Kriti Tolani ,Fashion Design ,Dezyne E'cole College

Project Report
On
Development Of Collection
Women’s Wear
At
Dezyne E’cole College
Submitted Towards
The Partial Fulfillment Of The
Two Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
By
Kriti Tolani
106/10, Civil Lines, Ajmer
Tel:0145-2624679
Www.dezyneecole.Com
2017-18

Civil Lines, Ajmer
www.dezyneecole.com
This Project Of Ms. Kriti Tolani Student Of 2nd Year Advance Diploma In Fashion Design, Confirming To
NSQF Level 6 Of NSDC Has Been Checked And Graded As __________________________________
Thanking You
Principal
[Seal & Signature]
Thanks
Principal
[Seal & Signature]

I am Kriti Tolani student of 2nd year diploma Fashion Technology of Dezyne E’cole College, would Like to
express my gratitude to each and every person who has contributed in stimulating suggestions and
encouragement which really help me to coordinate in finishing my project.
I also thank Dezyne E’cole College who provided insight and expertise that greatly assisted the project
also a special thanks to my teachers, Parents and colleagues who have supported me at every step.
Not to forget the almighty who blessed me with good health because of which I worked more efficiently
and better.
Kriti Tolani
2nd Year Diploma In Fashion Design
NSQF Level 6, NSDC
Acknowledgement

In This Portfolio, I Am Showcasing My Work Which I
Have Done In 2 Years Of Advance Diploma In Fashion
Technology.
During My Course Of Studies I Gained Knowledge Of
Various Subjects And Did Various Assignments Of
History Of Fashion, Draping, Pattern Engineering,
Cad, Marketing And Merchandising.
After Gaining Knowledge, I Did Projects And I Was
Given A Case Study For Developing My Skills And
Innovating My Ideas. Subsequent Pages Will Include A
Detailed View.

1. Foundation Design
2.Plisse Effect
3.Surface Design
4.Print Development
5.Orbito
6.How to make Collection?

Foundation
Design
Kriti Tolani
2nd Year Diploma in Fashion Design
NSQF Level 6 Of NSDC

Content 3
5
1
2
4
Elements Of Design
Moroccan Pattern
Islamic Pattern
Tracery
Principle Of Design

In this Project, I have showcased my work and my learning which I have learnt in Foundation Basics during my
2nd year in Dezyne E’cole College.
In this subject, I studied about Elements Of Design. The Elements of Design are the fundamental components
of any design composition. They are required to be arranged as components for creating design composition. I
got knowledge of Point, various types of Lines and their usage in a garment, I learnt to construct basic Shapes
and using these shapes I have created Patterns and Forms such as square is used to make cube. I have learnt
and constructed Moroccan Pattern, Islamic Pattern, Tracery and Gothic window. I also learnt about Colour,
texture and all the other elements of design.
After this I studied about Principles Of Design. The Principle of Design ascertain the manner in which the
constituents (elements of design) are organised to create a framework for Design. Principles of design are used
to arrange the elements of design within a design composition. I learnt how to use Scale factor and Proportion in
a garment, How to repeat elements in Graded manner, how to create Rhythmic effect, how to create Balance
and how to unify all the elements to show Unity in a garment.
All the above mentioned work is in my subsequent pages.
Synopsis

Introduction
Design
Design as the “purposeful arrangement of the elements in a creative work or process”. The aim of Design is to
unify functions and aesthetics in a harmonious whole. The root of the word ‘design’ is ‘disegnare’ (French)
which means ‘to create’ or ‘to make’.
Creativity and originality does matter, it is important but not at the expense of good design. Creative does not
mean different or bold.
Design is about a fresh look, a unique, and an unusual interpretation. Good Design respects our need for the
familiar while still being unique.
Good Design
Good design does not “assemble” or “decorate” arbitrarily. Design is a conscious, logical yet creative activity.
There is a method, a plan, a reason, and a process involved while creating good design.
For creating any design, a designer has to use all his practical knowledge of the basic tools of design. The
designers tools are the ELEMENTS OF DESIGN & PRINCIPLES OF DESIGN.

