Nikita Sharma,One Year Fashion Design Diploma In women's Wear

ACKNOWLEDGEMENT
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.
NIKITA SHARMA
1 Year diploma in Fashion Technology

The project of Ms. NIKITA SHARMA 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
Fashion industry is a very vast industry gaining popularity. In my study of
fashion designing I am learning about fashion. Who fashion evolves. I am
learning about different subject use in fashion industry I am learning about
basic fashion. I am discusses my work in with you.
I am part of industry, the fashion design industry and to work in this industry .
need to present by skills to this industry. I need to present my skill to the
industry experts. The skills that I have learnt during my 1st year diploma in
fashion technology.

NIKITA SHARMA
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..
 SKILLS:
• Draping
• Fabric Manipulation.
• Surface Design
Technique.
• Corel Draw
• Illustration
 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
• Pinterest
• Hindi
• English
 EDUCATION:
B.A M.D.S University, Ajmer
2015-2016
Diploma in Fashion Technology
Dezyne E’cole
College
Ajmer 2015-2016
12th RBSE Board Govt. Sr. Sec.
School, Beware
2014-2015
10th CBSE Board
Mission Sr. Sec. School,
Beware
2012-2013
 LANGUAGE:

DRAPING
FASHIONINTRODUCTION
FASHIONHISTORY
FASHIONINDUSTRY
WOMEN’S WEAR
ILLUSTRATION
LEARNING EXPERIENCE
DRAFTING
ELEMENT OF DESIGN
PRINCIPALOF DESIGN
SURFACE DESIGNTECHNIQUE
CORALDRAW
PATTERNMAKING
CASE STUDEY
CONTENTS

INTRODUCTION TO FASHION
To Be In Fashion, Does Not Mean Wearing Clothes Which Are In Latest
Trend And Style. It Is An Area Where We Need To Understand Any Attire
Which Enhances A Person’s Personality And People Comport, Profession,
Market. Fashion As We Know It Is A Relatively New Concept. In Ancient And
Medieval Times Clothing Style Remained Practically Unchanged For A
Century At A Time. Fashion Renaissance, As Western Civilities Discovered
Different Culture, Customs And Costumes.
Fashion Is The Accepted Day To Day Way Of Dressing At A Given Time. If
You See Everyone Wearing The Same Color Or Style When They Have
Not Been The Trend Before, Such Is In Fashion.

TYPE OF FASHION IN WOMEN’S WEAR
FASHION INDUSTRY
Pert-A-Porter
(ready to wear)
HAUTE-COUTURE Mass
Market
(ready to
wear)
Mass
Market
HAUTE-
COUTURE

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.
HAUTE-COUTURE

PRET-A-PORTER (READY TO WEAR) AND
MASS MARKET
Ready To Wear Pret –A-and Not Porter Is The Fashion Design Term For
Clothing Marketed In A Finished Condition In Standard Clothing Size.
Some Fashion Houses Or Fashion Designers Created Ready To Wear
Lines That Are Mass Produced And Industry Manufactured. Industry Made
In A Standard Size And Not Made For A Particular Person. They Dealing In
Ready Made Clothes. This Market Made Clothes For General Market
Made Clothes For General Market And Sold Through Shops Rather Than
Made To Order Fan An Individual Person.

ELSA SCHIAPARELLI
FAMOUS WASTERN FASHION DESIGNIERS
• Elsa Schiaparelli
• (Ska-pa-rell’-ee) Was The Trendsetter Of European Fashion In The
1930s. Schiaparelli Moved The Center Of Interest To The Shoulders,
Which She Began To Widen, Accentuating Them By Pleats, Padding, Or
Braid, A Silhouette That Remained Popular Through World War II.

JAMES MAINBOCHER
• James mainbocher
• (Main-bow-shay) Was The First American Designer To Be Successful In
Europe.

CHRISITAN DIOR
• Christian Dior
• (Chris-tee-ahn Dec-or) Showed His First Collection In 1947 And Was An
Instant Success. In A Reaction Against The Wartime Silhouette,
Women Adopted This New Look, With Longer, Flare Skirts;
Smooth, Rounded, Sloping Shoulders; And Tiny Fitted Waists.
Within A Few Seasons, Dior’s Name Became A Household Word, And
He Was Doing As Much Business As The Rest Of The Couture
Combined.

Growth of the Textile Industry
Early America Had Virtually No Textile Or Fashion Industry. Most Materials
Were Imported From Aborted Silk From ITALY From FRANCE,INDIA,
CHINE –WOOLENS. From Britain Cashmeres.

