The document is a project summary and report by Richa Tilwani for her Bachelor's of Science in Fashion Technology degree. It includes an acknowledgement, synopsis of her project studying various fashion design techniques, and details of her final design project - a top created using embroidery. It also includes sections on her education, experience, skills and interests relevant to a career in the fashion industry.

2. ACKNOLEDGEMENT
I am thankful to all those whose guidance helped me to complete my
project. I am thankful to my mentors of Dezyne E`cole College who gave
me this project and helped me to show my working ability through my
project.
Richa Tilwani
Bachelor`s of Science in Fashion Technology
1 year advance diploma

3. Dezyne E`cole College
Civil line, Ajmer
www.dezyneecole.com
The project of Ms. Richa Tilwani student of Bachelor's of Science in Fashion
Technology with 1 year women`s wear fashion diploma program has been
checked and graded as ____________________________________________
Thanks
Principal
[Seal and Signature]

4. SYNOPSIS OF PROJECT
During this project I studied about FASHION DESIGNING program through
Foundation Design, Illustration, Surface Design Technique (Fabric
Manipulation, Woven Textiles, Printed Textiles, Embroidery,, Dyed Textiles,
Painted Textiles, Drafting, Coral Draw, Draping, Garment Construction.
My year end project is a Designer Top 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. EXPERIENCE
Garment
Construction
Richa Tilwani
Fashion Designer
 www.dezyneecole.com
Collection of
casual women`s
wear
Fabric
Manipulation
Draping
Manipulate fabric
by tucks, pleats
etc.
Dart manipulation
by single and
double dart series,
Vortex, Origami
Embroidery Collection of
traditional Indian
embroidery
EDUCATION
Dezyne E`cole
college
12th CBSE
Ajmer
10th CBSE
Ajmer
Queen Mary’s
School, Ajmer
2013-2014
Maheshwari
Public School,
Ajmer
2011- 2012
PROFILE
I am fashion designer from
Dezyne E`cole College, Ajmer.
I appreciate hand skill and the
art of manipulating fabrics. I
have always enjoying doing
intricate work and have a keen
eyes for detail finishing. For me
esthetics is equally important as
the functionality of a product. A
design process followed in an
organized and designed
manner is the key of a
successful end product.
SKILLS
Pattern Engineering
Draping
Traditional Indian Textile
Illustration
Coral Draw
Foundation Design
Fabric manipulation
LANGUAGES
Hindi, English
P
INTEREST
Music
Pinterest
Reading Fashion Magazines



9829024839
B.Sc. In Fashion
Technology

6. CONTENT
• FASHION INDUSTRY
• INTRODUCTION TO WOMEN’S WEAR
• LEARNING EXPERIENCE
• FOUNDATION DESIGN (COLOURS)
• ILLUSTRATION
• SURFACE DESIGN TECHNIQUE
• DRAFTING
• CORAL DRAW
• DRAPING
• GARMENT CONSTRUCTION
• COLLECTION OF BASIC GARMENTS WITH PAPER PATTERN

7. FASHION INDUSTRY
The fashion industry is a product of the modern age. Prior to the mid
17th century most clothing was customs made. It was handmade for
individuals, either as home production or an order from dressmaker and
tailors. Hand sewing by dressmaker and tailors is also caller sewer.
At that time required an enormous amount of painstaking hand labor. All
clothes were not only handmade but also custom made. Each garment
was made to fit the customer’s exact measurements.
Dresses and suits were individually sewn by dressmaker or tailors to
their employers specifications.
The identities of personal dressmaker were secret guarded by the
wealthy. No one wanted to share the talents of clever dressmaker for
fear or losing them. Middle class developed wealthy women no work
only dressing.
Fashion is a dynamic force which influences lifestyles choice made by
consumers. It drives international trends in a multitude of area from
apparel accessories, automobiles, cuisine, wellness, vacation and
more. Glamour not withstanding fashion is a series global business with
high financial stakes.
The increasing references to Indian Textiles, Clothing and Culture on
International Fashion Scenario an indicative of India being Centre-
stage on the global fashion map. The current educational environment
provides students with a wide range of subjects that are informative.
In response to a demands of the changing fashion industry, are built on
a academic foundation where History, Anthropology, Sociology,
Psychology & Economics intermingle to shed light on clothing as one of
the three most essential needs of woman race.
There is a huge market with various segment of women with explicit
needs. Many brands like Levis, AllenSolly, Marks address these
requirements with their apparel lines based on specific market
requirements at sizes, ethnicity. Introduction to garments for plus size
women and maternity wear also acquired considerable share.