01
Elements Of Design
The Elements of Design are the fundamental components of any design composition.
01

Lights
Decorative
Design
MassVolume
Ornament
Pattern
Value Space
Form
Colour Texture
LinePoint Shape
Structural
Design
Time Plane Structure
Elements of Design

Point is the simplest element of design. Dot actually tells the existence of point. It is a mark on the paper which
depends up on the dimension of pencil, pen or with any thing which is used to mark it.
Characteristics
When it is put into a blank space it turns an inactive spaces into a visually active space.
Usage of Points:
• It marks the beginning and ending.
• Dot actually tells the existence of point.
• Lines is created by points.
• It draws attention.
Point

Line
Line is element of design characterized as mark with length and direction, created mark by joining points across a surface.
Line by Position:
Vertical lines Horizontal lines Diagonal lines Perpendicular lines Parallel lines Intersecting lines
Line by direction
Converging lines Diverging lines
Types of lines
• Straight lines
• Curve lines
• Composite lines

Decoration
Through buttons, fancy
laces, zips.
Usage of line
Lines can be incorporated in varieties of ways in a garment
Prints
Lines in a garment can be
used as prints.
Garment Construction
Through tucks, pleats,
panels, hem lines, yokes.
Structure
Lines in a garment can be in
the Structure such as
through ikkat, tie and dye.

Usage of line
Vertical lines in a garment can be used in the Structure or can be used as Decoration. Through tucks, panels, box pleats, knife
pleats, vertical button holes, straight shirt placket, belt loops, pocket lines, rectangular sillhoutte, straight grain.
Pleats Tucks Panels Tucks Belt Loops

Yoke Horizontal button hole Peasants Blouse Belt Cross grain
Horizontal lines in a garment can be used in the Structure or can be used as Decoration. Through shoulder midriff yokes,
horizontal button holes, peasants blouse, waist belts, cross grain, stand collar, boarders, hems, frills, midriff yokes.
Usage of line

Tucks Pleat Saree pleats Diagonal Hem line Circular Skirt
Diagonal lines in a garment can be used in the Structure or can be used as Decoration. Through kick pleat, saree pleat, bias grain,
circular skirt, pocket lines, hems can be diagonal also, godet skirt, gores skirt, flounce, A-line silhouette.
Usage of line

Shape
When a line crosses itself or intersects with other lines forming an enclosed figure, a shape is formed. Thus
shape is an element of design, which is defined by its closed contours. It is an area with definite outline and a
visible appearance and structure. Shapes are two dimensional figure.
Organic Shapes:
Free flowing, informal and
irregular shapes are termed
as organic shapes. These
shapes from natural are
extensively used in lifestyle
products.
Geometric Shapes:
Rigid, precise in nature and
regular shapes are termed
as geometric shapes.
Some examples of geometric
shapes are beehive, spider
web etc.
Abstract shapes:
Whenever an original shapes
is modified change its
character, the new changed
shape is called an
Abstract Shapes.

Shapes created using
compass and ruler.

A pattern is referred to the repetition of point, line, shape or of any motif. It can be in various forms. Such as
pattern can be formed by regular repetition, irregular repetition, alternate repetition, inverted repetition. When
we repeat any shape or motif, it develops a new shape.
Shape Pattern

Drafted on Corel Draw
Drafted by hand

Form
Form is a shape that is three-dimensional. It can be viewed from any angles. It has an definite outline with a
visible appearance and structure.
For example: when we hold a basketball, we are aware of their curves, angles, indentations, extensions, and
edges - their forms.
Shape-Square
Form-Cube
Shape-Rectangle
Form-Cuboid

Prism
Light
Red
Orange
Yellow
Green
Indigo
Violet
• Visibility of any colour is a basic property of life. When light strikes a surface certain wavelength are
absorbed and others are reflected by its pigment or colouring matter. That’s why we see colour or this could
be a reason why we see colours differently at different times.
• When light shines on an object some colors bounce off the object and others are absorbed by it. Our eyes
only see the colors that are bounced off or reflected.
• When white light is passes through prism, it breaks into seven colors- Violet, Indigo, Blue, Green, Yellow,
Orange, Red.
.
These are the colors of the spectrum

