This document is a project report submitted by Tanuja Sahu, a student at Dezyne E’cole College, towards the partial fulfillment of her 2nd Year Diploma in Fashion Design. The report discusses garment pattern and fabric, including the pattern, grain line, pile direction, and fabric pattern. It also covers cutting checks and stripes, addressing symmetry. The goal is to provide information to ensure garment patterns are properly prepared and positioned for cutting different fabrics.

1. Garment
Pattern
And Fabric
TanujaSahu
2nd Year Diploma In Fashion Design (NSQF Level-6 Of NSDC)
Dezyne E’cole College , www.dezyenecole.com

2. Project Report
On
Garment Pattern And Fabric
At
Dezyne E’cole College
Submitted To
Dezyne E’cole College
Towards
The Partial Fulfillment Of The
2nd Year Diploma In Fashion Design
By
Tanuja Sahu
Dezyne E’cole College
106/10,civil Line ,Ajmer
2017-18

3. Acknowledgment
I Am Tanuja Sahu Student Of Fashion Department Of 2nd Year Diploma Fashion Design Of Dezyne E’cole
College Would Like To Express My Gratitude To Each And Every Person Who Has Contributed In Stimulating
Suggestions And Encouragement Which Really Helped Me To Coordinate My Project .
I Also Thanks Dezyne E’cole College Who Provided Insight And Expertise That Great Assisted The Project.
Also A Special Thanks To My Teachers Parents And Colleagues Who Came Support Me At Every Step Not To
Forget, The Almighty Who Blessed Me With Good Heath Because Of Which I Worked More Efficiently And
Better.
Tanuja Sahu
2nd Year Diploma In Fashion Design
NSQF Level 6 Of NSDC

4. This Project Of Ms. Tanuja Sahu Student Of 2nd Year Diploma Fashion Design As NSQF Level 6, Of NSDC Has
Been Checked And Graded As
Thank You
Principal
[Seal & Signature]

5. Content
 Introduction
 Garment pattern and fabric
• The pattern
• Grain line
• Pile direction
• Fabric pattern
 Cutting checks and stripes
 Symmetry

6. Technology has been defined as a technical method of achieving a practical purpose, but its original Greek root meaning is the
systematic a practical purpose, but its original Greek root meaning is the systematic treatment of an art. This letter meaning is apt
for the clothing industry because garment design is goal oriented art form which requires technology to convert it into a finished
product.
Clothing technology is a broad based because it combines a number of individual technologies, with each making a specialized
contribution to the production of clothing.
All clothing factories have a specific technological capability which has been built around the production of a particular category
of garment. The levels of technology very from factory to factory , even between those producing the same garment at similar
time standards. Irrespective of the levels of operation, it is essential that the designer and pattern cutter both work according to
the gives frame work and when possible, exploit it to its fullest extent.
For all practical purposes the sample room is research and development of a clothing factory, one of the technical subject which
has to be examined is cutting. Before a sample garment can be mass- produced its practicability and efficiency as regards cutting
have to be ensured; it is irresponsible to present the cutting room whit unread solved problems. It is worth barring in mind that of
something does not work in the sample room, it certainly will not work in the cutting room.
INTRODUCTION

7. There are four preparatory processes which have to be carried out before starting to cut samples, and they deal with:
1. The Pattern :-
The pattern is the primary like between design and production and so must communicate accurately with all
the function that have to use the pattern these function are pattern grading marker planning and sewing and the pattern has to
clearly and precisely convey the information necessary to perform each of these operation.
Marker planners or cutters are not expected to be pattern makers or pattern guessers there four pattern sets must be complete
in every respect.
Two practical methods of paring pet terns are by marks and by colour :
Cut Paris for each comports and mark an X on one side only of
each of the two component when they are in a paired position.
This method requires a pattern card with a different colour on
each side staple two pieces of the card tighter with the same
colour inside, and then cut the components.
By marks By colour
GARMENT PATTERN AND FABRIC
Black Side Up
Marked Side Up
First Colour Up
Second Colour Up
Pairing By Marks Pairing By Colour

8. Every pattern piece must be clearly identified as regards style number, garment type, the pattern is intended and the number of
components in set for a particular martial, i.e. cloth lining and fusible.
2. Grain Lines:-
A garment will hang in a direct relation ship to the body components. If the grain line are incorrect the finished
garment will have a distorted appearance which cannot be rectified.
In many instances wavy hemline are also a direct result of off-grain components.
As a general guide, the grain line for main component are:
• Fronts:- Parallel to the centre front.
• Backs:- Parallel to the centre back.
• Sleeves:- On or parallel to the true centre line.
• Lapel facings:- The grain line runs parallel to the edge of the lapel
section. If this positioning produces an acute bias angle on part of the
facing, it is sometimes permitted to make a join across the facing
between the top and second buttonhole.
• Patch pockets:- relative to their position on the front the grain line is
parallel to that of the front.
• Inset pockets:- for piped welted and similar types of inset pockets, the
grain line rune along the length of the pocket piece or pieces.
• Top collar:- On the centre back line of the collar.
• Under collar:- These can be omnidirectional because the gain line. It
serves no practical purpose to insist that under collars are cut on the
true bias whilst top collars are cut according to the straight grain.
• Other part:- Generally, the gain line can be derived from the grain line of
the component on which the part is located.
3. Pile Direction:-
This describes the lay (direction), length and density of
the protruding fibers on the surface of the right side of the cloth.

