Palveshah Ashruff is a student studying Fashion and Textiles Buying Management. They are seeking industry experience through an internship. Their skills include teamwork, communication, meeting deadlines, and achieving goals. They enjoy scrapbooking to document their learning. Examples shown include a scrapbook from a design project and mood boards created in Adobe InDesign. Palveshah also demonstrates knowledge of textiles through an analysis of a skirt's fiber content, fabric type, care instructions, and construction.

1. FOLIO
BA (HONS) FASHION AND TEXTILES BUYING MANAGEMENT
PORT PALVESHAH ASHRUFF

2. P A L V E S H A H A S H R U F F
PORTFOLIO

3. 3
WELCOME
Hi my name is Palveshah Ashruff and I’m a student at the University of Huddersfield studying a degree in Fashion and Textiles Buying
Management. As part of our course we have the opportunity to acquire a year’s worth of industry experience to help strengthen are
chances of discovering a job after graduation. What I hope to achieve, should I receive the chance to work with the company, is that I gain
a greater sense of what it means to work in the fashion and textiles industry as well as assuring my passion for them.
I am an ambitious, enthusiastic, diligent person who can work well within a team. I thrive on responsibility; taking the lead as and when ap-
propriate. I work hard and pride myself on professionalism, honesty, reliability, flexibility and punctuality. I have attained skills in customer
excellence and lead by example in this environment. I work well under pressure within tight timescales achieving all my objectives and
targets.
Thank you for taking the time to consider this application and I look forward to hearing from you in the near future.
Yours Sincerely,
Palveshah Ashruff

4. 4
SCRAPBOOKINGScrapbooking has been a hobby of mine for a long time, it is a way of documenting interesting finds in the fashion and textiles industry. I got to use these skills in one of the first assignments I received on my course. The brief
for the project was to create a red carpet outfit made from non-traditional materials used for garments. The purpose of the project was to experience each stage of the design process and record it in a scrapbook.
ΦΦ Steps of the design process include:
ΦΦ Analysis of the brief
ΦΦ Design research
ΦΦ Analysis of research (annotated mood boards)
ΦΦ Global & Historical Influences
ΦΦ Design development
ΦΦ Market research (customer profile)
ΦΦ Final ideas (design & mood board)
The project was an initiation into the course as it was a group based assignment. It built on team working skills as we had to organise meetings, delegate tasks to each member for the project and practice communication skills
in a new environment. The project allowed us to find each other’s strengths and weaknesses.

5. 5
NAME OF PROJECT: DESIGN PROCESS
DATE: 03/11/14
SOFTWARE: MICROSOFT WORD
As mentioned the design process project demonstrated the stages a buying team, along with merchandisers and designers, take in order to create final pieces
for their collection in store. Shown here are some images from my scrapbook, everything was created on Microsoft Word and placed in the scrapbook. The de-
sign aesthetic of the scrapbook layout matches the modern minimalistic design of the red carpet outfit. Feedback from this assignment highlighted the structure
of the scrapbook and how it was clearly laid out with the tabs sectioning out the stages. Even though there was a need for thorough analysis the balance of image
and text was appropriate for a scrapbook.

6. 6
POSTERS/MOODBOARDS
Mood boards are a great way of arranging ideas for a collection to create a unifying theme. Breaking it down into sections helps identify specific details. These were used as part of other projects to help gen-
erate inspiration for designs. Using a mix of media also helps create an overall concept. Traditionally mood boards are created as collages of individual pieces put onto a foam board. But with the production
process of the fashion industry transitioning to online, creating digital mood board. These projects were my first encounter with Adobe InDesign. Elements of design and settings were done experimentally to
document the learning process.

7. 7
This is the final mood board for my design process project. The brief specified creating individual mood boards of the final outfit. The images of the final outfit
were taken during a photo shoot we organised, the lighting and the whole set-up. For that very reason, I wanted the other images on the mood board to reflect the
aesthetic we portrayed in the photo shoot.
NAME OF PROJECT: DESIGN PROCESS
DATE: 03/11/2014
SOFTWARE: MICROSOFT WORD

8. 8
NAME OF PROJECT: TRACKING A
TREND
DATE: 17/11/2014
SOFTWARE: ADOBE INDESIGN
The tracking a trend project helped strengthen my knowledge of fashion and textiles impact on history. I was given a trend in fashion that still exists today and
had to research its origins and contribution overtime. As you can see, the trend was pea coats. The style of the posters reflect the subject, research spans from
the beginnings in The Netherlands to its revival in movies such as the James Bond movie ‘Skyfall’. The illustration of the labelled pea coat was created in Adobe
Illustrator.

