Tanvi Sethi,One year Womens Wear Fashion Design Diploma Programme

ACKNOWLEDGEMENT
A successful project can never be prepared by a single effort or the
person, but it demand the help and guardianship of some conversant
person who help in the undersigned activity in the completion of the
successful project.
I take the opportunity to extend my gratitude to all the mentors of
Dezyne E’cole College whose guidance and support helped me to
showcase my working abilities through this project.
TANVI SETHI
1 Year diploma in Fashion Technology

The project of Ms. TANVI SETHI student of Ist Year Diploma in Fashion
Technology with one year women’s wear fashion diploma programme
has been checked and graded as ______________________________
_________________________________________________________
Thanks
PRINCIPAL
(Seal and Signature)

SYNOPSIS OF PROJECT
During this project, I studied about FASHION DESIGNING program through
Foundation Design, Illustration, Surface design Technique(Fabric manipulation,
Embroidery, Garment Construction, Draping, Drafting) .
My year end project is a formal Salwar Kameez for engineering college
lecturer which I have done with one of the Surface Design Technique which is
Fabric Manipulation which goes with every outfit.
As I am the part of this Industry and I need to present my skill in front of
Industry experts.

TANVI SETHI
FASHION DESIGNER
 Dezynee’cole.com  9829024839
 PROFILE:
I am fashion designer from
dezynee’cole college Ajmer. I
appreciate the hand skill and art
of manipulating fabric. I have
enjoyed doing integrating work
and have keen eyes for detail
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.
 SKILLS:
• Pattern Engineering
• Indian Traditional
Textile.
• Draping.
• Fabric Manipulation.
• Surface Design
Technique.
• Corel Draw
 EXPERIENCE:
• Garment Construction
(Collection of Casual Women’s
Wear)
• Fabric Manipulation (Manipulate
fabric by tucks, smoking, pleats,
etc.)
• Draping(Vortex, Origami,
Different types of dart
manipulation)
• Embroidery( Indian Traditional
embroidery)
 INTEREST:
• Music
• Dancing
• Reading Fashion Books
• Hindi
• English
 EDUCATION:
MBA International
School of
Informatics &
Management(IIIM)
Jaipur2012-2014
B.COM (H)
International College Of
Girls(ICG) Jaipur
2009-2012
Diploma in Fashion Technology
Dezyne E’cole
College
Ajmer 2015-2016
12th CBSE Board St. Mary’s Convent
Sr. Sec. Ajmer.
2009
10th CBSE Board
St. Mary’s Convent Sr.
Sec. Ajmer. 2007
 LANGUAGE:

CONTENTS
• Introduction to Fashion
• Apparel Industry
• Fashion History
• Introduction to Womenswear
• Learning Experience
• Foundation Design
• Elements and Principles of Design
• Surface Design Technique
Fabric Manipulation
Embroidery
• Illustration
• Drafting
• Corel Draw
• Garment Construction
Flat pattern Method
Draping Method
• Case Study

INTRODUCTION TO FASHION
Fashion is a dynamic force which influences lifestyle choices made by
consumer. It drives international trends in a multitude of areas from apparel,
accessories automobile cuisine, wellness, vacations and more.
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 distinctive and often habitual trend in the style in which a person
dresses. It is the prevailing styles in behavior and the newest creation of textile
designers.
Fashion is a dynamic global industry that plays an important role in economic,
social, political and cultural lives of an international audience.

Apparel Industry as it is commonly known as the 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.
Apparel 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.
Apparel Industry is a product of modern age. Prior to the mid of 19 century most
clothing was custom- made. It was hand- made for individuals, either as home
production or on order from dressmakers and tailors.
After the Independence, Indian Fashion 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.
Apparel Industry consists on 4 levels:
• The production of raw- materials, principally fibres and textiles but also
leather and fur.
• The production of fashion goods by designers, manufacturers, contractors
and others.
• Retail sales
• Various forms of advertising and promotion.
APPAREL INDUSTRY

FASHION HISTORY
Fashion, as we know it, is relatively new concept. In ancient and medieval
times, clothing styles remained practically unchanged for a century at a time.
Fashion change began to accelerate during Renaissance, as Western
civilization discovered different cultures, customs and costumes.
France’s dominance over international fashion began in the early 18th century.
Until the Industrial Revolution, people belonged to one f two 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.
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 visual 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 constraining garments characteristic
of their restricted lifestyles and obedience to their husband and fathers. The
introduction of separate blouses and skirts in the 1880’s made it possible to
manufacture ready-to-wear clothes or women