To Be In Fashion Dose Not Mean Wearing Clothes Which Are In Latest
Trend And Style. It Is An Area Attire Which We Need To Understand Any
Attire Which Enhance A Person Personality And Provide Comfort In Fashion.
Fashion Is Not Something That Exist, In Dress Only Fashion Has To Do With
Ideas. The Way We Live, Women’s Wear Has Always The Center Stage Of
Fashion.
Clothing In Past Were Custom Made I.E Stitched For An
Individual Using Her Body Measurements By A Dress Maker . At That Time
Period Tailors And Dressmaker Are Required At That Time Period. All
Clothes Were Not Only Handmade But Also Costume Made. Each Garment
Was For The Customer Which Was Proper Measured For The Customer.
The Owner Hide There Dressmaker Identity. No One Wanted To Share
There Talent Of Cleaver Dressmaker For Fear Of Losing Them.
The Introduction Of The Demotic Seeing Machine Revolutionized The
Home Manufacturing Of Clothes By Substantially Redacting The Long
Hours Of Hand Sewing. Paper Pattern For Fashionable Style In Graded
Size Became Available . Home Dressmaking Continued To Prevail For A
Long Time. From The Designer Of Amelia Jenks Bloomer In 1851 The
Popularity Created A Need For Functioned Sports Wear. As Early As 1852
Had Tried To Introduction Of The Bicycling Craze Of The 1890’s
At The Turn Of The 21st Century, A New Breed Of Very Active Women’s
Were No Longer Spending Their Lives At Home .They Were Now Studying
Teaching, Sports, Activities, Politics And Working In Offices. .
Women’s Wear

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.

Their Growing Interests And Working In Offices. Their Growing Interest
And Activities Took Them Out Of Their Homes And Made Ready To Wear
Clothing A Convenient Answer To Suit Their New Lifestyle. This Radical
Social Change Among Women Naturally Led To A Gradual Shift Towards
Simple Silhouettes. Away From The Elaborate Clothing That Had Prevailed
In The Past. The Famous Fashion Designer JEAN PATOU Has Created
The Famous Flapper Look In 1925. Straight Silhouette And Making Shorter
Skirt With Uneven Hemlines . He Confirmed That The Young Independent
Women Was The New Ideal This New Clothing Which Was Easier To
Produce And People Can Generally Easier To Produce And Widely
Accepted Among Various Social Classes.. This Social Change Coincided
With The Development Of Manufacturing Facilities For Large Scale
Production Of Ready To Wear Garments With Changing Time.
.

The Role Of Women Have Become Multi-dimensional From Handling
Office, Home, And There Kids. Simultaneously Balancing Their Social And
Personal Responsibilities. Working For Home Or For Office, With A
Schedule Has Led To The Requirement Of An Easy To Wear, Maintain And
Comfortable Dressing Which Has Become A Necessity For Today’s
Lifestyle. There Is A Huge Market With Various Segments Of Women’s
With Explicit Need. Many Company
Wear Their Apparel Line Based On Specific Market Requirement Of Size
Ethnicity And Occasions. Introduction Of Garment For Plus Size Women.
This Experience Of Mass Manufacturing Uniforms For Women’s During
The Two World War Facilities The Preparation Of Size Chart For The
Western Consumer.

Warm
Colors
Related
With
sun
Cool
Colors
Related
With
water
BASIC ELEMENTS OF WOMENS WEAR
Three Basic Elements OfDesign
Color
Color Is Very Important In Fashion Design, And There Are Many Different Color Scheme
That Work Well. In Fashion Neutral Color A Big Role Because They Can Be Worn With
Anything, Making Them Good Wardrobe Building Colors.
Dark Color Can Make A Women Look Thinner And Thus ,Look Taller. A Desirable Effect
For Petite Women. Every
Season The Palette, Neutral , Bright And Deep Colors. It Start With The Overall Mood
And It Is This That Determines The Colors, Tone , Texture , Accents In The Them.

Transition colors Primary
colors

Fabric
Fabric Is The Fundamental Element Of A Garment And Is Responsible For
50%-80% Of The Cost Of The Garment. Texture, Handle And Surface
Qualities Of A Fabric Play On Important Role In Achieving The Total Effect
Of The Style
SHAPE/ SILHOUTTES
A Shape Is Defined As A Rwo Or More Dimensional Area That Stands Out
From The Sapce Next To Or Around It Due To A Defined Or Because Of
Diffrencess Of Value, Color, Texture.

Fashion illustration is the communication of fashion that originates with
illustration. It is usually done by pencil color or postal color. Through
illustration we can see who the dress look. From illustration we can do
changes on dress. Before making dress first first we do illustration. In my
diploma in fashion technology I am learning about fashion sketching about
proper body proportion it is one of the important subject in design
visualization of new idea. In artistic sense hand down sketches in 12 head
theory , 10 head theory ,8 head theory and fashion technology. I am
studying about garments details through pocket, yokes collars, blazers etc.