9. 9
TEXTILE KNOWLEDGE
I’ve studied textiles since GCSE and still have growing interest in the topic. Thorough knowledge of textiles is vital to being a buyer as it’s what helps make decisions on what fabric, fibre, colour and shape is
suitable for the range. The anatomy of a garment assignment demonstrates this understanding perfectly, we each chose a garment and were told to breakdown the product into the following categories:
ΦΦ Fibre content
ΦΦ Fabric type
ΦΦ Care label
ΦΦ Construction
Other examples such as the trend research elements of the mini range demonstrate similar skills. Choosing what is appropriate based on price, market, end-use, and the target customer.

10. Anatomy of a Garment
Palveshah Ashruff
U1462159
Description of the garment:
Product: Mini Skirt
Brand: Huntington & Co.
Retailer: USC
Intended Consumer: 18-24
Size: XS
Price: £18.00
Country of Origin: Not stated
With it being absorbent it would be able to take colours dyed or printed onto the
fabric very well. Also as it’s a durable fibre, for a garment that will be worn often as
casual wear it needs to be strong and abrasion resistant to allow it to be long lasting
(Cresswell, 2001). One disadvantage of the cotton is that it makes the garment
crease easily which in terms of care instructions for the customer it’s having to iron
it each and every time your wear it.
The processing of cotton into yarn starts off with “ginning” the bales of fibre. This
opens up the cotton bolls and separates the tufts and removes the seedpod and any
large impurities picked up from when they were harvested (Hallett & Johnston,
2014, p. 149). The ‘tufts’ as they are referred to are distributed into even layers
which are then mixed together and passed through a series of fine tooth rollers that
remove and remaining debris. Carding is a process that detangles all the fibres and
aligns each of them parallel to each other and cleans any small impurities left be-
hind. What is then left is a thick sliver which is delivered into a large cans (Eberle,
2008, p. 62). Theses slivers are then sent through a drawframe to improve regular-
ity in the slivers by blending them. Yarns are fibres that are tightly twisted together
to add strength, they are firstly roved to add a slight twist and then they are ring
spun to give a tight fine twist. Combing is usually an additional process done to
remove short fibres and give a smooth, more regular finish but that is usually done
for more high quality fabrics. This is a spun yarn as it is made from staple fibres
which means it has a hairy texture, fuller handle, matt lustre and irregularities in
the yarn structure.
The other fibre used in the main fabric is elastane which for a garment like this
it seems useless as its only 2%. But it may have been added to the fabric to give a
certain quality, add bulk and durability to the fabric and make it more abrasion
resistant (Cresswell, 2001). Elastane is synthetic rubber like fibre that improves the
fit and recovery of a garment’s shape. It’s produced by firstly creating a pre-polymer
which is then diluted with a solvent mixed with other chemicals to create a poly-
mer solution which is then dry-spun. The solvent used is then evaporated and re-
used for the next batch, then finishing agents are added so that the fibres are ready
for fabric construction or any added performances needed in the fabric (Hallett &
Johnston, 2014, p. 207). As it is made by extruding long continuous fibres through
a spinneret I believe this to be a continuous yarn which has a smooth texture, fine
compact handle, might have a slight lustre and will have regular yarn structure.
Fibre Content
Cotton is a natural, cellulosic seed fibre that grows
around the seed of the plant. It’s a particularly good
choice of fibre as cotton is comfortable, it has a natural
absorbency and can be adapted to suit any climate (Hal-
lett & Johnston, 2014, p. 143). For this garment I believe
the cotton was chosen for it’s next to skin comfort, be-
cause it absorbs moisture it doesn’t irritate the skin.
For my garment there are two different fabrics used, one is for the lining and the other for
the main fabric.
Starting off with the main fabric, it’s a sateen woven
structure which means that four or more weft thread
may float over one warp thread (Hallett & Johnston,
p. 18). As it is a sateen fabric this means that there are
predominantly weft threads on the right side of the fabric.
Along with the slight hairy texture of the cotton yarns
this structure gives a smooth, soft handle to the fabric.