INTRODUCTION OF WOMENSWEAR
Womenswear 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 became
available.
At the turn of the 21st century, however, a new breed of very active women
began to emerge. Women were no longer spending their lives at home. Their
growing interests and activities took them out of their homes and made ready-
to-wear clothing a convenient answer to suit their new lifestyle.
This radial social change among women naturally led to a gradual shift
towards simple silhouettes, away from the elaborate clothing that had prevailed
in the past. This social change coincided with the development of
manufacturing facilities for large-scale production of ready-to-wear garments.
With the 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.
“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 Chanel

INFLUENCE OF TRENDS ON WOMENSWEAR
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 Pre^t a porter show held in Paris, London Milan and New York are
the main source of fashion trends for womenswear.
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.

INDIAN WOMENSWEAR
It is during the Moghul Rule that Indian women were introduced to stitched
garments such as the salwar kameez, kalidar kurta, pajamas, sharara and
gharara. Karigars are weavers, tailors and embroiderers who were specially
brought in from the Moghul countries to make garment for the Moghul royalty.
They settled down in India for several generations and never went back, which
also explains the reason for the finest tailors and embroiderers belonging to the
Muslim community today. The Moghul style is very feminine, elegant and
dignified.
Another influence impacting the Indian womenswear was the British influence of
tailored jackets, blouses, pants, dresses and gowns.
However, the menswear clothing for work followed by casual wear was
extensively revolutionized.
Today, we see a comfortable and seamless coexistence of Indian, Mogul and
Western style in Indian womenswear.
Indian womenswear market
continues to be largely driven by the
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 is being
worn.

ELEMENTS OF DESIGN IN WOMENSWEAR
The three primary elements that make garment are its colour, fabric and shape.
COLOUR: Colour prediction in womenswear is very important. Every season
the pallete has 4 groups: pastel, neutral bright and deep colors. It starts with the
overall mood and it is this that determines the colour, tones, the texture, the
accents in the theme, whether the look will be vintage, washed out for one
season or fresh and soft colours for the next is determined by the chosen
theme.

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
fabric play an important role in achieving the total effect of the style.
Technological developments have led to creation of soft, stretchable, user
friendly, easy-to-use and excellent quality
SHAPE/SILHOUETTES: A silhouette is the shape or the outline of the clothing
when worn. 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 styles to the overall shape or silhouette of the
outfit.

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 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 kurta (kurti),
Patiala, etc.
Apart from this, we have also learned the Elements and Principles of design.
During my study, I practice some of the surface design technique like the art of
embroidery, wherein I learned various decorative stitch type use in the
traditional embroidery. I also practice many embroidery like Kantha, Phulkari,
Kasuti, etc.
I have also mastered the art of fabric manipulation in which I practice some
including tucks, box pleat, smoking, etc.
In order to develop an idea into reality, we have also learnt the illustration
method so as to see how the design would look on form and if it need some
correction and addition to be done and graphics design method through the
Corel draw software.

COLOURS
Colours 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. Colour is a incredible thing present on
earth as colour is not what it is colour is what we see and that makes all the
difference. Colour is visible to an individual because of light as light falls on an
object it makes colour of any object visible. It depends on how much light an
object reflects would make it look darker or lighter. As colour obtains from light
ad shown in the following figure. In the same way when all the colours are
absorbed it turns into black and so we can never conceder white and black as
colour because white forms all the colours and black absorbs it all.

SOME OF MY ASSIGNMENTS OF FOUNDATION
DESIGN
COLOUR WHEEL

E SEEN DE
ONE AND THE
SAME
COLOURS CAN
BE SEEN
DIFFERENT
ONE AND THE
SAME
COLOURS CAN
BE SEEN
DIFFERENT

SINGLE COMPLEMENTRY
COLOUR SCHEME
MONOCHROMATIC COLOUR
SCHEME

ADJACENT COLOUR SCHEME
SPLIT COMPLIMENTARY
COLOUR SCHEME

ACCENTED NEUTRAL COLOUR SCHEME
NEUTRAL COLOUR SCHEME

ACHROMATIC COLOUR SCHEME
POLYCHROMATIC COLOUR SCHEME

ELEMENTS AND PRINCIPLE 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 attrive at
possible outcomes that can be provided as solution to the problem. The best
stage is then choosing the 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. Line can be of different kinds-
a. Straight Line
b. Curved Line
c. Ziz-zaz Line
d. Composite Line
line
Shape
ValueColour
Texture