Head Theories
Head theories helps to create a corky that is a figure
with a perfect proportion to illustrate outfits on it.
There are following different head theories with their
illustrations.
8 Head Theory:
1 head= 1”
1 head= head
½ head= neck
3 head= torso
3 head= arms
3 ½ head=
legs
½ head= feet
10 Head Theory:
1 head= 1”
1 head= head
½ head= neck
3 head= torso
3 head= arms
4 ¾ head= legs
¾ head= feet
12 Head Theory:
1 head= 1”
1 head= head
½ head= neck
4 head= torso
4head= arms
6 head= legs
1 head= feet

8 Head Theory
10 Head Theory
12 Head Theory

Fashion Design Industry Is A Very Vast Industry And It Is Gaining Popularity
Day By Day As People Are Spending More On How They Look. To Be A Part
Of Fashion Industry I Am Learning About Fashion . To Be In Fashion Does
Not Mean Wearing Clothes Which Are In Latest Trend And Style Clothes
Which Enhances A Person’s Personality And Provides Comfort In Fashion.
According To People Comfort, Profession, Market. In Dezyne E’cole Collage
I Learn About Fashion Industry. Our Mentors Trend Us Who To Work In
Industry. Our Mentors And Principal Mam Were Trying To Send Us In
Industry. How Industry Works And They Trend Us Like The Way Industry
Works. To Be Part Of Dezyne E’cole Collage I Have Learn About Draping,
Pattern Making. I Hade Experience Of Group Study Of Vertex And Origami.
I Am Part Of Industry, The Fashion Design Industry And To Work In This
Industry . Need To Present By Skills To This Industry. I Need To Present My
Skill To The Industry Experts. The Skills That I Have Learnt During My 1st
Year Diploma In Fashion Technology.
Learning experience

MONOCHROMATIC ANALOGOUS COMPLEMENTRY
DOUBLE COMPLEMENTRY SPLIT COMPLEMENTRY

When We Present A Dress First We Se The Color Of The Dress. Color
Describe A Dress Emotion. It Generally Our Mood To Wear The Dress.
Color Is The Power Of The Dress. Color Is The Power Of The Dress. Color
Is Very Important In Fashion Designing. In Color Wheel We Will See
Primary Colors. Postal Red, Chrome Yellow, Cobalt Blue. It Is Also Called
Mother Colors. There Are Many Color Scheme. That Work Well. In Fashion
Neutral Colors Play A Big Role Because They Can Be Worn With Anything
Making Them Good Wardrobe Building Colors. Dark Colors Can Make A
Women Look Thinner And Thus, Look Taller. A Desirable Effect For Petite
Women. Every Season The Palette, Neutral, Bright And Deep Color. It Start
With The Overall Mood And Its This That Determines The Color, Tone The
Texture The Accents In The Them. Whether The Look Will Be Vintage
Washed Out For One Season Or Fresh And Soft Color For Season Or
Fresh And Soft Color For The Next Is Determined By The Chosen Them .
As A Fashion Designer I Need To Learn About Everything That Would
Complete A Design. Colors Are One Of Those. There Are Several Color
Schemes Needed To Mind While Designing Any Outfit. Through These
Schemes I Can Give A Meaning To An Outfit Making It Suitable To Wear
As Well As Would Comfort The Viewer’s Eyes.

THE COLOUR SCHEMES
Color Schemes
Complementary
Color Schemes
Double
complementary
Simple
complementary
Clash Color Schemes
Related Color
Schemes
Triad
Monochromatic
Neutral Color
Schemes
Achromatic Color
Schemes
Accented
Neutral Color
Schemes
Slit ComplementaryRELATED
Adjacent
Polychromatic
Neutral Color
Schemes

THE COLOUR WHEEL
To Divide The Colors And How These Are Formed From Which One
David Brewster Devised A Color Wheel.
In The Following Color Wheel, Poster Red, Chrome Yellow, Cobalt Blue
Are Parent Colors.

A Hue Always Has Its 256 Tints, Tones And Shades Giving A Varieties Of
Colors To A Fashion Designer To Use In A Design.
Tints Are The Mixture Of A Hue And White To Make It Look Lighter.
Shades Are The Mixture Of Hue And Black To Make It Look Darker.
Following Are The Example Of Tints And Shades.
TINTS, TONES AND SHADES

ONE AND THE SAME COLOUR CAN
SEEM DIFFERENT

Optical Mixture
Optical color mixing is created through our perception of color. When one
looks at two small amounts of different colors laid down side by side the
two appear to create a different color. This color is usually something
similar to the result when the two are mixed in pigment. The only difference
is that when two colors are mixed in pigment, they lose some of their
intensity. When two colors mix optically, they retain their intensity and they
sometimes appear brighter.

ACCENTED NEUTRAL COLOUR SCHEME
In A Color Scheme When We Use Combination Of Black White Grey And
Brown Along With One Bright Color Like Red, Orange, Blue Etc, Is
Accented Neutral Color Scheme.

SINGLE COMPLEMENTARY COLOUR SCHEME
When We Select One Color From The Color Wheel With A Color
Opposite To It In Its Complement Is Single Complementary Color
Scheme.

POLYCHROMATIC COLOUR SCHEME
From Color Wheel When We Take Five Colors Then It Is A Polychromatic
Color Scheme.

NEUTRAL COLOUR SCHEME
In A Color Scheme When We Use Combination Of Black, White, Grey And
Brown, It Is Known As Neutral Color Scheme.

TRIAD COLOUR SCHEME
Three Colors In The Color Wheel Equal Distance From Each Other Forming
A Triangle Is Triad Color Scheme..

ACHROMATIC COLOUR SCHEME
From Color Wheel When We Take Five Colors Then It Is A Polychromatic
Color Scheme.

