student of Fashion Technology Dezyne E'cole College

1. PORTFOLIO
VRINDA DHOOT M.Sc. F.T. (1st Year)
Diploma Fashion Technology

2. Project report on
Women's western wear
Submitted to
Dezyne E’cole college
Towards the partial fulfillment for the award of diploma in Fashion Technology
As technical department knowledge Development of women's wear included with the Masters Degree program of
Fashion Technology
By
VRINDA DHOOT
Dezyne E’cole College
106/10, civil lines, Ajmer
0145-2624679
www.dezyneecole.com
2014-2015

3. Dezyne E’cole College
Civil lines Ajmer
www.dezyneecole.com
This Project of Ms. Vrinda Dhoot has been checked and has been graded as -
______________________________________________________
Thanking You
Principal
(seal & signature)

4. I am deeply grateful to all those whose guidance has been of tremendous value and enabled
me to complete this project successfully.
I am thank full to my mentors of dezyne e’cole who gave me an opportunity to show my
abilities by working on this project on the esteem organization.
Vrinda Dhoot
Masters of Science in Fashion Technology
ACKNOWLEDGEMENT

5. • FOUNDATION DESIGN COLOR
• COREL
• FASHION ILLUSTRATION
• FABRIC STUDY
• GARMENT CONSTRUCTION
• DRAPING
• MANIPULATION
• FASHION HISTORY
• TRIBLE ART
CONTENT

6. Fashion is more than wearing good clothes it is about presenting a person’s image in the
society, we generally see people accepting fashion due to the peer pressure, image in the
society and when a person wants a change to brighten his life. There are many reasons we
wear what we wear.
 Protection from cold, rain and snow: - mountain climbers wear high-tech outwear to avoid
frostbite and over- exposure.
 Physical attention:-many styles are worn to inspire “chemistry”.
 Emotions: - we dress “up” when we’re happy and “down” when we’re upset.
 Religious expression: - orthodox Jewish men wear long black suits and Islamic women
cover every part of their body except their eyes.
 Identification and tradition: - judges wear robes, people in the military wear uniforms,
brides wear long white dresses.
FASHION AS A PERSON’ IMAGE

7. Within the sphere of technology industries, design technology is perhaps the fastest growing
today. With new technologies emerging rapidly and industries changing complexion, more
and more job opportunities are up for the taking. It is estimated that India will have a shortfall
of five lakh people in the design sector by 2010- 11, but not all graduates will be employable.
Thus bringing the gap between talent and the skills required by the industry is important.
Today, only one in every four designers is employable and only 10% of the design graduates
manage to get employment in the design industry. Hence the students should understand the
basic requirement of the industry and exhibit that ability.
FASHION INDUSTRY

8. This is what I learnt here at
Dezyne E’cole College
Creating fashion doesn’t just
entail a vivid imagination and
instinct for creativity. It also
involves many decisions and
myriad techniques, focused on
a central idea. Dezyne E'cole
Fashion Design has made
me build a strong foundation in
terms of design sense,
conceptualisation, independent
research, creative application
and individual artistic
expression.
LEARNING EXPERIENCE

9. As a part of fashion industry I am training my self through formal education in Bachelor
Degree of Science in Fashion Technology and industry oriented diploma programme in built
with this study. During the course duration of Diploma programme I had an exposure
towards practical working in Fashion Design.

11. FOUNDATION DESIGN -COLOURS

12. Color is one of the most vital tools in the hands of a Designer. It is the most perceptible
and prominent aspect of any designer, and hence is central to the success or failure of a
design scheme. It is therefore very important that a Designer has the full knowledge and
understanding of this tool.
COLOR: IMPRESSION ON HUMAN MIND

13. shades to tints of blue as a cool
color.
shades to tints of yellow as a warm
color
shades to tints of red as a warm color
shades to tints of green as a cool color
COLORASSIGNMENT
WARM & COOL COLORS

14. COMPARATIVE VALUE OF COLORS
Value of Red is more than
Yellow
Value of Brown is more than
Green
Value of Green is equal to
Brown
If the edges between the two areas disappears, the
Values are Equal
Value of Blue is more than
Orange
COLORASSIGNMENT

15. COLORASSIGNMENT

16. GRADATION

17. GRADATION

18. CORAL DRAW

19. CORALDRAW
TEXT USING CORAL DRAW

20. CORALDRAW
TEXT USING CORAL DRAW

21. ILLUSTRATION

22. FASHION ILLUSTRATION

23. POCKET
BELLOW CARGO SIDE KANGROO BUTTONED
FLAP BASIC CARGO FRONT FLAP EDGED CHANEL STYLE

24. Bertha Yoke Style Bertha Deep Neckline
Bertha DrapedBertha Braid Edged Trim Capellet Piorret Style
Bertha Knotched
COLLARS