Lines are used in different ways in any garment are
SHAPE: Two dimensional flat forms, having only length and width, are usually
described as shapes.
Shapes are of different kind like:
a. Geometrical Shape
b. Organic Shape
Structured Lines:
• Style Lines
Hemlines
Necklines
Plackets
Collars
Cuffs
Decorative Lines:
•Tucks
Darts
Prints
Embroidery
Organic
Shape
Geometri
cal Shape

COLOUR: Colour is one of the most significant aspect in fabric and often the
derterming factor for purchasing it. Color in a costume should be so distributed
that they balance each other.
Warm colours make us feel cheerful and happy, but over-use may make us feel
nervous.
Cool colours make us feel quiet, restful and if they are overdone, they can make
us feel depressed.
VALUE: It is the lightness or darkness of a colour. It’s a quality which makes the
light blue different from dark blue.

PRINCIPLES OF DESIGN
PRINCIPLES
OF DESIGN
RADIATION
GRADITION
REPETITION
DOMINANCE
RYTHEM
UNITY
BALANCE
PROPORTION
CONTRAST
HARMONY
 REPETITION: Repetition is the use of same thing more then once, the same
thing is arranged in different locations. It can be –
• Regular
• Irregular
• Dropped
• Alternate
• Reverse
 GRADATION: Gradation is the variation of repetition. It can be in ascending
or descending order.
 PROPORTION: Proportion is simply the pleasing interrelationship of the
sizes of all parts of the garments.
 CONTRAST: Contrast in any design creates attraction. It is one of the most
powerful and commanding of all the visual design principles.
 DOMINANCE: Dominance is the creation of a focal point, the most important
center of interest to which all others are subordinated.
.

 SCALE: Scale is an aspect which is mainly dealing with fashion accessories.
 RHYTHM: Rhythm is mainly through repetition and gradation. Rhythm is an
organized motion and it is of three types:
• Regular Rhythm
• Graded Rhythm
• Random Rhythm
 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 way.
 PROPORTION: Proportion is simply the pleasing interrelationship of the
sizes of all parts of the garment. Proportion is the way all parts in a design
relate to each other so that a person looks tall, slim and more youthful.
 SCALE: Scale is the aspect which is mainly dealing with fashion
accessories.
 RADIATION: Radiation is the outward movement in all direction from a
center point. The powerful movement spreading from the center focuses
interest on the center as well as the outer edge. Radiation is limited in use to
space and shape.
 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
the parts of a design are evenly distributed around a balance line or point.
Balance are of two types:
a. Formal Balance
b. Informal Balance
 UNITY: The most important principle of design is unity. It is considered last
because it is culmination od design process. The final step which can only be
completed when all the other elements and principle of design have been
deplete with.

SURFACE DESIGN TECHNIQUE
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 principle of design in mind.
Surface design technique is a way of designing the surface of a fabric either
structurally or decorative

FABRIC MANIPULATION
Fabric Manipulation is when we
simply create shapes patterns out
of fabric, this often makes the
fabric ore 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.

SOME OF MY ASSIGNMENTS OF FABRIC
MANIPULATION
TUCKS
One Tuck= 0.5”
Space Between Two Tucks= 0.5”

One Tuck= 0.5 cm
Space Between Two Tucks= 0.3 cm
TUCKS

Box Pleat
Width of 1 box pleat= 2 cm
Length of 1 box pleat= 1cm
BOX PLEAT

Embroidery is the handcraft of decorating fabric or other materials with needle
and thread or yarn. Embroidery is also referred as “painting with a needle”.
Embroidery may also incorporate other materials such as metal strips, pearls,
beads, quills and sequins.
At Dezyne E’cole College we have learned various embroideries such as
Phulkari, Kantha, Kasuti and Gujarati Embroidery
EMBROIDERY
KASUTI PHULKARI
KANTHA GUJARATI EMBROIDERY

SOME OF MY ASSIGNMENTS OF EMBROIDERY
PHULKARI
KHANTHA

ILLUSTRATION
Very base of the fashion designing is illustration. Before manufacturing a
costume or an accessory the first thing a fashion designer prefers is to see a
visual picture is what is to be created. This is very necessary to get an idea on
how it will look on models when they wear it in a fashion show. By means of
fashion illustration the fashion designers can make changes to the ideas and
create new one.
If the fashion designer wants to make any alteration to his creation then the
illustration provides that flexibility. To express one ideas of design one must be
knowledgeable towards expressing on paper, to express the idea I have had
hands on experience on developing collars, yokes, necklines, sleeves, etc. This
helps me in expressing my idea through a sketch.

