light wear

88. Mood Board

89. Professional
Powerful
Earthy
Welcoming
Regal
Pure
C:0
M:100
Y:100
K:0
C:0
M:0
Y:0
K:40
C:0
M:87
Y:100
K:0
C:81
M:100
Y:19
K:0
C:0
M:34
Y:100
K:0
C:0
M:0
Y:0
K:30
Mood Board

90. MATERIAL BOARD

91. IDEA GENERATION
C 0
M 60
Y 60
K 0
C 0
M15
Y 15
K 44
C 0
M 0
Y 0
K 10
C 40
M 0
Y 100
K 0

92. C 0
M 34
Y 100
K 0
C 0
M80
y 40
K 0
R 245
G 129
B 30
C 0
M 0
Y 0
K 100

93. FINAL CREATION
• WHITE colour- pure
• Surface design technique- kantha embroidery
• Flat pattern method
• Fabric - cotton
C 40
M 0
Y 100
K 0
C 0
M 0
Y 0
K 10 ¾ SLEEVE
KANTHA
COTTON
CHURIDAR

94. DESIGN AND DEVELOPMENT
The different types of elements and principles used in my creation :
 Line
 Colour
 Shape
 Texture
 Repetition
 Proportion
 Balance
 Contrast

95. ESTIMATION AND LAYOUT
Size 44 inch

96. SPECIFICATION SHEET

97. WORKING PROCESS