8. “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” by COCO
CHANNEL.
Women wear has always enjoyed the
Centre stage in fashion.
INTRODUCTION TO WOMEN’S WEAR
Influence on travels on women’s wear
women’s ready-to-wear garments follow
specific travel prediction for the season to
enable the designer, fabric manufacturer,
garment manufacturer and retailer to plan
the design and production of the garment
at least 18 months in advance of the
actual season of sale.
Couture and Pret-A-Porter, London, New
York are the main source of fashion trends
for women’s wear.
Indian women’s wear market continues to be largely driven by Indian
asthentics infused with the regional sensibilities inspired by the Mughal and
British influence over a period of time.
Traditionally Indian Women's wore draped styles, it is only since a little more
than two hundred year ago that the sari is being worn in the present that is
5-1/2 yards to 8 yards with a stitched choli or a blouse.
It was during the Mughal rule that the Indian women were introduced to
stitched a garments such as the salwar kameez, kalidar kurta, pyjama,
sharara and gharara.
The Mughal style is very feminine, elegant, and elignifed. Another influence
of tailored jackets, blouses, pants, dresses. The Indian tailors were trained
by the British rulers to stitch western garment for their women who followed
their husbands to live in India. The British influence was somewhat limited in
the Indian women’s wear category.Today we see a comfortable and
seamless coexistence of India, Mughal and Western style in India women’s
wear.

9. LEARNING EXPERIENCE
.
As I’ am the part of this industry and I need to
present my skills in front of industry experts.
My mentors are preparing me for it. They are
giving me an opportunity to enter this industry
through the knowledge I have gained in this
one year.
This gave me various ideas how to design a
garment. There are variety of garment which
are used for designing.
As I came to know fashion is not only about
style or glamour it is also about comfort
whether the particular person is comfortable in
it or not.
A number of Fashion Industries are entering in
market to pay attention on designing of the
garment through, cuts, elements and various
colours & texture and their effects.
I have learned that designing is not only creativeness but also a matter of
different techniques like Garment Construction, Draping or Pattern
Engineering which I have learned during my 1 Year in Bachelor’s of Science
in Fashion Technology & 1 Year Diploma.

11. FOUNDATION OF DESIGN
In order the costumes may look beautiful their colours should be balanced,
and the entire colour scheme should be related to the colouring of the
individual.
In this passed 1 Year I have learned that colour’s play an important role in
individual life.
Colour’s also affects the size, complexion, personality. I have learnt that
one must be appropriately dressed up for every season. One must wear
the latest colour’s only if they are becoming to them. One must dress to
retain one’s original look.
ELEMENTS AND PRINCIPLES OF DESIGN
ELEMENTS OF DESIGN
ELEMENTS
DOT
LINE
SHAPE
COLOUR
TEXTURE
PRINCIPLE OF DESIGN
PRINCIPLE
REPETITION
GRADATION
RADIATION
DOMINANCE
HARMONY
CONTRAST
PROPORTION
BALANCE
RHYTHM
UNITY

12. PRINCIPLES OF DESIGN-
REPETITION- When any element of design is used more than once in a
garment, repetition occurs, hence it is directional.
GRADATION- When identical elements change on every repetition in
increasing or decreasing order it is called gradation. It is
called gradation. It is repetition with variation.
RADIATION- From a central point there is a movement of elements in all
directions. This is called radiation. This principle is applied
to elements of line and shape only.
DOMINANCE- It has the highlighting function with each design having a
focal point or a point holding the design.
HARMONY- When one or more qualities are similar harmony occurs
between them.
CONTRAST- A contrast occurs when two or more totally unrelated
features occur in one design.
PROPORTION- It is the way in which all parts in a design are related to
each other as to the design.
BALANCE- Weight of the different elements of the design is equally
distributed to create balance. Balance can be symmetrical
and asymmetrical.
RHYTHM- The elements are placed in a manner that eyes move in a
direction. This motion of the eye causes rhythm.
UNITY- All elements of design should be depict unity when placed
together in a piece of art.
Texture is the surface quality of material. Textures are of 2 types
Tactile And Visual.
ELEMENTS OF DESIGN
DOT Dot gives identity to the object. It is the basic element of design.
LINE Line gives 1st impression. A chain of dots become a line.
SHAPE Shape is a space enclosed by lines. For example, a silhouette is
the outer shape of the garment.
COLOUR Colour is the most important of all design elements. Every colour
has 3 characteristics i.e. Hue, Value & Chrome.
TEXTURE