SOME OF MY ASSIGNMENTS OF ILLUSTRATION
HATCHING CROSS- HATCHING
STEPPING
STROKES
SMUDGING
SMUDGING

YOKES
The yoke is a flat
area of a garment. It
is often in
contrasting material,
piped to emphasise
the shape or it may
incorporate quilting,
embroidery, pleating,
tucks, applique or
decorative stitching.

SKIRTS
The flared or
gathered skirt folds
and moves on the
body in a random,
free form way in
direct opposition to
a pleated skirt
which has an
organized exact
style.

Sleeves are finished
either with a simple
him or with a cuff.
Many design effect
may be achieved
with trimming,
pleating, tuck,
gathers and shirring.
DIFFERENT TYPES OF CUFFS

Neckline move above or
below the base of the neck.
They often follow the basic
sewing lines on the torso.
Collars are connected to the
necklines, draped above or
below the neck, set down on
the shoulders or spread
across the chest.
DIFFERENT TYPES OF NECKLINES
AND COLLARS

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 of the
shoulder line.
CONVERTIBLE COLLAR
Here, part of the bodice, when open, appears to be
of the collar, folding over, until the bodice is closed
CONVERTIBLE
COLLAR CLOSED
NOTCHED COLLAR
The notch is a cutaway section of
a single or two part collar.
DIFFERENT TYPES OF NECKLINES AND
COLLARS
NOTCHED COLLAR

INSET ARMHOLE
CAP SLEEVE
PUFFSLEEVE
DIFFERENT TYPES OF SLEEVES

DRAFTING
Drafting is an important technique
followed by the designers and
stylists when designing an outfit.
Before patterns are traced on
fabric, a similar sketch is
prepared on paper. This process
is called drafting and it generally
requires a lot of focus and
expertise. At Dezyne E’cole
College we have learned various
drafting technique within which
we have learned as how various
geometrical patterns can be
made with the use of triangles,
squares etc. In general, drafting
is highly specialized technique,
therefore, the knowledge gained
from this learning has refine and
add to our skills as a designer.

COREL DRAW
For designing my layouts and presentation I have mastered vector graphic
software Corel Draw which helps me to visualize my design specialization 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 y work which I had done on Corel.

GARMENT CONSTRUCTION
Fashion design runs the garment from evening wear to sportswear, women’s
wear to men’s wear and kids wear to knit wear. Garment Construction popularly
called as Pattern Engineering has a great importance in the fashion design
industry. 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.
The companies like Van Heusan, Levi’s Adidas, etc., are all providers of perfect
fit and this is what we have learned at Dezyne E’cole through the art of
garment construction.
A. FLAT PATTERN METHOD
B. DRAPING METHOD
A. 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:
1. The basic block includes ease allowance which allows the body to perform
a variety of normal body functions requiring of various body parts.
2. The method is logical and easy to understand
3. It brings consistency and accuracy of both size and fit of mass -produced
garments
4. It is also the fastest and most efficient pattern design method even for
complicated designs.

B. 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.
FLAT PATTERN METHOD DRAPING METHOD

PATTERN MAKING
Cutting Lines
Multi- Size Cutting Line
Grainlines
Place to fold Line
Alteration Line
Seam Line or Stitching Line
Seam Allowance
Center front or Back
Hem Allowance or Hemline
Button hole
Combined Button or Buttonhole
Button Position
Dart

Tuck
Pleat
Bust Point or Hipline
Single Notches
Double Notches
Triple Notches
Zipper Placement
Markings to be transferred from
pattern pieces to the fabric for
matching or to indicate detail

TYPES OF SILLHOUETTE
THE WEDGE: Upper body (bust and shoulders) is larger than
lower body( hips).
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 HOURGLASS: Upper and lower body similar in
proportion with a small, neat waist.