For the dyeing process, as it is a woven structure this
means that the warp yarns will have size starch on them,
this used to strengthen them during the weaving process,
this needs to be removed as well as being washed of any
Fabric Type
other residue left in the fabric structure. With the cotton being a cellulosic fibre it isn’t
natural stark white so it needs to be bleached so that its ready for any dyes to be applied
so it take the colour better(Cresswell, 2001). This would probably be done during the yarn
stage as the elastane in the fabric wouldn’t need to be bleached. Lastly once the fabric is
created the print is then applied to the fabric by ink jet printing also known as digital
printing. This is when ink is directed through nozzles spraying a series of droplets line by
line on the surface of the fabric (Udale, 2008, p. 93). As it’s a modern garment it probably
uses pigment based inks which means that no solvents or coatings were used on the fabric
so it is more environmentally friendly as well as cost effective. With the nature of the ink
used, the colour is light and wash fast which is less expensive then dye-based inks. Also
with advances in technology inks can be modified to adhere better to the fabric so, as I
have mentioned the pigment is retained and doesn’t wash out easily; with it being a casual
wear garment it will be worn frequently so for good value the dye not being able to run is
important.
The other fabric used in the garment is made from 100% cotton and is used as the lining
of the skirt. It’s a plain weave structure which means the weft and warp yarns follow a one
over and one under pattern. Plain weaves can have a coarse or smooth texture dependent
on the fineness or coarseness of the thread count, so judging by the texture of this fabric
the thread count is relatively fine as it is smooth but it is not like silk (Hallett & Johnston,
2010, p. 16). This is the strongest form of weaving because it has the most intersections
in comparison with other woven structures. Similarly to the fabric mentioned above, in
preparation for the dyeing process the warp yarns will have size starch on them so the
fabric will have to be scoured and washed to remove it and any other remaining dirt or
oils. Then the fabric would be bleached to remove any natural dyes within the fabric and
to give a blank canvas for dyeing so that colours come out better but as for the fabric used
Legal regulations state that on a clothing label or on the
garment somewhere, the company must state the fibre
content and aftercare instructions or warnings, other option-
al information can be the brand name and aftercare symbols
(Eberle, 2008, p. 44). Aftercare instruction are given through
testing the garment making sure that if they customer was to
purchase it, they would not shrink it because the tempera-
ture was not stated or given correctly.
Care Label
Referring to the label shown in the image (above) we can see that this garment can be
washed at 40C on a delicate wash because if it is put in the machine with a high agitation
cycle it may damage the garment or the surface of the fabric. It is surprising that there is
no statement saying to wash at 30 and save energy, this is usually expected on modern
garments. The next symbol is for bleach, like many garments you cannot use a detergent
which uses bleach as an ingredient because the colour will run and distort the garment’s
colour. Most garments can be tumble dried but mainly on a low heat like this one, be-
cause lots of garments contain synthetic fibres that are thermoplastics which with heat can
deform their shape. In this garment there is a small percentage of elastane so it is because
of this a low heat is recommended plus cotton doesn’t shrink excessively with heat. Along
with heat in tumble drying, the heat setting for the iron is also important, on the label it
says that you can use a medium heat setting with steam to get rid of creases as cotton isn’t
very crease resistant. Lastly there is the symbol for dry cleaning, although it is not neces-
sary for the garment to be dry cleaned if it is done then perochloroethylene or hydrocar-
bon solvent may be used. This type of solvent is commonly used for dry cleaning as it is
not too strong as to damage the garment.
Step 1 – Main outer body of skirt
1) First each panel of the skirt has two rows gather-
ing stiches sewn at the top, then adjust to the right
length.
2) All four individual panels are sewn together
using a double chain stitch (only centre seam) and
straight stitch, making sure to leave the back open
for the fastening.