Colour
It is the most important element of design, as whatever we see will not evoke any emotion in the absence of colour.
Usage of colours:
• Enhance visual appearance
• Obstructing visual continuity
• Attracting attention
• Creating contrast or blend
• Softening or hardening of forms
• Evoking emotional spaces
Dimension of color
There are three properties of color which may be called the dim-
ension of color and which are just as distinct from one another
as the length, Breadth, and thickness of an object.
1.Their warmth or coolness- HUE
2.Their lightness or darkness- VALUE
3.Their brightness or dullness-INTENSITY
A Color wheel was invented by Sir Isaac Newton.
Primary colors : These are present in original pigments : Red,
Yellow, blue.
Secondary colors: These are formed by mixing two primary
hue:
Tertiary colors: These are formed by mixing one primary and
neighbouring secondary hue
.

Colour Schemes
A colour scheme when we use the
tints , tones and shades of any
one colour to design anything.
This colour scheme tends to make
a person appear tall if the persons
height is short.
Monochromatic color scheme
From colour wheel when we take
five colours then it is a
polychromatic colour scheme.
Polychromatic color scheme
A colour scheme when we use the
tints , tones and shades of any
one colour to design anything. This
colour scheme tends to make a
person appear tall if the persons
height is short.
Achromatic color scheme

Colour Schemes
From colour wheel when we
take five colours then it is a
polychromatic colour scheme.
Analogous color scheme
In a colour scheme when we
u}”’
se combination of black, whitw,
grey and brown, it is known as
neutral colour scheme.
Neutral color scheme
In a colour scheme when we
use combinations of black,
white, grey and brown along
with one bright colour like red,
orange, blue ets, is accented
neutral colour scheme.
Accented neutral color scheme

Colour Scheme
Single comlimentary color scheme
When we select one colour from
the colour wheel with a colour
opposite to it in its complement is
single complementary colour
scheme.
Traid complimentary color scheme
Three colours in the colour wheel
equal distance from each other
forming a triangle is called triad
colour scheme.
Split complimentary color scheme
In Split complimentary colour
scheme we select a hue and find
complementary colour of same
hue. Then select the colour either
from the left or right of that
complementary colour with the
main colour.

Value
• It is the dimension of Colour.
• It is the lightness or darkness of colour.
• It is the character which makes light grey different from dark grey.
Tint:
Tint is created by adding white to a
hue (pure colour). It is termed as light
value of a hue. For example, mauve
is a tint of violet, and pink is a tint of
red.
Shade:
Shade is created by adding black to a
hue (pure colour). It is termed as dark
value of a hue. For example, maroon
is a shade of red, and moss green is
a shade of green.

Clothing textures are the structure of interwoven fabrics or threads that make up a textile fabric. A garment's
texture relies on the Visual which refers to the perceive look, Tactile which refers to the actual feel of the
surface and Audible which refers to the friction when the fabric rubs over each other. For example: the crisp
rustle of silk. It is the surface quality of an object. It refers to the feel of the fabric.
Usage of texture:
Habberdashery : Buttons, zips, buckles, hooks, chitchat buttons, rivets, Chinese(frog) buttons, loops, elastic,
Velcro.
Texture

Time
Fashion is affected by time. There are different dresses for different time.
• There are different dresses for day party and night party.
• There are different dresses for different occasions or festivals.
• There are different dresses for different seasons.
Volume
It refers to all those things which add volume to the garment.
• For example: pocket in a garment, gathers, pleats.
Mass
It is refers to the weight of any dress.
Plane
It refers to the flat surface of any garment. The plane can be soft or rough. For
example, there is a smooth surface of silk and rough surface of jute.
Elements of Design
There are other Elements of Design which also work together with main elements of Design.