TERMINOLOGY
I. 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 any such basic pattern from which all the other
designs are developed.
II. 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
BLOCK/SLOPER

III. 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.
IV. 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.

V. 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.
VI. 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.
VII. PUNCH/CIRCLES
• Dart intake
• Dart back-off points
• Dart, curves
• Buttonholes/buttons
• Trimmings
• Pocket placement

COMPLETING THE PATTERN
Ease Allowance:
Even after seam allowance an extra fabric is taken that is called ease
allowance. Generally required for the comfort and also for alteration lines.
Clipping:
It is the cuts on the curves so that there should not be any gathers of fabric on
contours.
Land Marks
Numbers refers to both the front and
back wherever indicated.
1. Center front neck
Center back neck
2. Center front waist
Center back waist
3. Bust points
4. Center front bust level ( between
bust broken line) points-
5. Side front (princess)
Side back (princess)
6. Mid-armhole front
Mid-armhole back
7. Shoulder tip
8. Armhole ridge or roll line (indicated
by dotted line)
9. Pale screw
10. Armhole plate

MEASUREMENTS
There are following different ways of taking measurements:
Circumference measurements:
• Round chest
• Round waist
• Round hip
Vertical measurements:
• Front length
• Center front length
• Shoulder to waistline
• Underarm seam
• Center back length
Horizontal measurements:
• Width of bust
• Front waistline
• Front hipline
• Apex measurement
• Center front to princess line
• Shoulder blade
• Width of back
• Back waistline
• Back hipline
• Center back to princess line
Tools And Equipment:
1. All pins: To pine fabric pieces together.
2. Pin holder: To keep needles and pins in place.
3. Push pins: To hold paper in place.
4. Scissors: Large for fabrics, another for paper and a small for clipping.
5. Seam ripper: For opening any seam or stitches.
6. Grading scale: To mark lines.
7. Measuring tape: For taking measurements.
8. Pencil, eraser: Pencil sharpener, plastic ruler etc.
9. Pinking shears: For finishing the raw edges of fabric.
10. Papers: Plain papers, tracing paper, brown paper, graph paper.
11. Permanent pen: To write on the templates.
12. Colored pencils: To make rough layouts.
13. Steam iron: To iron out wrinkles.
14. Cutter: For cutting papers.
15. Awl: To make holes in paper.
16. Tailors chalk: For marking on paper.
17. Tracing paper: For tracing.
18. Tracing Wheel: For transferring the markings.
19. Notches: To mark a paper.
20. Styling tape: For marking on dress form.

DART MANIPULATION
Introduction : Dart manipulation introduced the slash and spread and pivotal
transfer pattern making technique to transfer dart excess from one location to
another for design variation. It is the beginning of pattern manipulating process
for generating design patterns. It requires both artistic and technical skills to
manage and control the pattern.
Principle 1 :
1. One Dart Series
2. Two Dart Series
A dart maybe transferred to any
location around the patterns outlines
from a designated pivotal point without
affecting the size or fit of a garment.
Principle 2 : Added Fullness
To increase fabric in a garment to an
amount greater than that provided by
the dart excess of the working pattern.
The length and width within the
pattern’s outline must be increased.
Principle 3 : Contouring
To fit the contours of the upper torso
closer than does the basic garment the
pattern must be reduced within its
frame to fit the dimension of the body
above, below and in between the bust
mounds and shoulder blades.

COLLECTION OF SOME OF THE BASIC GARMENTS
WITH PAPER PATTERNS

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.
HISTORY: In historical usage, particularly in Victorian and early 20th century
fashion, women bodice block indicates the upper part of a dress that was
constructed in two parts (i.e., with separate skirt and bodice,) but of matching
or coordinating fabric with the intention of wearing the two parts as a unit. This
construction was standard for fashionable garments from the 18th century until
the late 19th century.
MODERN USAGE: In modern usage, basic bodice block is different from the
corset because of it was intended to be worn over the other garments. It is
used to make tops or dresses and paired with a sleeve block can be used to
make shirts, blazers, jackets and coats. Many patterns evolve from this block.
.
PAPER PATTERN OF WOMEN’S
BASIC BODICE BLOCK SCALE- ½”