SPLIT COMPLEMENTARY COLOR SCHEME
In split complementary color scheme taken three colors from color wheel
and make a Y. with along their tint, tone, and shade.

Double Complementary Color Scheme
In double complementary color scheme four color is taken from color
wheel. Make a X With along their tint, tone, and shade.

ADJACENT COLOUR SCHEME
A Color From The Color Wheel With The Two Colors From Left
And Right To It Is Used,It Is AdjacentColor Scheme.

DRAFTING
In my diploma fashion 1st year i am learning about line, shape, form, etc.
Through connecting two points create a line. From points create a vertical line,
horizontal line, diagonal line. Through this lines create a motifs. From basic
pattern and shape made a motifs.
From repetition of motif create a pattern. Repetition of pattern create a design.
It can use on dress. It is an important part of fashion designing pattern drafting
is where pattern pieces are drawn on paper according to body which become
the foundation for designing to create garments. The systematic
representation and dimensional specification of any shape form which we
create motif them a pattern. Drafting is a basic step to create a shape with
accurate deign idea into a proposal to community idea and concepts to
convince clew of the merits of a design.

ELEMENT OF DESIGN
The elements are component or parts which can be isoted and defined in
any visual design or work of design. They are the structure of work and
can carry a wide variety of message. Through elements of design and
principal make a proper design
LINE
COLOR
SHAPE
TEXTURE
VALUE

LINE
A line is a series of connecting points. It is the simple design element. A ;line
is a mark by a moving point and having psychological impact according to its
direction, weight and the variations in its directions, weight. It is an
enormosly useful and versatile graphic device that is made to functions in
both visual and verbal ways.
Line is the very first element of design. There are so many lines in an outfit
if one could take a look, these are hemlines, seam, gores, placket, pleats,
tucks, darts, yokes, necklines, etc.
There are vertical, horizontal and diagonal line. A series of connecting
points. It is the simplest design elements. All lines have direction, length
and width. Line can be used as structural or decorative.
1. Line directs: Line creates movements by leading eye up and down,
side to side, or around the garment. Line may be straight, curved or
bent, horizontal, vertical and diagonal or maybe a combination of all
directions.
2. Line Divide: Line divide two areas and makes shapes or connect
shapes and garment parts.
1. Psychological Effect : we respond to the quality and character of line
by associating different types of lines with certain emotional and
psychological states example, repeated zig zag lines are disturbing, a
design may use soft curves to soften the impact.
A thick line may convey strength and alertness while a thin line
conveys weakness or delicacy uneven lines conveys uncertainty
whereas a straight implies irmness.

TYPES OF LINE
VERTICAL LINE
Give a felling of leadenness and tail. Vertical line create an illusion of
height, elegance slimness because they led the eye up and down.
Lines are used in different ways in any garment are
Structured Lines:
Style Lines
Hemlines
Necklines
Plackets
Collars
Cuffs
Decorative Lines:
Tucks
Darts
Prints
Embroidery
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

HORIZONTAL LINE
Horizontal line give a felling of rest object parallel to the earth, rest in
gravity. Horizontal line emphasize shortness and with because of their side
to side movement. Horizontal limes can make you look wider. The dress on
the left that doesn’t have the interruption of horizontal line. Horizontal line
can be used in favor if placed properly.
DIAGONAL LINE
Suggest a felling of movement or direction. Diagonal position is unstable in
relation to gravity and gives a felling that they are abort to fall. It a designer
wants to gives a felling of movement activity use of diagonal lines can be
alone.

VALUE
It is a lightness and darkness of a color. It a quality which make the light
blue different from dark blue value. Tint and shade of color that are created
by adding black, white, grey saturation a color bright or dullness doing this
it makes the called more vibration than before. Name of a color is called
hue.
Color White Tint
Color Black Shade
Color Grey Tone

A shape is defined as a rwo or more dimensional area that stands out from
the sapce next to or around it due to a defined or because of diffrencess of
value, color, texture.
SHAPES
Visual effectsof shape and space:
In the given figure one
needs to figure out
whether the shape or
the space around is
more noticeable.
In the given figure,
curved shapes appear
larger and emphasize
more than the straight
line.

Color is very important in fashion design, and there are many different color
scheme that work well. In fashion neutral color a big role because they can
be worn with anything, making them good wardrobe building colors.
Dark color can make a women look thinner and thus ,look taller. A desirable
effect for petite women. Every
Season the palette, neutral , bright and deep colors. It start with the overall
mood and it is this that determines the colors, tone , texture , accents in the
them.
Warm
Colors
Related
With
sun
Cool
Colors
Related
With
water
Transition colors Primary
colors
COLOR

THE COLOUR WHEEL
ACCENTED NEUTRAL
COLOUR SCHEME
SINGLE COMPLEMENTARY
COLOUR SCHEME
TRIAD COLOUR SCHEME
ACHROMATIC
COLOUR SCHEME
ADJACENT
COLOUR SCHEME
THE COLOUR SCHEMES