Ornaments
Embellishing the garment to make it beautiful is
ornamentation. Ornaments refers to the materials
used for ornamentation. It is not in the structure of
the garments.
For example: Swarovski buttons, beads and
sequences.
Space
It is the distance or area between shapes. Actual
space in three-dimension can be empty or filled
with objects.
Positive spaces:
In a composition the filed or solid portion is called
positive spaces.
Negative Spaces:
Spaces around the positive space.
Elements of Design

01
Islamic Pattern
A geometric design constructed with squares and circles to form intricate and complex pattern.
03

Islamic Pattern
These Islamic Patterns are made by hand.

01
Tracery (Church Window)The Tracery is the stonework elements that supports the glass in a gothic window.
04

Tracery ( Church Window )
These Tracery (Church Window) are by hand.

0105
Principle Of Design
It is used to arrange the elements of design within a design composition.

Principle of Design
GradationRhythmBalanceProportion Radiation
RepetitionContrastEmphasis Unity
Principles of Design
The Principle of Design ascertain the manner in which the constituents (elements of design) are organised to
create a framework for Design. Principles of design are used to arrange the elements of design within a design
composition. They are termed as Designer’s tool for design solutions.
Principles of Aesthetic:
The principle of aesthetic constitute an important part of the Aesthetic Values required in fashion design which
are also the determinants of the effect of any design. Aesthetic value and aesthetic judgement both play
important roles in the success of any design.
Aesthetic is mostly perceived as the study of sensory or sensori-emotional values, sometimes called
judgements of sentiment and taste.
Harmony

Proportion
Proportion is the comparative
relationships between distances,
sizes amounts, degrees and parts.
It can be applied to one
dimensional lines, two-dimensional
shapes or three- dimensional forms.
The main idea of proportion is “in
relation to”. Sometimes, a single
part of a body may seems to be
“well proportioned”, but if its size or
shape is consistent with the rest of
figure, the whole figure still seems
to be out of proportion. Basically,
the proportion in fashion design is
the size relationship of each of the
internal spaces within a garments to
one another and to the whole
design.
Sleeves are too large for the size of skirt Sleeves are Balanced by a longer skirt

Golden rectangle
It states that:
A golden rectangle is rectangle whose
length are in the golden ratio, which is
the greek letter phi approximately
1.618.
1,1,2,3,5,8,13,21,34,55,89……………...
This sequence was given by Leonardo
Fibonacci which states that each
number is the sum of previous two
numbers.

Rhythm
In fashion design, rhythm is the
flow of lines, shapes, texture and
colours of garment. The flow
should gently carry the eyes from
one area of the garment to another.
When all the lines of an outfit work
well together, a sense of rhythm is
obvious.
The use of rhythm is important in
achieving pleasing effect. Rhythm
in design results repeating lines
and masses. These repetitions can
be either of uniform size or of
decreasing size. Referring to the
sample shown below, the rhythmic
pattern can be generated by
superimposing scales. Clearing,
rhythm can create a powerful
effect, whether it is achieved by the
repetition of regular features, by
motifs on printed fabrics or by
gradual change of size of colour.
The Rhythm effect is
demonstrated in this illustration,
with this shape by repeating it
regularly.
It is taking eyes from shoulder to
hem line.

Radiation
Radiation is the use of design
lines that fan out from a pivotal
point. Based upon the sunburst
effect, the eyes move from
central point of the sunburst to
the outer area of the design. The
following blouses demonstrate
the effect.
There are various types of
Radiations:
• It could be one directional,
like saree pleats,
• It could be two directional,
like gathers,
• It could be in all direction, like
sunburst.
In this illustration, it is radiating
in one direction. Lines being
radiating from shoulder, That is,
the viewer is firstly attracted to
the shoulder, and then the
waist.