13. COLOUR WHEEL

14. SOME OF MY ASSIGNMENTS OF COLOURS
POLYCHROMATIC COLOUR SCHEMEMONOCHROMATIC COLOUR SCHME
ACCENTED NEUTRAL COLOUR SCHMESINGLE COMPLEMENTARY COLOUR
SCHEME

15. TINTS AND SHADES

17. As the illustration is very important for fashion designing. Before manufacturing the
final garment the first thing a fashion designer prefers to see a visual picture to
see what has to be created.
As by illustration a designer will get an idea that how the dresses will look on an
individuals.
As by illustration the designer can make the changes to the design and create a
new one.
ILLUSTRATION
Illustration also provides flexibility to make any alteration to design. to express the
idea one should have knowledge towards to expressing it on paper.
Illustration helps me in expressing my idea or design through sketch.
Through illustration I learned about types of variations we can do on any garment
like types sketching Necklines and Collar, types of sketching Sleeves, types of
sketching Skirts with different variations like Flares, Gathers, Pleats, types of
drawing Pants.
By the help of illustration we can execute our innovation ideas by the techniques
of shading and theory of fashion croques. There are many types of silhouettes and
structural decoration.
As by illustration increases our imagination level and provide us a way to execute
our idea.
Illustration is a graphic depiction of any subject in a drawing, sketch, painting or
other type of image.

25. Surface design techniques is a method of decorating fabric and value addition to
the fabric is decorative art, embroidery, applied mirror. There are many other
methods of manipulation painting fabric. There are infinite techniques to decorate
a fabric which give them functionality as well as decorative effect.
SURFACE DESIGN TECHNIQUE
There are two ways of designing the surface of a fabric i.e. structurally and
decorative. It helps to give the 3-D look to any surface of the fabric.
Designing the surface by these two techniques gives volume and attractive to the
fabric.
SURFACE DESIGN
Structural Design Decorative Design
Structural Design- In structural design technique the design is placed before
the fabric has been made. Some of the structural design technique are
manipulation, patch work, woven.
Decorative Design- In decorative design technique design is been placed
after the fabric has been made. Some of the decorative design technique are
embroidery, painting, applique work.

26. EMBROIDERY- Embroidery is the embellishment of fabric enriching it with
a needle and thread. It has also been referred to as “Painting with the
needle”. Gaining with an understanding of the overall historical
development. Embroidery is not an easy task, but understanding the origins
perhaps makes it easier to see why there are many and varied techniques
which come under the general heading of embroidery. Some embroidery
stitches undoubtedly have their foundation in early textile, basketry, mat-
making and weaving; others have developed from early sewing where
stitches were used for joining pieces of fabric or skins were used for joining
pieces of fabric or skins together for specific ornamental purposes.

27. KASUTI EMBROIDERY

28. FABRIC MANIPULATION- Fabric manipulation is when you simply
create shapes patterns out of fabric, this often makes the fabric more 3-D
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 supervisory part or all of
the production process

29. FABRIC MANIPULATION

30. FABRIC MANIPULATION

31. WOVEN TEXTILES:- In woven textiles the fabric has been made by the
process called weaving.
It is done by the interlacement of warp and weft thread . The design has
been made by the interlacement of these two threads.
There are different types of woven textile of different states i.e. Brocades
Of Varanasi, Chanderi, Jhamdani Of Bengal, Kanchipuram Saris Of Tamil
Nadu, Kotadoria, Maheshwari Saris Of Madhya Pradesh.

32. PRINTED TEXTILES:- In printing the fabric has been printed by not
adding any volume to the fabric but by the different types of dyes and
colours.
There are many types of printed textiles i.e. Mata-Ni-Pachedi, Pabuji Par,
Roghan Work , Block printing, Hand Block Printing Of Bagh, Madhya
Pradesh, Sanganeri Prints.

34. CORAL DRAW
For designing my layouts and presentation I learned about Coral Draw which
helps me to visualize my design specification and pages. For a designer coral
draw is a graphic suite is a trusted graphic software solution.
With it 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.

36. garment cons.

37. DRAPING

38. DRAPING
To design any garment of
Fashion Design should have an
inside of the ingredients of a
garment.
These are the most important
feature of any garment because
we see a dress on a human form
which is vertical but wear it
horizontally.
This gives us a clear indication
that a student of Fashion should
have strong skill about the basic
elements principle of design.
All the designs created by me
are much focused using these
principles and elements.
I have never created and
dresses without the use of
principles and elements. A few of
my creation based on those can
be seen on the toil creates by me
through draping.