SIMPLE SAREE BLOUSE
A 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.
HISTORY: Blouses are historically a cask style, mostly mail-like garment that
were rarely part of the fashionable woman's wardrobe until the 1890’s. Before
that time, they were occasionally popular for informal wear in styles that
echoed peasant or traditional clothing. Traditionally, the term has been used to
refer to a shirt which blouses out or has an unmistakably feminine appearance.
MODERN USAGE: 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.
Scale= 1/2”
PAPER PATTERN OF SIMPLE SAREE
BLOUSE

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.
HISTORY: The choli evolved from ancient Stanapatta, it was part of three-
piece attire worn during ancient period. Early cholis were front covering, tied at
the back. Choli of this type are still common in state of Rajasthan
MODERN USAGE: Today the entire approach towards the choli is
adventurous. Their metamorphosis has taken cholis from being demure and
sedate to daring, with adventurous tailoring and innovative necklines, such
as halter, tubes, backless or stringed.
CHOLI BLOUSE SCALE- ½”

WOMEN’S KURTA (KURTIES)
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.
HISTORY: The word “kurta” comes from Persian decent and literally means, ‘a
collarless shirt’. Basically of Indian origin, the kurti is a classic example of
changing times. Always a part of the Indian ethnic attire, it was relegated to
rural India for the longest time. They were traditionally worn with loose-
fitting pajamas , loose-fitting salwar, semi-tight churidars, or wrapped-
around dhotis; but are now also worn with jeans.
MODERN USAGE: With changing times the kurta/kurti has become a
designer favorite. They have experimented and played around with the original
design, tweaking it here and there, adding some embellishments, keeping the
tradition intact, but made it more modern or new age! Fabrics, colors and cuts
experimented with, by adding interesting dashes of intrigue
PAPER PATTERN OF
WOMEN’S KURTA(KURTIES) SCALE- ¼”

WOMEN’S CHURIDAR PAJAMAS
Scale= 1/4”
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.
HISTORY: The churidar has its origin in Pakistan and North India, and it was
mostly worn by Pakistani Punjabis. The churidar kameez with dupatta is quite
similar to the salwar kameez and dupatta set the only variation being the
bottom wear or pajamas.
MODERN USAGE: In the modern age, where each and every product we use
is about functionality and ease of use the churidar is one such bottom wear that
has stood the test of time and emerged as one of the most functional outfits.
CHURIDAR PAJAMA

WOMEN’S PATIALA SALWAR
Introduction : 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
History : Patiala salwar has its roots in Patiala city in Northern
Punjab state of India. The king of Patiala in earlier time had its
Royal dress as Patiala salwar.
Modern Usage : Since history Patiala salwar never been changed
traditionally but nowadays its been paired with the contemporary
outfits too. So the look of Patiala salwar never changed by
combinations made this garment always in fashion.
Scale= 1/3”
PATIALA SALWAR

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, like bodice, to shape and form basic dresses
for example.
HISTORY: Skirts are one of the oldest styles of garment known to mankind:
after the loincloth, it was the skirt that graced the human form. Once a
rectangular piece of material, be it animal skin or leaves woven together, was
wrapped around the waist, the essential skirt was created. Importantly, men as
well as women wore skirts, and ancient art shows remarkably "manly" men in
skirts.
MODERN USAGE: Now a days skirts are usually made of light to mid-
weight fabrics, such as denim, jersey, worsted, or poplin. Skirts of thin or clingy
fabrics are often worn with slips to make the material of the skirt drape better
and for modesty.
WOMEN’S BASIC SKIRT BLOCK
BASIC SKIRT BLOCK Scale= 1”

Petticoat refers to any separate skirt worn with a gown, bed gown, bodice or
jacket. The petticoat is a separate garment hanging from the waist.
Petticoat can also refer to a full-length slip in the UK, although this usage is
somewhat old-fashioned. Petticoat is the standard name in English for any
underskirt worn as part of non-Western clothing such as the lehenga with the
sari.
HISTORY: The practice of wearing petticoats as undergarments was well
established by 1585. Petticoats were worn throughout history by women who
wanted to have the currently fashionable shape created by their clothing. The
petticoats, if sufficiently full or stiff, would hold the overskirt out in a pleasingly
domed shape and give the impression of a smaller waist than the wearer
actually had.
MODERN USAGE: For the first two decades of the 20th century, multiple
petticoats fell out of fashion; narrow, sometimes tight, skirts became more
common. Petticoats were revived by Christian Dior in his full-skirted “New
Look" of 1947 and tiered, ruffled, stiffened petticoats remained extremely
popular during the 1950s, especially with teenage girls.
WOMEN’S SIX PANEL PETTICOAT
PAPER PATTERN OF WOMEN’S SIX
PANEL PETTICOAT
Scale= 1/3”