9. 1. One way:- On these fabric there is a prominent pile which lays in one direction only. Typical examples of this type of cloth
are corduroy, velvet and mohair. Due to the very definite pile lay the components of all the sizes in a cutting marker must be
positioned in one direction only.
40
40
40
4038
38
38
38
One Way pile
Two Way pile
Two Way only
Two Way only
2. Two way:- This type of cloth is one of the most widely used in the clothing industry because the pile factor allows for higher
utilization than with one way fabric. This method of position pattern in a cutting marker is often referred to as one-up, one down
two marker planned according to different pile conditions.
3. No-pile:-although this heading is a misnomer, it refers to materials which have a virtually negligible pile factor. This enable
components for one size to be positioned in opposite directions. Fabrics for blouses, shirts and underwear are example of this
used group.

10. Preparing The Pattern
To ensure the correct positioning of the garment pattern within the cutting marker, every component has
to be marked on bother side with direction indicators. It is worth bring in mind that garment pattern are not always used for one
fabric exclusively, so every new fabric which is to be cut form a previously used production pattern must be checked for its pile
factor and the pattern markings changed if necessary.
This refers to the form of the pattern on the right side of the cloth, and has three aspects:
1. One way:-
this is where the pattern from dictates that the garment pattern for every size in the cutting marker must be
positioned in one direction only.
4. Fabric Pattern :-
every size in the cutting marker must be positioned in one direction only.
2. Two way:-
This type of pattern from has a definite direction but it is not sufficiently dominant to warrant one-way only
positioning. In most cases the pattern components for each size can be positioned one-up, one down, but this decision has to be
carefully evaluated.
3. Non- Directional :-
this type of pattern from has no definite direction and, subject to the pile factor pattern components for one
size can be positioned in either length direction.
patterned fabric also include checks and stripes and these will be examined in the final section of this chapter.
One Way
Two Way
Non- directional
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11. Checks and stripes are called, with good reason, problem materials because of the many difficulties involved in their cutting and
sewing. This is especially true when there are bold patterns and full matching and symmetry are necessary.
There are some basic techniques and approaches which can be used and they relate to:
1. The fabric pattern itself
2. The suitability of garment pattern
3. Where to match the cloth pattern
4. When symmetry in necessary.
warp
pattern
warp
pattern
repeat
weft
pattern
repeat
weft
pattern
warp
pattern
warp
pattern
repeat
Checked material Striped material
CUTTING CHECKAS AND STRIPES
Introduction
Fabric Pattern:-
This is where it all starts because A decision has to be made as to whether the fabric pattern is:
• Bold enough to warrant full matching
• Sufficiently prominent to require partial matching
• Indistinct, and can therefore be safely ignored.
Full Matching
this is necessary when there is a conspicuous pattern which, if not matched, would create a visual dissonance on
the finished garment.
Partial Matching
This applies mainly to heavily warp striped materials, such as A regularly spaced solid chalk stripe.

12. No Matching
if cheeked or striped materials have A very small pattern motif, there is usually no need for matching or symmetry.
The Garment Pattern
when planning to make garment in checked or striped materials, the designer has to consider whether
the intended designer are suitable
For the selected materials.
Checks
Cutting there material has to combine the matching of both the warp and weft and weft pattern and the first question is
where does it start? The size of the warp and weft pattern repeats are the determining factors.
The Start
as an example, a typical travel garment would usually have a bulky collar and lapel and the total width of the collar at the
center back is the stand height plus the fall depth.
Check pattern matching on back

13. MATCHING STRIPES
IN BODICE BLOCK

14. Back viewFront view
Side view
Final matching
bodies block

15. Matching

16. Season/phase Description Number Size Make-up Designer Pattern
Summer Bodies block 689 34 Stranded Tanuja Mark
DESIGN SPECIFICATION SHEET
Supplier No. Compo Colour
1. texall 1025 Polyester White
Top cloths
Supplier Type Size Colour
1. Huck 10 Body 34 Silver
Buttons
Supplier Type Size Colour
1. Polyester 10 white
Thread
Special instructions
Check cloth shrinkage no space buttons

17. Sleeves
Irrespective Of Whether One Piece Or Split Sleeves Are Being Cut, The Top Section, Or Visible Part, Of Both Sleeves Has To
Match The Body. If The Sleeve Has Been Correctly Constructed Vis-à-vis The Armhole, The Weft Matching Would Start A Short
Distance Above Bust Line And Continuous Up To The Shoulder.
Stripes
A Part From Special Design Features, The Matching Of Warp Striped Materials Is Mainly Concerned With Matching The
Top Collar To The Back, And With Alignment Of The Front Edges. The Other Matching Requirement For Striped Materials Are Those
Connected With Symmetry, Dealt With In The Next Section.
Symmetry
As the majority of garment are symmetrical it follows that the pattern of a material should be positioned
symmetrically on the garment.
Checks
Achieving symmetry with checked materials is complicated by the fact that the weft pattern also has to be taken into
account. Again, the main feature requiring symmetry is the top collar and the lapel facing and the same principals as with striped
materials can be applies to checked material, with the proviso that the weft stripes on the collar ends and facing are also
symmetrical. Components such as patch pockets must be symmetrical irrespective of how they are to be matched.

18. Thank you
Dezyne E’cole College
TanujaSahu
2nd Year Diploma In Fashion Design (NSQF Level-6 Of NSDC)