39. WAIST DART
FRONT VIEW SIDE VIEW
BACK VIEW

40. SHOULDER DART
FRONT VIEW SIDE VIEW
BACK VIEW

41. HALTER NECK
FRONT VIEW SIDE VIEW
BACK VIEW

42. MID SHOULDER PRINCESS STYLE LINE
FRONT VIEW SIDE VIEW
BACK VIEW

43. MID ARMHOLE PRINCESS STYLE LINE
FRONT VIEW SIDE VIEW
BACK VIEW

44. SKIRT
FRONT VIEW SIDE VIEW
BACK VIEW

45. TUCK DART
FRONT VIEW SIDE VIEW
BACK VIEW

46. PLEAT DART
FRONT VIEW
BACK VIEW

47. PARALLEL DART
FRONT VIEW
BACK VIEW

48. FULLNESS AROUND NECK BAND
FRONT VIEW
BACK VIEW

49. FULLNESS AROUNDPRINCESS PANEL
FRONT VIEW
BACK VIEW

51. GARMENT CONSTRUCTION
As Garment Construction is also known as Pattern Making which is the process of
transforming a design into its constituent flat pattern pieces and then drafting them
out.
The job of a pattern-maker is to interpret the designs into sample pattern pieces
and then drafting them.
It opens scope for infinite variety of styles both for regular designs and innovative
patterns.
Patterns making can be divided in two parts namely measuring correctly and
knowledge of techniques devised to include necessary seam allowances. Measuring
scales range from simple measuring tape to complex body scanner and low to high
tech.
Pattern for a garment is the blue print on the basis of which the fabric is cut and
the same is achieved by two methods:-
PATTERN MAKING
FLAT PATTERN
METHOD
DRAPING METHOD
FLAT PATTERN METHOD-
Flat Pattern Method is a method where in body or dress form measurements are
taken for developing a pattern. In others words this system depends on accurate
measurements to complete the paper pattern
Flat Pattern making should be done in conjunction with a dress form, so that as
the design evolves, proportion and balance in garment can be checked side by
side. It is important to transfer the pattern on to a muslin (toil) to test the fit, on a
dress form or a human figure.

52. Flat Pattern cutting is now widely used because of its accuracy of sizing and the
speed with which complicated designs are made. It is a system of creating
patterns by manipulating a basic block.
DRAPING METHOD-
Draping Method is the oldest pattern making method and is generally regarded as
a creative approach. In this method a piece of two-dimensional fabric is draped
directly on a dress form or figure and made to fit on the dress form to achieve the
desired look or shape.
The fabric may conform to the basic shape of the form or be arranged artistically in
folds for a specific design. This muslin pattern is then transferred on the paper,
and corrections are made, if any, and then the same converted into a final pattern.
FIGURE SHAPES
Most people fall into one of these four basic shapes. Pattern books and envelopes
may feature these symbols and they can be used to help us to choose suitable
patterns for our figure.
THE WEDGE
Upper body (bust and shoulders) is larger than
lower body (hips).
THE RECTANGLE
Upper and lower body are of similar proportions
THE TRIANGLE
Lower body (hips) is larger than upper body (bust
and shoulders).
THE HOURGLASS
Upper and lower body similar in proportion with a
small, neat waist.

53. Cutting Lines
Grainlines
Place-To Fold Line
Alteration Lines
Seam Line Or Stitching
Seam Allowance Line
Center Front Or Back
PATTERN MARKINGS
Each pattern piece will have a series of lines, dots, and other symbols printed on
it. These symbols are to help us alter the pattern and join the pattern pieces
together. The symbols are universal across all major paper patterns.
Hem Allowance
Buttonhole
Combined Button And
Buttonhole
Button Position
Dart
Pleat
Bust Point Or Hipline
Waist Or Hipline
Marking To Be Transfer From Pattern Pieces
To Fabric For Matching Or To Indicate Detail
Single Notches
Double Notches
Triple Notches
Zipper Placement

55. WOMEN’S BASIC BODICE BLOCK
A bodice, is an article of clothing for women, covering the body from the neck to
the waist. A bodice indicates the upper part of a dress. This construction was
standard for fashionable garments from 18th century until the late 19th century
Scale=1/4”