Draping is a method in which a piece of two dimensional fabric is draped
directly on a dress form or fabric and made to fit on the dress to achieve the
desired look or shape. The fabric may conform to the basic shape of the for or
be arranged artistically in fold for a specific design. Draping for fashion design
is a process of positioning and pinning fabric on dress form to develop the
structure of a garment design. Draping include stitching the garment by the use
of loosely hanging material to create a flowing effect. Muslin fabric, the most
common material used for draping, is inexpensive and falls loosely over the
dress form, making it easy to manipulate to create different looks. The fabric
used in draping must be similar to the fabric that will be used on the final
garment. A large supply of pins, scissors for cutting fabric and markers or pens
for identifying seams are also important supplies for draping.
So, at Dezyne E’cole college we have leaned 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.
DRAPING

PRINCESS PANEL
FRONT VIEW
SIDE VIEW
BACK VIEW

SHOULDER DART
FRONT VIEW
SIDE VIEW
BACK VIEW

DART LESS BODICE BLOCK
FRONT VIEW
SIDE VIEW
BACK VIEW

MED SHOULDER TO PRINCESS LINE SKIRT
FRONT VIEW
SIDE VIEW
BACK VIEW

WAIST DART
FRONT VIEW
BACK VIEW
SIDE VIEW

FRONT VIEW
BACK VIEW
BACK VIEW
MID - SHOULDER DART

FRONT VIEW SIDE VIEW
WAIST DART

CASE STUDY
Make a Salwar Kameez for a lecturer in Engineering college. Age 32- 34 years
using with any surface design technique like manipulation or embroidery.
CLIENT BOARD
• Women’s Wear
• Age: 32- 34
• Engineering College Lecturer
• Requirement : Formal wear as per college, soothing colour , comfortable, as
per the trend.

Purpose: college Wear/ lecturer
Age: 32 – 34 years
Personality: Confident, Decision-Maker, Organized, Self Dependent, Warmth/
kindness, Disciplined, etc.
Type of Silhouette: Rectangle
Dress Code: Salwar Kameez
Dressing : Power Dressing/ Professional Wear.
Working: Engineering College, Lecturer, Presentations Standing for hours and
Hands movement.
MY OBSERVATION

DESIGNS OF SALWAR KAMEEZ WITH RECTANGULAR
SILHOUETTE AND PROFESSIONAL WEAR

FABRICS
India is a vast country with a varied and distinct types of fabric available in
different parts of the country.
Be it sarees or suits, dresses or pants fabric choices are as vivid as our culture
and our colours.
The choice of fabric depends on occasion and utility. The different types of
fabric used depends on our design of our formal wear.

The different types of fabric used depending on our client need are:
COTTON SILK
CHIFFON GEORGETTE
RAW SILK LINEN

FABRIC FINISHES
For any designer, it is very important to study about fabric and its properties. As
the garment represent the status symbol and also makes the fashion
statement, therefore importance is given on quality of fabric, cuts and design.
For designing the garment according to my client need the fabric finishes
should be:
• Anti- wrinkled Fabric/ Crease resistant Finish
• Aroma Fabric
• Durable
• Stretchable
• Comfort
• Washable

MY SELECTION OF FABRIC
• Cotton
• Linen
• Georgette
• Voile
• Chiffon
COTTON
CHIFFON GEORGETTE
LINEN

MOOD BOARD
As per our client need who is a lecturer, working at an engineering college. The
mood that we have generated through our study are:
POWERFUL WELCOMING
Regal PROFESSIONAL
Pure
C:0
M:10
Y:100
K:0
C:0
M:27
Y:100
K:0
C:73
M:100
Y:27
K:0
C:0
M:0
Y:0
K:60
C:0
M:0
Y:0
K:0

SPECIFICATION SHEET
PANTS
KANTHA
¾ SLEEVE
COTTON
SILK

Tanvi Sethi,One year Womens Wear Fashion Design Diploma Programme

Tanvi Sethi,One year Womens Wear Fashion Design Diploma Programme

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