25. SLEEVES
Layered Sleeve Tulip SleeveCape Sleeve
Puff SleeveBushirt Sleeve

26. TROUSERS
Straight Pant
Bell BottomJodhpuri Pants
Sweat Basic
Harem’s

28. TEXTILE STUDIES

29. For any fashion designer it is very
important to study about fabrics and its
properties.
For designing new age clothes a fashion
designer should be aware about fabric
finishes like fire repellency, water
repellency, aroma fabrics , anti wrinkled
fabrics. Of fabrics.
A small report on fabric is presented here.
TEXTILE STUDIES

30. “NYLON PROPERTIES”

31. • Introduction
• Microscopic Properties
• Burning Test
• Physical Properties
• Chemical Properties
• Biological Properties
• Thermal Properties
• After care Properties
CONTENT

32. • Nylon 6 is made by polymerising caprolactam.
• Nylon 6.6 is made by condensation polymerization of
hexamethylene diamine.
• The nylon 6 or 6.6 is melted and either extruded directly, or
converted into nylon chips for later use.
• After emerging from the spinneret, the filaments are cooled in a
cold air stream and drawn by three to fourfold in length.
INTRODUCTION

33. • Microscopic Test: Usually circular but depends on the spinneret
MICROSCOPIC TEST

34. • Burning Test: Shrinks and melts away from the flame with fibre-
forming drips. The residue is hard and uncruchable.
BURNING TEST

35. • Resistance to alkalis Nylon is resistant to alkalis and many
solvents. It is attacked by concentrated acids.
• Resistance to light: Nylon will become yellow and lose its
strength when exposed to sunlight for a longer period of time.
CHEMICAL PROPERTIES

36. • Nylon is resistant to moulds and fungi. Nylon does not decompose.
BIOLOGICAL PROPERTIES

37. • Strength: Nylon is very strong and has excellent abrasion
resistance.
• Elasticity: Nylon is very resistant and wrinkle-resistant.
• Extensibility: Breaking extension is very high, either wet or dry.
• Luster: From matt to high luster, depending on fibre cross section
and addition of de lustrants.
PHYSICAL PROPERTIES

38. • Heat Resistance: Nylon is sensitive to dry heat
THERMAL PROPERTIES

39. No Chlorine
Bleach
P
Drying
40
Ironing
Washing
Dry Cleaning
AFTER CARE PROPERTIES AND LABELING

41. Fashion design runs the garment from eveningwear to sportswear, women’s wear to menswear,
and kids wear to knitwear. Garment Construction popularly called as Pattern Engineering has a
great importance in the fashion design industry. The companies like Van Heuson, Dockers, Levis,
Adidas etc. are all providers of perfect fit and this is what we learn at Dezyne E’cole through the art
of pattern making.
A sloper pattern (home sewing) or block pattern (industrial production) is a custom-fitted, basic
pattern from which patterns for many different styles can be developed.
The draping method involves creating a muslin mock-up pattern by pinning fabric directly on
a form, then transferring the muslin outline and markings onto a paper pattern or using the muslin as
the pattern itself.
The flat pattern drafting method is the most commonly used method in menswear; menswear rarely
involves draping.
GARMENT CONSTRUCTION

42. T-pins French Curve Scissor Tailor Chalk
Thread Seam Ripper Inch tape Notcher
The flat-pattern method is where the entire pattern is drafted on a flat surface from
measurements, using rulers, curves and straight-edges. As a fashion designer I
used various tools and measuring devices to create a toile pattern on dummy.
TOOLS AND EQUIPMENT

43. PatternMakingSymbols Various signs and symbols of pattern marking which I generally
use on pattern are:-
Grain Line
Cutting Line
Seam Line
Hemline
Waist Line or Hip Line
Alteration Line
Seam Allowance
Gathers

44. PatternMakingSymbols
Onfold
Darts
Pleat
Tuck
Balance Mark
Zip Placement
Bust Point
Buttonhole
Various signs and symbols of pattern marking which I generally
use on pattern are:-

45. PatternMakingSymbols
Combine Buttons
Button Position
Snap Fasteners
Single Notches
Double Notches
Triple Notches
Markings to be transferred
from the pattern pieces to
the fabric for matching to
indicate for details
Various signs and symbols of pattern marking which I generally
use on pattern are:-