3) Sew pocket pieces together right side facing leav-
ing top open with (stitch type) and overlock to stop
it from fraying away.
4) In the left and right side seams insert the pockets,
turn pockets inside out and sew to panel seam right
side facing.
The first step in the construction of this garment is the pattern, it needs to be graded and
then lay planned so that the fabric is used economically. If a pattern is on the fabric, for
example the stripes on the main skirt fabric, the pieces need to be placed properly so that
when they are sewn together the pattern is continuous and flows in the same direction on
each panel; if something needs to be cut on the bias like binding it is placed in the right
direction. After this the fabric is then spread out into layers so that batches can be cut out
all in one go with the pattern laid on top, special machines are used to spread the fabric
so that there are no wrinkles or unevenness so that the pieces cut are correct. After this a
blade will be used to cut out the pattern pieces but with the advances in technology most
cutting is done by a computer using a laser cutter giving clean edges singed by the laser.
After that the pieces are then sent o be sewn together to create the garment. For this type
of garment I believe it would be using a modular production system, this is when a certain
is responsible for either the entire garment or a certain process within the production of
the garment. In this case there would be one team for the production of the main outer
body of the skirt, one for the lining and another for the joining of the two and other fin-
ishing touches.
Construction
Step 2 – Lining of Skirt
1) All panels of the lining sewn together using (stitch type) to form a circular shaped
skirt and overlocking the edges. Labels I sewn into the left side seam
2) Rows of gathering stitches are sewn on the top of a long piece of fabric, once adjusted
to the right size need the ruffled fabric is then sewn right side facing onto the bottom of
the skirt.
3) Bias binding made from the same fabric is used to cover up the stitch work on the
back of the skirt plus with it being cut on the bias it will fit better around the circular
shape of the skirt as woven fabrics are stretchy along the bias.
4) The hem is overlocked, folded over and sewn down with a straight stitch.
Step 3 – Assembly and finishing touches
1) Fusible interlining is ironed onto the back of the waistband to add strength as it will
be holding the weight of the fabric.
2) The waistband is folded over and stitched to the main skirt fabric.
3) The lining of the skirt is sewn wrong side facing right side of the waistband.
4) All seams and edges are all overlocked.
5) Then finish with topstitch on the front side of the pocket to strengthen the opening.
6) The bottom of the skirt is folded over twice and stitched down. All seams are pressed
down and face away from the centre.
5) Zip is sewn in between both layers, on the side of the
main skirt the fabric is sewn close to the zip so that it is
not visible and for the lining it is folded. In the lining it is
further apart from the zip maybe so that the zip is effec-
tive and does not get caught on the fabric.
6) Finally the product labels are sewn on and hook and
eye fastening is hand stitched on, this I found peculiar
because it made it very flimsy and did not seem to serve
much of a purpose.
7) All seams and the garment as a whole is pressed and packaged off to be sold in retail
stores.
References
Cresswell, L. (2001). Textiles at the cutting edge. London: Forbes Publication.
Eberle, H. (2008). Clothing Technology: From Fibre to Fashion. Haan-Gruiten: Europa-Lehrmit-
tel.
Hallett, C., & Johnston, A. (2010). Fabric for Fashion: The Swatch Book. London: Lawrence King
Publishing.
Hallett, C., & Johnston, A. (2014). Fabric for Fashion: a complete guide: natural and man-made
fibres. London: Lawrence King Publishing.
Figure 1 - (2014).Satin Weave Structure. Retrieved from http://www.bbc.co.uk/staticarchive/d99f-
78b9faa0b9b6d642ab84c05d80cf370cebc7.gif
Udale, J. (2008). Basics Fashion Design 02: Textiles and Fashion. Lausanne: Ava Academia.
10
NAME OF PROJECT: ANATOMY OF A
GARMENT
DATE: 19/01/2015
SOFTWARE: ADOBE INDESIGN
For the assignment I chose a striped skirt to break down into the before mentioned headings. Using theory to justify considerations made for the product from
the fibres used to the very construction of the garment. Such detail is required for garment specifications to make sure products are manufactured to the
buyer’s demands.

