The document is a project report submitted by Shefali Bohra towards her Bachelor of Science degree in Fashion Technology. The report discusses women's western wear and includes sections on color theory, garment construction techniques, fabric manipulation, and the peplum style. Shefali completed an internship that provided hands-on experience in fashion design. She thanks her mentors at Dezyne E'cole College for giving her opportunities to develop her skills through this project.

1. Shefali Bohra B.Sc. Fashion Technology
Dezyne E’cole College www.dezyneecole.com

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 Knowledge Development Of Women’s Wear Included With The Bachelor’s Degree Programme of
Fashion Technology
By
Shefali Bohra
Dezyne E’cole College
Civil lines, Ajmer
www.dezyneecole.com
2014-2017

3. Dezyne E’cole College,
civil lines
Ajmer
www.dezyneecole.com
This project of Ms. Shefali Bohra has been checked and every grade as:-
Thanking You
Principal
(Seal & Signature)

4. Acknowledgement
I am deeply grateful to all those whose guidance has been of tremendous value and
enabled me to complete this project successfully.
I am thankful to all my mentors of Dezyne E’cole College who gave me opportunity to
show my abilities by working on this project on the esteem organization.
Shefali Bohra
Bachelor of Science In Fashion Technology

5. Fashion Industry
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.

6. Learning Experience
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,
conceptualization, independent research,
creative application and individual artistic
expression.

7. As a part of fashion industry I am training myself 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. Garment Construction popularly called as
Pattern Engineering has a great importance in the fashion design

8. FOUNDATION DESIGN - COLOURS

9. COLOURS
COLOUR IMPACT IN DESIGNING
Colour 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.

10. COLOURS
VARIATIONS OF WARM AND COOL COLOURS
RED
Variations of Warm Color as Red.
GREEN
Variations of Cool Color as Green.
BLUE
Variations of Cool Color as Blue.

11. COLOUR
GRADATION

12. COLOUR

13. COLOURS
COMPARING VALUE OF COLOURS
The Yellow is lighter than Red. The Blue is darker than Orange.
The Green is lighter than Brown.The Dark Green is equal in
value to the Brown.
Compare the blue and red rectangles to the gray rectangles on either side of each
color. Which gray is equal in value to the color? It may be helpful to stand at a distance
and blur your eyes if the edge between the two areas disappears the values are equal.

14. COREL DRAW

15. CORELDRAW
TEXT USING COREL DRAW
FASHIONFASHION
FASHION FASHIONFASHIONFASHION

16. ILLUSTRATION

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

18. Layered Sleeve Tulip SleeveCape Sleeve
Puff SleeveBushirt Sleeve
ILLUSTRATION
SLEEVES

19. ILLUSTRATION
POCKETS

20. ILLUSTRATION
Straight Pant
Bell Bottom
Harem
Jodhpuri Pants
Sweat Basic
TROUSERS

21. INTRODUCTION TO TEXTILES

22. For any Fashion Designer its very
important to study about fabric and
its properties. For designing new
age clothes a fashion designer
should be aware about fabric
finishes like Fire Repellency, Water
Repellency, Aroma Fabric, Anti-
Wrinkle property of Fabric.
A small report on fabric is
presented here :
TEXTILE STUDIES

23. Fashion
Technology
Topic
Fiber Classification

24. Fashion
Technology Intoduction
 Fiber
 Staple
 Filament
 Natural Fiber
 Man Made Fiber

25. Fashion
Technology
 Fibers:
Fiber is a raw material of yarn.It gives us different
sources. It comes from various sources such as NATURAL
and MAN MADE fibers.These are two types of fibers STAPLE
and FILAMENT.
 Staple:
Short fibers,
(cm) generally
they are
natural fiber.
 Filament
Long fibers
(meters),(feets).
Silk is only
natural filament
which is filament

26. Fashion
Technology
 Natural Fibers:
Natural Fibers can be defined as
produced by plants and animals that
can be spun into filament,thread or
rope.
1. Cellulose 2. Rubber 3. Mineral 4. Protein
 Cellulose
fibers are
fibers from
some
plant or
plant-
based
materials
 A fiber
composed
of natural
or synthetic
rubber;
used to
make
elastic yarn
for clothing
 Protein fibers
are formed
by natural
animal
sources.
These fibers
have
strength,resili
-ency etc.
Example:
Abestos is
a natural
fiber found
in rock
deposits

27. Fashion
Technology
1. Cellulose
• Cotton (seedpod) • Linen (bast) • Pina (leaf)

28. Fashion
Technology
4. Protein
• Wool (animal) • Silk (extruded)

29. Fashion
Technology
 Man Made Fibers:
Fibres whose chemical composition, structure,
and properties are significantly modified during
the manufacturing process.
 Regenerate
d
 Inorganic  Synthetic
These fibers are
made from the
chemical
induced
transformation
of natural
polymers and
basically fall
into:
These are the
subset of man
made fibers and
made entirely
from chemicals.
 Glass- Silica
sand, lime
stone and
other
minerals.
 Ceramic
 Metallic
Fibers

30. Fashion
Technology Regenerated  Inorganic
 Rayon (cellulose)
 Glass

31. Fashion
Technology Synthetic
 Polyester  Moda acrylic  Nylon

32. GARMENT CONSTUCTION

33. 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.