46. NOTCHES:-
1. Seam Allowances
2. Dart Legs
3. Identification of
Joining parts
4. Facings
5. Waistlines
6. Centre Line
7. Identification of
Front & Back
8. Zipper Placement
9. Hemlines
10. Shoulder Tip
11. Placements of
Trims & Pockets
12. Sleeve Cap
Punch Circles:-
1. Dart Intake
2. Corners
3. Buttonholes/Buttons
4. Trimmings
5. Pocket Placement
Jog Seam:-
A Jog Seam is used to
indicate a change in the
seam allowance
Seam Allowance:-
¼ Inches:-
1. All faced areas
2. Sleeves, Armhole
½ Inches:-
1. Side Seam
2. Centre line
1 Inches:-
1. Shoulders
2 Inches:-
Straight Hemlines
NOTCHES

47. 1. Center front neck
2. Center front waist
3. Bust point
4. Center front bust level
5. Side front (princess)
6. Mid armhole front
7. Mid armhole back
8. Shoulder tip
9. Shoulder at neck
10. Armhole ridge or roll line plate screw
11. Armhole plate
SYMBOL KEY
CF= Center Front
CB= Center Back
BP= Bust Points
SS= Side Seam
SH= Shoulder
HBL= Horizontal Balance Line
SH-TIP= Shoulder Tip
LANDMARK

48. Flat patterning begins with the creation of a sloper or block pattern, a simple, fitted
garment made to the wearer's measurements. The different ways of taking measurement
on the dress form are as follows:
 Circumference measurement
 Horizontal measurement
 Vertical measurement
MEASURING TECHNIQUE

49. CIRCUMFERENCE MEASUREMENT

50. SIZE = 34”
Round Bust= 34”
Round Abdomen= 36”
Round Waist= 26.5”
CIRCUMFERENCEMEANSUREMENT

51. HORIZONTAL MEASUREMENT

52. SIZE = 34”
Waist Arc= 6.5”
Bust Arc= 9”
Abdomen Arc= 9”
HORIZONTALMEASUREMENT

53. VERTICAL MEASUREMENT

54. SIZE = 34”
Shoulder Slope= 5”
Full Length= 17”
Center Front Length= 14.5”
VERTICALMEASUREMENT

55. PATTERN ENGENEERING

56. WOMEN’S BODICE BLOCK

57. WOMEN’S SKIRT BLOCK

58. WOMEN’S SLEEVE BLOCK

59. Dart manipulation introduced the slash 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 mange and control the
pattern.
There are three principles for dart manipulation.
PRINCIPLE 1
A dart may be transferred to any location around the
patterns outlines from a designated pivotal point
Without affecting the size or fit of a garment.
 ONE DART SERIES
 TWO DART SERIES
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.
Mid neck Mid shoulder
Shoulder
tip
CF
neck
Mid
armhole
Side
dart
CF waist
French
dart
French
dart
French dart
CF
bust
DART MANIPULATION