11. 11
COMMERCIAL PROCESSES
In connection with textiles knowledge, a good understanding of the commercial processes taken to reach the final product is also vital. Work in supply chain requires a depth of knowledge about processes of dyeing, garment
construction, fibre and fabric production. The mill case study gave us an opportunity to explore a mill and support what we had learnt in lectures. By visiting the mill and taking a tour of the factory we then had to produce a
report documenting what we discovered and the business as a whole:
ΦΦ History
ΦΦ Marketing environmen
ΦΦ Production process
ΦΦ Sourcing & liabilities
ΦΦ Sustainability
ΦΦ HR & employees
ΦΦ Innovation

12. 12
NAME OF PROJECT: MILL CASE
STUDY
DATE: 18/12/2015
SOFTWARE: ADOBE INDESIGN
Our group chose the Z Hinchliffe & Sons based in Denby Dale. We visited the mill to learn more about their manufacture of woollen yarns and to learn more about
the company and its progression into the future. This assignment was an introduction into academic writing in the form of a proper report therefore technical
texts were important to back up theory. I also examined the financial statements of the company and gave a descriptive analysis along with evidence collected
from FAME. Then the main section depicting the entire production process from start to finish.

13. 13
RANGE BUILDING
Building a range that would eventually be sold in store is one of the many roles a buyer plays. The mini range assignments done on the course revolve around the idea of identifying a gap in the market for a retailer and creating
a collection that would satisfy the needs of that customer. The assignments had to cover points such as:
ΦΦ Brand research
ΦΦ Market research
ΦΦ Customer profile
ΦΦ Trend research
ΦΦ Range presentation
ΦΦ Range table
ΦΦ Sourcing strategy

14. 14
NAME OF PROJECT: MINI RANGE
DATE: 02/03/2015
SOFTWARE: ADOBE INDESIGN &
ADOBE FIREWORKS
The collection has to fit in with the company’s goals and strategy to show how profitable it would be. The first range I did was a snow wear range for Zara. Ski and snow cloth-
ing was becoming affordable and available on the high street. Zara’s competitors Topshop and H&M already had ski wear offered in their stores, so to remain current within
the market and relevant to the customers creating a snow wear range was the perfect gap to investigate. The range had clear focus, is imaginative and presented in a profes-
sional manner that reflects Zara as a brand. For such a range of clothing research into trends for high tech fabrics was vital, performance wear for high street still needs a
technical advantage over ordinary clothing

15. 15
NAME OF PROJECT: RANGE PROPOSAL
DATE: 17/03/2015
SOFTWARE: ADOE INDESIGN & ADOBE
ILLUSTRATOR
The next assignment shown is a homeware range for Topshop. Once again their competitors H&M and Zara offer extensive homeware ranges with dedicated flagship
stores in London as well as offering it online. The idea was that the homeware range coincide with Topshop’s catwalk collection and start off as limited edition with
it eventually building up to a full range of its own. We also had to show the considerations we made in terms of cost and sourcing demonstrated in the range table,
valuable skills for a merchandiser.

16. 16
RETAIL & VISUAL MERCHNADINSING
The customer experience has now become a valued part of a retailer’s branding. One element of enhancing the customer experience is through the visual merchandising (VM) of retail outlets including online. Customers not
only buy products but into the brand itself, for true loyalty customers must see the value of their contribution. My visual merchandising report explains this theory of the growing importance of the customer experience and
how revolutionary visual merchandising has become. The report is split into three sections:
ΦΦ Trends in retail
ΦΦ Comparison of retailer’s
ΦΦ Proposal

17. 17
NAME OF PROJECT: CONSUMER
EXPERIENCE REPORT
DATE: 26/04/2016
SOFTWARE: ADOBE INDESIGN
I used theoretical concepts of VM and retailing as a base to understand the future of retail. The comparison of two retailer’s (Paul Smith & Oliver Sweeney)
was deduced from the research gathered from comparative shops conducted in both stores. One trend was then chosen to be a beneficial addition to one of the
retailer’s store environment. I chose to adopt heat mapping technology into Paul Smith to help track and optimise the movement of customers around the store
to help with placement of merchandise.

18. 18
THE FUTURE OF THE FASHION AND
TEXTILES INDUSTRY
As mentioned previously, the fashion and textiles industry is moving into the future of digital platforms therefore awareness of these developments is crucial to a company’s journey. We are entering a new era of revolutionary
technology and fashion/textiles is amongst the late adopters of this trend. There are two case studies that I’ve written that evaluate the slow adoption and possible future of fashion. Each assignment asked to investigate an
issue or innovation related to an organisation.