34. Tools & Equipment's
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 use various tools and measuring devices to create a toile pattern
on dummy.
Threads Measuring Tape
Seam Ripper
Scissors
French curveDrafting ScalesT-Pins
Tailors Chalk

35. Symbols & Pattern Making Markings
Grain Line
Cutting Line
Seam Line
Hemline
Waist Line or Hip Line
Alteration Line
Seam Allowance
Gathers
Various signs & symbols of pattern marking which I generally use on pattern :-

36. Onfold
Darts
Pleat
Tuck
Balance Mark
Zip Placement
Bust Point
Buttonhole
Symbols & Pattern Making Markings

37. Symbols & Markings
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
Symbols & Pattern Making Markings

38. Seam Allowance
o ¼ Inches
• All faced areas
• Narrow Spacing
• Extreme Curves
• Sleeveless Armhole
o ½ Inches
• Side Seam
• Armhole With Sleeves
• Waist lines
• Center line
• Style line
o Variable (1/4 To ½ Inches)
• Placket or Zipper opening
• Top stitched seam
• Side seam
o 1 Inches
• Shoulder
o 2 Inches
• Straight hemline
Notches
• Seam allowance
• Center line
• Ease and gathers control
• Dart legs
• Identification of front (1notche)
and back (2 notches)
• Identification of joining parts
(series of notches at various
location)
• Zipper placement
• Facings
• Hemlines
• Waist lines
• Shoulder tip
• Placement of trims and pockets
• Shoulder neck of collars
• Sleeve cap
Punches/Circles
• Dart intake
• Corners
• Buttonholes/Buttons
• Trimmings
• Pocket placement
Jog Seam
• A jog seam is used to
indicate a change in the
seam allowance

39. 1. Centre Front Neck
2. Centre Front Waist
3. Bust Point
4. Centre Front Bust Level
5. Side Front Princess
6. Mid Armhole Front (at level with plate)
7. Nape of the Neck
8. Shoulder Tip
9. Armhole Ridge or Roll Line
10. Plate Screw
11. Armhole Plate
LANDMARKS

40. 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 measurements are:
1. Circumference Measurements
2 Horizontal Measurements
3 Vertical Measurements
Measuring Techniques

41. Circumference Measurements

42. Round Bust= 34 inches
Round Hip= 36 inchesRound Waist= 26 inches
Size = 34 Inches

43. Horizontal Measurements

44. Across Chest= 6.5 inches
Bust Arc= 8.5 inches
Hip Arc= 8.2 inches
Size = 34 Inches

45. Vertical Measurements

46. Size = 34 Inches
Side length=7.5 Inches
Center Front Length=14.5 InchesCenter Back length=16.5 Inches

47. ORBITO

48. ORBITO
BASIC BODICE BLOCK

49. ORBITO
BASIC SLEEVE BLOCK

50. ORBITO
BASIC SKIRT BLOCK

51. ORBITO
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.
DART MANIPULATION
Mid neck
Mid shoulder
Shoulder tip
CF neck
Mid armhole
Side dart
CF waist
French dart
French dart
French dart
CF bust

52. ORBITO
Mid Shoulder Mid ArmHole
Single Dart Series

53. Back Neck Line
Back waist Dart V-neck
Mid Arm Hole Dart
Front View Back View
Single Dart Bodice Block With A-Line Skirt

54. • Size- 34”
• Fabric- Muslin
• Finishes
 Neck Finish- Neck Finish With Facing
 Arm hole Finish- Arm Hole Finish With Piping
 Hemline Finish With Facing
Specifications
• Lines- Neck lines, Waist lines, Hem lines.
• Shape- Triangular (trapeze) Silhouette.
Elements of Design

55. ORBITO
Double Dart Series
Mid Shoulder and Waist Mid Armhole and Waist

56. V Neck Line Mid Arm Hole Dart
Waist Dart
Front View
Plain Sleeve
Double Dart Bodice Block With Hanker Chief Skirt

57. Neck line Neck LineSide View

58. Specifications :
• Size- 34
• Fabric- Muslin
• Finishes:
 Neck Finishes With Facing.
 Arm Hole Finishes With Piping.
 Hemline Finishes With Hemming.
Elements Of Design :
• Lines- Neck lines, Waist lines, Hemlines.
• Shape- Use Of V-Shape.