To fell the surface texture can be added to attract or repel interest
to an elements depending on the pleasentness of the texture
Texture is quality of a surface.It is of following three types:
1. Visual: light falling on the surface creates shadows,
highlights, on a knitted surface. Cloth appears transparent
when light passes through it and appears opaque when light
cannot pass through it. Surface treatment like printing,
embroidery, smoking applique and quilting are all visual
texture.
2. Tactile: Changes in fabric through arrangement of threads in
weaving and knitting can be felt on skin here coarseness,
softnessand crisped by feel of hand on fabric is seen.
3. Audible: Through friction when the fabrics rub over each
other, a sound can be heard. The crisp rustle of silk.
There are following visual effects of texture:
1. Coarse and bulky fabric textures have an enlarging effect.
2. Large and bold textures overpowers the small garments or
trims for which they are used.
3. .Light stiff fabrics such as taffeta, organza take on their form
because they stand away from the body and are good for
creating dramatic silhouettes.
4. Dull textures are slimming because they absorb light smooth,
shiny surface like satin seen to advance and make the body
look large.
5. Plain surface require more construction and trimming to add
interest in any design.
TEXTURE

Principal Opplied To Through Elements Of Design That Bring Them Together
Into One Design.How One Applies These Principal Determines How Succesfull
A DESIGN.
PRINCIPAL OF DESIGN
Elements Of Design Are Organized According To Principle Of Design To
Create A Good Design Or Composition.
PRINCIPAL OF
DESIGN
EMPHASIS
CONTRAST
PROPORTION
DOMINANCE
READATION
BALANCE
RHYTHM
HARMONY
REPETATION
GRADATION
UNITY

BALANCE
It is a state of equalized may not always be calm. Balance accra when the
visual wait of t he different part of a design are equally distributed as to
created equally distributes as to created equilibrium.
TYPE OF BALANCE
Formal
Balance
Informal
Balance

RADIATION
Repetition is the outward movement in all direction from a central point the
powerful movement spreading from the center focuses interest on the
center as well as the outer age. The placement of any radiation should
carefully handed on dress it can be produce negative effect. Line used at a
similar angle or direction to each other.

REGULAR
RHYTHM
RHYTHM
Regular repetition of or alternation in element to create cohesiveness and
interest rhythm is an organized motion and it’s a feature of a element
because of which the eye moves of the garment rhythm.
TYPE OF RHYTHM
RENDOM
RHYTHM

HARMONY
Harmony acers when two or more qualities of a design are similar the design
is creating a felling consistency.

PROPORATION
Proportion is the way all parts in a design relate to each other so that a
person looks tall, slim an d youthful.

DOMINANCE
Compare any two elements in a design. Either the elements will be equal in
every way or one will exert some level of dominance over the other. The
more dominant element will attract the eye and get noticed first. It might even
appear to exhibit some sort of control over the less dominant element.

EMPHASIS
Emphasis creates a focal point in a design; it is how we bring attention to what
is most important. Emphasis is what catches the eye and makes the viewer
stop and look at the image. Without emphasis, without getting the viewer to
look at the image, communication cannot occur.

UNITY
The principle of unity is perhaps the most important of the design principles, yet
it is often the most difficult to understand. Unity is the fundamental principle of
design and it is supported by all the other principles. If a design is not unified, it
cannot be considered successful. Every principal or element work together.

GRADATION
A gradual change from dark to light values or from large to small shapes
would be called gradation. Its is a visual technique of gradually transitioning
from one color hue to another, or from one shade to another, or one texture to
another. It is like repetition.

REPETITION
Repetition is the use of similar or connected pictorial elements repetition can
be regular or irregular and even or uneven. Repetition may be in the form of
gradation where the repeated elements slowly become smaller or larger.

CONTRAST
The arrangement of opposite elements light and dark, rough and smooth in a
composition so as to create visual interest, contrast can be used in small
amount on the dress instead of more.

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 and principal of design . All the design created
by me are much focuses using these principal and elements. I have never
created any dress without the use of the principal and elements. A few of my
creation based on those can be seen on the toil creates by me through
draping. this method involves crafting a muslin work up pattern by printing
fabric directly on a form pining fabric directly.

PRINCESS STYLE LINE
FRONT BACK
SIDE

MID-SHOULDERDART
FRONT BACK SIDE

DOUBLE DART SERIES
FRONT BACK SIDE

DART LESS BODICE BLOCK
FRONT BACK SIDE

Surface Design Technique Is A Way Of Designing The Surface Of A
Fabric Either Structurally Or Decorative.
Designing The Surface Of Fabric Gives Fabric A Volume And An
Attractive Look Whenever Required. It Works Like A Big Helping Agent
While Designing The Outfit For An Individual Not Having A Standard
Body..
This Technique Is Very Much Useful When Used In Garments Keeping
The Elements And Principles Of Design In Mind.
The Following Flow Chart Shows The Techniques Of Designing The
Surface Of A Fabric.