56. Scale=1”

57. BASIC SKIRT BLOCK
A skirt is a tube or cone shaped draped garment that hangs from the waist or
hip, but most skirts are fitted the body at the waist or hip and fuller below, with
the fullness introduced by means of darts, gores, or panels. The hemline of skirt
can vary from micro to floor length and can vary accordingly.
Scale=1/4”

58. Scale=1”

59. WOMEN’S SAREE BLOUSE
A blouse is a upper garment, loose-fitted garment for women and children,
Covering the body form the neck or shoulder more or less to the waistline, with
or without collar, button and sleeves.
Scale=1/4”

60. Scale=1/2”

61. CHOLI BLOUSE
A blouse is a upper garment, loose-fitted garment for women and children,
Covering the body form the neck or shoulder more or less to the waistline, with
or without collar, button and sleeves.

62. KAMEEZ KURTA
Kurta is a upper garment a long skirt or tunic falling above or somewhere below
the knee. The side seam (known as chaak) are often open below the waist line.
They were traditionally wear with loose salwar or pyjama. Kurta are worn as
casual everyday wear. Variations of Kalidar kurta, Princess panel kurta, Tail cut
kurta, A-line kurta, Kalidar kurta, Angrakha kurta, Pakistani kurta, Tulip kurta,
Flared kurta, Floor length kurta, High-Low kurta, Kaftan kurta, C-cut kurta,
Overlay kurta, Bhopali kurta, Dogri kurta.
Scale=1/4”

63. Scale=1/3”

64. CHURIDAR PYJAMA
Churidar pyjama are tightly fitting trousers worn by both men and
women. Churidar are variants of the common salwar pants. Salwars are
cut wide and narrow at the ankle. Earlier tight fitting Churidar like pants
worn. India were referred to by the British as Mughal breeches
Scale=1/4”

65. Scale=1/2”

66. SIX PANEL PETTICOAT
A petticoat or underskirt is an article of clothing: underskirt to be worn
under a skirt or a dress. The petticoat is a separate garment hanging
from the waist. Petticoat refers to a skirt worn to give the desire fashional
shape.
Scale=1/4”

67. Scale=1/3”

68. PRINCESS PANEL KURTA
It is the variation of the simple kurta and have panels from the princess
line and style lines
Scale=1/4”

69. Scale=1/3”

70. KALIDAR KURTA
A kali or kalidar kurta is similar to a frock and has many panels. The
kalidar kurta is made up of several geometrical pieces. It has two
rectangular central pieces in the back and the front. The kali kurta is
worn by men and women.
Scale=1/4”

71. Scale=1/3”

72. PTIYALA SALWAR
Salwar is the lower garment it is a traditional outfit originating in South Asia.
Salwar is the traditional garment worn by both women and men. Salwar are
loose pyjama like trousers. The legs are wide at the top and narrow at the
bottom. They were traditionally worn with kurta. Variations of salwar Dhoti
salwar, Patiyala salwar, Afghani salwar, Sharaa salwar, Trouser salwar, Parallel
salwar.
Scale=1/4”

73. NIGHT SUIT (TOP AND PYJAMA)
TOP- The top is made up of front opening with a comfort fitting and is loosely
fitted garment for night wear.
PYJAMA- Pyjama is loose- fitted, two piece garment derived from the original
garment and worn chiefly, for sleeping
Scale=1/4”

74. CLIENT BOARD
Case Study
Make a designer top suitable for sari, skirt, haram etc. with any surface design
technique.
My client is 30-32 years old woman who is an accountant in a company in Delhi.
Her height is tall and has fair complexion. She is very energetic and is very
confident about her personality.
As she is going in Official Get-together so she has look attractive, powerful and
energetic. So that’s why I’ am using Powerful colours and Rich colours.
Along with these colours I’ll make a designer top working with ANALOGOUS
COLOUR SCHEMES because she has to look fresh, confident and energetic

75. TYPES OF GARMENT
For my case study I had searched various types of fabric which I’ am using for
designing my top.
Some of the fabrics I’ ve shown below which I searched for my top.

76. TYPES OF UPPER GARMENT

77. SURFACE DESIGN TECHNIQUE

78. RESEARCH BOARD

79. MOOD BOARD
HAPPINESS,
ENERGY
JOY, HAPPINESS
CONFIDENCE,
CALMNESS
NATURE,
FERTILITY
ELEGANCE,
REPECT
PASSION, POWERFUL

80. MATERIAL BOARD

81. DESIGN AND DEVELOPMENT
REPETITION
BALANCE

82. FINAL DRESS

83. Thank You