19. 19
NAME OF PROJECT: GLOBAL CASE
STUDY
DATE: 18/03/2016
SOFTWARE: ADOBE INDESIGN
The global case study investigated why investing in RFID (radio frequency identification) helped Zara create a high performing supply chain. Its vertical supply
chain method already advances them ahead of all their competitors but with the help of RFID they became even more efficient. It gives them the opportunity to
track products from the second they are dispatched to the very moment they are sold to help with stock control, distribution and customer behaviour. The case
study highlights research in the current field and its contribution to the present and future of RFID and using information from Zara to give the current status of
RFID in the industry.

20. NAME OF PROJECT: PLM CASE STUDY
DATE: 06/05/2016
SOFTWARE: ADOBE INDESIGN &
MIRCOSOFT EXCEL
PLM has become a growing phenomenon for manufacturers and retailer’s what with it reducing costs and increasing efficiency in production. My case study
explores an extension of PLM called “The Internet of Things” (IoT) and its impact on Superdry. The case study explores the hypothetical implementation of IoT into
Superdry:
ΦΦ The existing foundations of the company and the industry
ΦΦ The benefits the program offers the company and its customers
ΦΦ The implications of adopting such a program to the company both positive and negative
20

21. Our course has been mentioned in two articles on WhichPLM for our joint project. The WhichPLM Academy offered the 2nd year students on our course the opportunity to achieve a bronze level certificate for PLM training. We
learnt how to use the industry standard program and the theory behind it all.
21
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Enterprise 3D: an education
In this report our Editor, Lydia Hanson, comments on a recent visit WhichPLM made to the University of Huddersfield. This came not long after a trip to
Manchester Metropolitan University in February 2016.
MARCH 15, 2016 by LYDIA HANSON in FEATURED
WhichPLM has made regular visits to the University of Huddersfield for the
best part of two years; our CEO has spent time participating in guest lectures
spanning a range of topics – topics linked to PLM for fashion, 3D and, now, the
‘Internet of Things’.
On the first day of this month, Mark Harrop returned to UoH to catch­up with
second year students on the fashion course.
The Department of Fashion and Textiles at UoH aims to be recognized as a
global area of excellence in fashion/textile teaching and learning, technology,
innovation and research. It presents opportunities for the two closely related
disciplines to develop and work closely together. This includes the fusion of
staff and spreading of skills and specialist knowledge in the exciting
development of courses, modules, projects, research and enterprise.
The department has achieved recognition for its merging of traditional
technologies with new and digital technology – something WhichPLM is an
advocate for – and aims to maintain this reputation as well as being recognized
for excellence in making, craft, skill and business, promotion and marketing.
Mark shared the technological challenges during the ‘90s, and the maturity (or
lack thereof) of the solutions and the limitations of hardware and memory.
These factors prevented most businesses from adopting 3D solutions – those
that did were retail/brand technology leaders with the vision of (and cash to
invest in) the future of 3D.
Bringing the pitch back to the present, Mark examined many of the challenges
and benefits of using and implementing 3D solutions today. He used several
true examples of best practice ‘use cases’. He emphasized how crucial it is for
a company to look at a 3D project with as much enthusiasm and importance as
they would an ERP or PLM project. Today, 3D touches a myriad of different
product types, departments and processes (apparel, handbags, footwear,
jewellery, watches, consumer electronics and wearables) operating across the
entire supply chain. Mark gave real examples linked to areas including creative
design, merchandising, synthetic costing, sustainability, near­shoring, CGI
(computer generated images), 3D in marketing, supporting mass customization
and configuration, and 24 hour sampling.
Mark concluded by sharing his thoughts on what to expect in the not­too­
distant future. He used examples of how we can expect to see CGI, Virtual and
Augmented reality within retailers, brands and manufactures, in creative
design, product development and procurement of apparel.
What followed was what could only be described as a lengthy Q&A session;
due to the interest coming from the students this session was detailed and
thorough. That interest stems from previous WhichPLM guest lectures, and
completion of the WhichPLM Academy bronze tier. In fact, several students
were presented with their WhichPLM Academy certifications following the

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