FLOW CHART OF SURFACE DESIGN
TECHNIQUES
Structural
Surface Design Techniques
Decorative
Woven
Embroidery
Printed
Dyed
Applique
Embroidery
Printed
Painted
Patch Work
Fabric
Manipulation

FABRIC MANIPULATION
Fabric Manipulation Is The Process To Manipulating The Fabric And
Reshape Through Pleats, Tucks, Gathers ,Smoking Etc. Through This
Methods We Can
Change Fabrics Surface. Fabric Manipulation Is A Way Of Designing A
Surface By Manipulating The Fabric. Through Manipulating The Fabric We
Can Decrease The Fullness Of Fabric And To Increases The Volume Of
The Surface Of The Fabric This Technique Of Surface Design Is Used. This
Is Also A Decorative Design As Many Time It Is Used To Given An Attractive
Look To The Outfit.

COLLECTION OF SAMPLES OF FABRIC
MANIPULATIONS

Embroidery is another surface design technique in
which the fabric is embroidered manually as well as
through machines also. It is also called painting
through needles, as the threads are colours ,needle
is painting brush and fabric is a paper. A needle work
in which the motifs are beautifully embroidered on the
fabric. It is both structural and decorative design also.
EMBROIDERY

The history of fabric decoration takes us the prehistoric time. Felting knotting,
bradding were the very first techniques of decoration used by man following
by appliques, embroidery, interlacing to weave and resist dyeing. As
technology expanded machines were invented for stitching and embroidery
various creative techniques of fabric artistry like applique work, metal thread
work , mirror work.
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 as
understanding of the overall historical development in embroidery
Understanding the origins perhaps makes it easier to see why there are many
and varied techniques which come under the general heading of embroidery.
Embroidery has always been as a form of self-expression for the women as it
mirrors their lives, and reflects their hidden desires and aspirations and
expresses the cultural traditional and religious beliefs of the society to which
they belongs.
Embroidery is the hand craft of decorating fabric or other materials such as
metal strips, pearls, beads, quills and sequins. Embroidery is most often used
on caps, hats, coats, blankets, dress. Embroidery is available with a wide
variety of thread or yarn color. The basic techniques or stiches on surface of
the earliest embroidery are –
Chain Stich
Open Chain Stich
Button Hole
Cross Stich
Chain Stich
Satin Stich
Running Stich
Back Stich
Haring Born
EMBROIDERY

PHULKARI OF PUNJAB
Embroidery Is The Establishment Of Fabric Enriching It With A Needle
And Thread. It Has Also Been Referred To As “Painting With The
Needle”. Phulkari Is A Rural Tradition Art Of Crafting Embroidery Used
By Women In Punjab , Meaning “Flower Work”.
Phulkari Is Very Intricate Needle Work, Along With Bright Colored
Threads Mainly Red, Orange, Blue, Green, Yellow, Etc. Phulkari Work
Was Made On A Plain Cotton Fabric(khaddar), And Embroidery Was
Done With “Pat” Untwisted Floss Silk Yarn. The Motifs In Phulkari Are
Floral And Geometrical Designs.
Stitches
Darning Stitch, Herringbone Stitch, Running Stitch, Holbein Stitch,
Buttonhole Stitch Were Used In Phulkari.
There Are Many Types Of Phulkari Like Bagh, Chope, Bawan Bagh,
Varida Bagh, Kaudi Bagh, Surajmukhi Etc.

KANTHA OF WEST BENGAL
Kantha Embroidery Involves A Simple Running Stitch. The Cloth Had
Multiple Uses. It Could Be Used To Sleep On Or As A Light Blanket.
Kantha For The Bengali Folk Means Embroidered Quilt.
Kantha Is Said To Be Dorukha Meaning Turning The Worn Out And Old
Textiles And Fabrics To Things Of Beauty.
The Motifs Are Gods And Goddesses, Flowers , Animals And Geometric
Patterns That Means It Can Be Anything The Worker Can Relate To.

Embroidery from the KUTCH regions in Gujrat is not only famous but also
versatile, there are plenty of stiches used to beautify the product AHBLA is the
embroidery where smaller round pieces of mirror are fixed on to the fabric
using buttonhole stitching the embroidery is done in a herringbone stiches
using silken thread , rust, light green , indigo, blue, deep red , pink and purple
are the colors used skirts, kurats and richly embroidered blouses are the other
famous them by the craft persons.
GUJRATI

CORAL DRAW
For designing my layout and presentation I have mastered vector graphic
software coral draw which helps me to visualize my design specification
and pages. Few of my works are complied there. For a designer coral draw
graphics suits is a trusted graphic 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 my work which I had done on coral

Introduction
: Pattern making is the process of transforming a design into its
constituent flat pattern pieces and then draping them out. The job
of a pattern maker is to interpret the designs into sample pattern
pieces and then drafting them. Arm strong pattern making covers
principles of constructions and techniques in a wider sense rather
than style details in a narrow sense. It opens scope for infinite
variety of styles both for regular designs and innovative patterns.
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
PATTERN MAKING
Flat Patten Method
DRAPINF METHOD

Flat Patten Method
Flat pattern method is a method where the body or dress form
measurements are taken for developing a pattern. Following a
logical stepwise procedure, the measurements are then
converted into a pattern. In other words this system depends on
accurate measurements to complete the paper 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 (toile) to test the
fit, on a dress form or a human figure.
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. 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
movement of various bodyparts.
2. The method is logical and easy to understand
3. It brings consistency and accuracy of both size and fit of
mass producedgarments.
4. It is also the fastest and most efficient pattern design method
even for complicated designs.