60. MID SHOULDER MID ARMHOLE
SINGAL DART SERIES

61. SINGAL DART SERIES
Armhole finished by
pinping
Front Skirt dart
French Dart
Hemline Folding by
double fold

62. MID SHOULDER & WAIST DART MID ARMHOLE & WAIST DART
DOUBLE DART SERIES

63. DOUBLE DART SERIES
Shoulder Tip Dart
Waist Dart
Lettuce Edge
Hemline
Cap Sleeve
Triangle Manipulation

65. SEAMS AND HEMLINES

66. SEAMS AND HEMLINES

67. SEAMS AND HEMLINES

68. SEAMS AND HEMLINES

70. FRONT VIEW
SIDE VIEW
BACK VIEW
SINGALEDARTSERIES
FRENCH DART

71. FRONT VIEW
SIDE VIEW
BACK VIEW
SINGALEDARTSERIES MID SHOULDER DART

72. FRONT VIEW
SIDE VIEW
BACK VIEW
SINGALEDARTSERIES
MID ARMHOLE DART

73. FRONT VIEW
SIDE VIEW
BACK VIEW
DOUBLEDARTSERIES MID SHOULDER & WAIST DART

74. FRONT VIEW
SIDE VIEW
BACK VIEW
DOUBLEDARTSERIES
MID ARMHOLE AND WAIST DART

75. FRONT VIEW
SIDE VIEW
BACK VIEW
DOUBLEDARTSERIES
SIDE AND WAIST DART

76. FRONT VIEW
SIDE VIEW
BACK VIEW
TUCKDART

77. FRONT VIEW
SIDE VIEW
BACK VIEW
PLEATDART

78. FRONT VIEW
SIDE VIEW
BACK VIEW
RADIATINGDART
NECK RADIATING DART

79. FRONT VIEW
SIDE VIEW
BACK VIEW
PARALLELDART

80. FRONT VIEW SIDE VIEW BACK VIEW
PRINCESSPANELTORSOLENGETH
MID SHOULDER PRINCESS ( TORSO)

81. PRINCESSPANEL
FRONT VIEW
SIDE VIEW
BACK VIEW
SHOULDER PRINCESS (WAIST)

82. PRINCESSPANEL
FRONT VIEW SIDE VIEW BACK VIEW
MID ARMHOLE PRINCESS

83. DARTCLUSTER
FRONT VIEW
SIDE VIEW
BACK VIEW
SHOULDER DART CLUSTER

84. FRONT VIEW
SIDE VIEW
BACK VIEW
DARTCLUSTER WAIST DART CLUSTER

85. FRONT VIEW
SIDE VIEW
BACK VIEW
GATHERS FULLNESS AROUND PRINCESS PANEL

86. FRONT VIEW
SIDE VIEW
BACK VIEW
GATHERS FULLNESS AROUND NECK BAND

87. FABRIC MANIPULATION

89. For any fashion designer,
fabrics 1st need to be
prepared with textures and
then used for style and
design development.
Style require plain texture
and some time textured
fabric to create better style.
Presenting few best ideas of
texture which I learned at
my study of fashion design
at Dezyne E’cole College.

90. FABRICMANIPULATION

91. FABRICMANIPULATION

92. FABRICMANIPULATION

93. FABRICMANIPULATION

94. FABRICMANIPULATION

95. FABRICMANIPULATION

96. FABRICMANIPULATION

97. FABRICMANIPULATION

98. FABRICMANIPULATION

99. FABRICMANIPULATION

100. FABRICMANIPULATION

101. FABRICMANIPULATION

102. FABRICMANIPULATION

103. FABRICMANIPULATION

104. FASHION HISTORY

105. SPRING/SUMMER 2014
NEW YORK AND LONDON

106. CONTENT
 History of fashion
 Inspiration theme
 Shiny metallic
 Translucent sheers
 Panels and stripes
 Indian influences
 Cape shoulders and
cocoon sleeves
 Peek- a- boo (cut outs)

107. Flapper look
Victorian period
Hour glass silhouettes (crinolince)
HISTORY OF FASHION

108. INSPIRATION THEME
 It is the time of the year again
where fashion is at its best and
fresh looks flowing in.
 Experiments in terms of silhouettes
with use on shoulders, sleeves,
hemlines and colors (from bright to
sober tones) with a major focus on
patterns, shapes and prints.

109.  These were inspired by gold, found in
ancient times.
 Trends continued in New york and
London.
 metallic plastic skirts designed by
Jonathan Saunders.
SHINY METALLIC

110.  Translucent sheer is a semi transparent fabric.
 Sheer panelling, sheer layers, and sheer
details and embroidery on sheer fabrics
have been spotted in abundance.
 Some designers who used this are David
Koma and Jill Stuart, Temperly London and
Micheal Van Der Ham
TRANSLUCENT SHEER

111. PANELS AND STRIPES
 It is something different panels in a single pattern.
 Horizontal and vertical fabrics put
together create a clean structured
panelling effect.
 None summer catwalks ever
go without use of stripes.
StripesPanels
 Stripes are less colorful falling
back into a Neutral color pallet
with accent of red to Lift the
look.

112. INDIAN INFLUENCES
 India, becoming a major influence
for many Prints, silhouettes and
embelishments.
 Dresses and gowns by Vera Wang
showed influence from saree style.

113.  New cocoon sleeve added substance to a dress.
 Burberry Prorsum use sleeves which are stiff
and stood cut in perfect bottle-shape.
 Cape shoulder became a new
point of attraction in a garment.
 Burberry Prorsum and Altuzarra
interpreted the pattern in their dresses.
Cape shoulderCocoon sleeves
COCOON SLEEVES AND CAPE SHOULDER

114. PEEK- A- BOO (CUT OUTS)
 Cut –out detail is again one of the
hottest trend of summer.
 Christopher Kane mixed feminine
colors with cut- out details.

115. TRIBAL ART BASTAR, INDIA

116. TRIBAL ART OF BASTAR INDIA
 Line- Straight line, Diagonal line, Curve line
 Shape- Rectangle, Circle
 Colour- Polychromatic colour
 Texture- Smooth
 Line- Composite line
 Shape- Triangle, Rectangle, Square
 Colour- Double Complimentary
 Texture- Smooth