60. Seams:
Abutted Seam
Under garment construction we learnt about the different types of decorative seams.
These seams can be used as a decorative as well as structural element on the
garments. The various seams learnt during these study programme are :-
Bound Seam

61. Flat Fell Seam
Seams:
Plain Seam
French Seam

63. French Dart
Front View Back View
SINGLEDARTSERIES
Side View

64. SINGLEDARTSERIES
Front View Back ViewSide View
Mid Shoulder Dart

65. SINGLEDARTSERIES
Front View Back ViewSide View
Mid-Armhole Dart

66. Mid-Shoulder & waist
DOUBLEDARTSERIES
Front View Back ViewSide View

67. Mid- Armhole & waist
DOUBLEDARTSERIES
Front View Back ViewSide View

68. Side & waist
DOUBLEDARTSERIES
Front View Back ViewSide View

69. TUCKDARTSERIES
Front View Back ViewSide View

70. PLEATDARTSERIES
Front View Back ViewSide View

71. RADIATINGDARTSERIES
Front View Back ViewSide View
Radiating Dart

72. PARALLELDART
Front View Back ViewSide View
Parallel Dart

73. PRINCESSPANNEL
Front View Back ViewSide View
Princess Panel Mid-Armhole Dart

74. PRINCESSPANNEL
Front View Back ViewSide View
Princess Panel Mid- Shoulder Dart

75. PRINCESSPANNEL
Front View Back ViewSide View
Princess Panel Mid- Shoulder Dart( Torso)

76. CLUSTERS
Front View Back ViewSide View
Shoulder Dart Clusters

77. CLUSTERS
Front View Back ViewSide View
Waist Dart Clusters

78. HAULTER
Front View Back ViewSide View
HAULTER NECK

79. GATHERS
Front View Back ViewSide View
Fullness Around Princess Panel

81. 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.

82. FABRICMANIPULATION

83. FABRICMANIPULATION

84. FABRICMANIPULATION

85. FABRICMANIPULATION

86. FABRICMANIPULATION

87. FABRICMANIPULATION

88. FABRICMANIPULATION

89. FABRICMANIPULATION

90. FABRICMANIPULATION

91. FABRICMANIPULATION

92. FABRICMANIPULATION

93. FABRICMANIPULATION

94. FABRICMANIPULATION

95. FABRICMANIPULATION

96. PEPLUM STYLE

97. Fashion
Technology
Topic
The New Silhouette For Seasons
to Come Peplums

98. Fashion
Technology
Content
• Introduction
• Fashion History Of
Peplums-1948:
• Earlier Designers designs…
• Types Of Peplums In
“Summer Spring 2012”
• Again Peplums In Summer
“Spring Spring 2013”
• Indian export market, orders
of peplum flowing in since
S/S 2012 Containing in S/S
2013.

99. Fashion
TechnologyIntroduction :
A pattern that imparts
an hour glass shape
to a woman’s body and
traditionally seen as a
Short overskirt attached
to blouse and slinky
silky pencil skirt dress.

100. Fashion
Technology
History:
The Peplum was popular both and
after the second world war.
The peplum silhouette of the 1860’s is
not that far removed from silhouette
seen on modern runways. Though it
was not attached at the waist, the
1860’s peplum did have an extra
overskirt and flounce.

101. Fashion
Technology
Types Of Peplums

102. Fashion
Technology
Types of Peplum in S/S 2012:
• Many types of Peplum like
Peplum Tee, Peplum
Pencil Dress etc.
• Simple Peplum Tops
without much of a flare.
• Short Peplum dresses in
contrast to the Peplum
Pencil Skirts.

103. Fashion
Technology
• Variations are moving from Tops to Tunics, Skirts and Dresses
Types of Peplum in S/S 2013:

104. TRIBAL ART

105. Tribal Prints
Lines : Use of thick and thin lines.
Shapes : Different size of triangles , squares.
Colour : In this there is bright colour plus neutral colour
and has less intensity.
Tribal print of Sri lanka

106. Tribal Print
• This print is designed in chiffon
fabric with the use of elements
and principles of design such as
lines : thick and thin lines zigzag
lines curve lines, shapes: use of
geometric shapes, colour: neutral
colour with bright colour
Tribal Print of Sri lanka