Draping Method is the oldest pattern method and generally
regarded as a creative approach. In the 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 fora specificdesign.
DRAPINF METHOD

SLOPER/BLOCK
Introduction
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. The
block normally represents the dimensions of a specific form or
figure. It has darts to fit to the contours of the body but has
neither any design features nor seam allowance. It is the
foundation used to make the pattern of a design.
Basic Sleeve Block
Basic SkirtBlock
Basic Bodice Block

PAPER PATTERN
Introduction:
Paper pattern is developed from the block that includes all
the information needed for cutting and production of the
garment including seam allowance.

Seam allowance:
• 1/4 inch: All faced areas, narrow spacing, extreme curves,
sleevelessarmholes.
• 1/2 inch: Side seams, armhole with sleeves, waistlines,
center lines, stylelines.
• Variable (1/4 to 1 ½ inches): Placket or zipper openings,
top- stitched seams, side seams.
Slits:
Slits are used for placket indications or to indicate inside
corners.
• Placket openings-i/16 inch wide
• Inside corrner
Jog Seams:
A jog seam is used to indicate a change in the seam
allowance.
Grain lines:
The direction in which the yarn is woven or knit.
Straight grain: Yarns parallel with selvage and at right
angles to the crosswise grain. It is the strongest grain and
drapes bestwhen perpendicularto the floor.
Cross grain: Yarns woven across the fabric from selvage to
selvage.Crosswise grain yields to tension.
Bias Grain: A slanting or diagonal line cut or sewn across
the weave of the cloth.

Darts:
Dart is a wedge shape 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
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.
Muslin:
Muslin is used for making test fits. This is basically an unbleached
plain woven cotton fabric available in light, medium and heavy
weight. Medium quality muslin is generally used for test fitting and
draping.
Seam Allowance:
Seam allowance is an extra fabric taken to run the seam and
convert a 2D fabric Into wearable 3D garment.
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.

FIGURE SHAPES
Most people fall into of these four basic figure shapes, pattern books and
envelopes may feature these symbols and they can be used to help you
choose suitable patterns for your figure .
THE WEDGE
Upper body is larger than lower
body.
THE TRIANGLE
Lower body is larger than upper
body .
THE RECTANGLE
Upper and lower body are of
similar proportions.
THE HOURGLASS
Upper and lower body similar in
proportion with a small, neat
waist.

Pattern Making
CUTTING LINE
MULTI-SIZE CUTTING
LINE
GRAINLINE
FACE TO FOLD LINE
ALTERATION LINES
SEAMLINE OR STICH LINE
SEAM ALLOWANCE
CENETR FRONT OR BACK


 
BUTTON HOLE
COMBINED BUTOON AND
BUTTON HOLE
BUTTON POSITION
DART
TUCK
MARKING FROM
PAPER PIECES TO
FABRIC
SINGLE
NOTCHES
ZIPER PLACEMENT

LANDMARKS
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 points-
broken line)
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

COMPLETING THE PATTERN
Following things should beincluded on a paper pattern:
1. Center front or center back
2. Grain line
3. Style number or code number
4. Pattern piece number
5. Notches
6. Cutting information
7. Size
8. Date
9. Seam Allowance
Notches:
• Seam allowances
• Center lines
• Dart legs
• Identification of front and back
• Identification if joining part
• Zipper placement
• Fold backs
• Hemlines
• Placement of trims and pockets
• Sleeve caps
Punch/Circles:
• Dart intake
• Dart curves
• Corners
• Buttonholes
• Trimmings
• Pocket placements

MEASUREMENTS
There are following different ways of taking measurements:
Circumference measurements:
• Round chest
• Round waist
• Round hip
Verticalmeasurements:
• 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

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 shoulderblades.

Basic bodice block is a great
starting point for most patterns
involving our top half. It can be
used to make tops and dresses,
and paired with a sleeve block can
be used to make shirts, blazers,
jackets and coats. Many patterns
evolve from this block.
Introduction
PAPER PATTERN OF WOMEN’S BODICE BLOCK
Scale= 1/4”
WOMEN’S BODICE BLOCK

WOMEN’S SAREE BLOUSE
Introduction
Women’s sare blouse is a tight
fitted upper body garment that is
short in length, even above the
waist. Its worn with saree and
almost covered by it. Typically it
has four darts in front part to give
a perfect fit. There are so many
different styles of constructing a
blouse from a plain saree blouse
and so has gone through so
many variations.
Scale= 1/2”

PAPER PATTERN OF WOMEN’S SAREE BLOUSE

WOMEN’S CHOLI BLOUSE
Introduction
Women’s Choli blouse is a
kind of variation in women’s
saree blouse as the cuts used
in cholis are different. The choli
in front part is always cut on
bias grain to give a perfect fit to
upper body that does not need
any dart.
Scale= 1/2”

WOMEN’S KAMEEZ/KURTA
Introduction
The kurta is traditionally worn in Pakistan, Bangladesh and
India and is also popular in Nepal and Sri Lanka. The kurta is
worn with a Dhoti, Pyjama, Salwar, Lungi or Jeans. The kurta
is similar to the perahan worn in Afghanistan, the phiran of
Kashmis and the daura in Nepal.
Scale= 1/4”
Paper Pattern Of Women’s Kameez / Kurta

WOMEN’S PRINCESS PANEL KURTA
Introduction
A princess line or princess dress describes a woman’s fitted
garment cut in long panels without a horizontal join or separation
at the waist. Instead of relying on darts to shape the garment, its
fit is achieved with long seams and shaped pattern pieces.
Scale= 1/4”
PAPER PATTERN OF WOMEN’S PRINCESS
PANEL KURTA

WOMEN’S PRINCESS PANEL KURTA

WOMEN’S CHURIDAR PYJAMA
Introduction
Churidars or more properly churidar pyjamas are tightely
fitting trousers worn by both men and women in South Asia.
Churidars narrow more quickly, so that contures of the leg are
revealed. They are usually cut on bias grain, making them
naturally stretchy. Stretch is important when pants are
closefitting. They are also longer than the leg and finished
with tightly fitting buttoned cuffs at ankle.
PAPER PATTERN OF WOMEN’S
CHURIDAR PYJAMA
Scale= 1/4”

WOMEN’S PLAIN SALWAR
Introduction
The salwar is a traditional attire of the punjabi region and is
known for its lively hues’ rich fabrics and embroidery. The
salwar trousers are tailored to be long and loose fitting with
narrow hems above the ankles that are stitched to look like
cuffs.
PAPER PATTERN OF WOMEN’S
PLAIN SALWAR
Scale= 1/4”

WOMEN’S SIX PANEL PETTICOAT
Introduction
A petticoat or underskirt is an article of clothing, specifically
an undergarment to be worn under a skirt or a dress. The
petticoat is a separate garment hanging from the waist. In
both historical and modern contexts, petticoat refers to skirt
like undergarments worn for warmth or to give the skirt or
dress the desired fashionable shape.
PAPER PATTERN OF WOMEN’S SIX PANEL
PETTICOAT
Scale= 1/4”

WOMEN’S BASIC SKIRT BLOCK
Introduction
A skirt is a tube or cone shaped garment that hangs from the
waist or hips and covers all or part of the legs. The hemline of
skirts can vary form micro to floor length and can vary
according to cultural conceptions of modesty and aesthetics
as well as the wearer’s personal taste, which can be
influenced by such factors as fashion and social context.
PAPER PATTERN OF WOMEN’S BASIC
SKIRT BLOCK
Scale= 1/4”

CASE STUDEY
Solution
Where
who
How
What
Why
When

CLIENT BOARD
NAME Neha Sharma
Age 19
Profile Student
High 5-6’
Hair Brown
Eye color Blue
Season: Spring-summer 9-11
Occasion: Multiple occasions
Place Delhi
Silhouette Rectangle
Look created: Fusion of Traditional Indian with
western look and use of traditional
Indian embroidery.

My client is a girl who lives in Delhi . Her age is 19
years. She is tall slim and a smart girl. She needs a
multipurpose top. she could wear for some get together
or meeting with friends. sort of bottom like sare, skirt,
pants, etc. looking at her as she needs a top to wear at
multiple occasions. I need to make her look attractive,
confident, energetic,. In this case I need to use colours
that would completely suit her personality at the same
time fabrics that she would be comfortable in.
OBSERVATION BOARD

MOOD BOARD
Energetic
CONFIDENT
Single COOL

C 0
M 60
Y 100
K 0
C 100
M100
Y 0
K 0
SINGL COMPLEMENTRY
COLOUR SCHEME
SELECTED COLOR BOARD

Texture Of
diamond of blue or
orange Colours
Using The
Texture In Top
With yokes
SELECTED DEISGN

LINE
ROUND
NECK
LINE
SHAPE
DIAMOND
SHAPE
COLOR
BLUE
ORANGE
ELEMENTS OF DESIGN USE IN DRESS

PRINCIPALS OF DESIGN USE IN DRESS
> SYMETRICAL
BALANCE
> REPETATION
> UNITY

Satin Stich
Chain Stich
NecklineRound
YOKE TOP Embroidery
DIAMOND SHAPE
Single complementary
Colour Scheme
Rayon
Fabric
C 100
M100
Y 0
K 0
C 0
M 60
Y 100
K 0
SPECIFICATION SHEET

Size 34” Neckline Round
Type YOKE TOP
Hemline Straight Hemline
Finished With HemingSurface
Design
Technique
Embroidery
Colour
Single
complement
ary
Colour
Scheme
Seams Plain Seam
Surface
Design
Technique
Basic stich
Satin Stich
Chain Stich
Fabric Rayon
SPECIFICATION SHEET

Nikita Sharma,One Year Fashion Design Diploma In women's Wear

Nikita Sharma,One Year Fashion Design Diploma In women's Wear

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