Contrast
Contrast is the use of different
colours, textures and shapes. It is
one of the most powerful design
principles, causing the eyes to re-
evaluate the importance of one
area of focus against another. For
example, a blouse is trimmed with
a contrasting colour binding. In
such case, the use of 'Contrast'
relieves the dullness of an all over
effect. Colour catch our attention
and we pay attention to the
features and details that they
frame. Placement of contrasting
features require through
consideration; these contrasting
features than become a focal point.
Contrasts in fabric texture heighten
the effect of each material. One
example is glossy PVC jacket worn
with a muted woolen skirt.
In this illustration, red and black
colours are creating contrasting
effect. These colours are
catching our attention to the
features and details that they
frame.

Emphasis
Emphasis is a centre of interest
that draws attention to the focal
point of a garment. This centre of
interest must create more visual
interest that any other design
elements and should be related to
the overall structure of the
garment while the remaining
elements must support this centre
of interest by echoing its design
impact.
A good fashion product should
highlight the importance features
of a body and draw attention away
from a figure’s fault.
Emphasis can be achieved by the
use of lines, details, color,
accents, shapes, trims or
accessories. A combination of
these elements. Gives the focal
point added strength, so does
placing the decorative emphasis
at a structural point.
In this illustration, the bow at
the neck is decorative
emphasis that draws attention
to the focal point of a
garment.

Unity
Unity
The repetition of a design element
throughout a garment creates a
sense of unity. Conversely, the
use of too many motifs in one
garment is distracting and
discordant. When a garment has
unity, separate and individual
parts work together to create a
whole. A feeling of togetherness
and oneness are achieved.
For example, the dress indicated
on the left is one that lacks unity.
The tailored seams are
incongruous with the cape on the
top.
Conversely, unity is successfully
achieved on the right side outfit
with tailored seams throughout
the garments.
No unity

Balance
Balance is how the internal
spaces of a shape work together.
The surface of a design may be
broken up by structural lines,
trims, fabric patterns, textures or
colours. Balance also refers to
‘visual weight’ in design. A
garment must be balanced to be
visually.
Symmetrical Balance Its design
details are divides equally to
create a centred balance.
Asymmetrical Balance Its
composition is different on each
side. It is often achieved with
diagonal line and off-centred
closings.
The Buttons are
Symmetrically placed.
The skirt features
asymmetrical Hems.

Gradation
In this illustration, the t-shirt is
graded from dark pink to light
pink colour thereby the whole
item is attended.
Gradation is the use of a single
colour, shape, size, design detail
and motif. These principles
featured in any gradating pattern
can be done from the darkest to
the lightest tone or from the
smallest to the biggest size,
imparting a rhythmic progression.
The eyes automatically moves
from looking at the darkest to
looking at the lightest tone, or
vice versa thereby the whole
item is attended. Sometimes, a
designer might use a specific
shape for accessories in various
sizes. The gradation of sizes and
shapes will tend to bring the eyes
from looking at one to looking at
the other eventually to looking at
the entire garment.

Kriti Tolani

Content
1.Tie and Dye
2.Stencil Printing
3.Block Printing

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
(NSQF Level-6 Of NSDC)
DESIGNED BY : Kriti Tolani
Tie and Dye
Tie and dye or tie-dyeing is a resist-dye resist-dyeing. It consists of knotting,
binding, folding or sewing certain parts of the cloth in such a way that when it is
dyed the dye cannot penetrate into these areas, which are resisted.
The earliest records, from India and Japan, date back to the sixth and seventh
centuries A.D. Chinese tie and dye silks of this period were found in the burial
grounds at Astana and at Khotan in Sinklong, east Turkestan.
In India tie and dye was known as 'bandhana' work. This has become
associated with the small resist or coloured spot, which are arranged to form
patterns on a dyed ground.
In Japan the spot technique of 'shibori' was widely used for a variety of cotton
and silk fabrics dyed with indigo. Later on folding, rope and sewing methods
were developed.
During the middle ages, China exported many tie and dye wares to. The
neighbouring countries. The spot. Folding and sewing (known as tritik) methods
were employed to decorate these clothes. The cotton were indigo dyed, but the
silks were of many colors.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Techniques used in Tie and Dye
Marbelling
Knotting
Twisting
and coiling
Sewing
technique
Folding
Ruching
Binding

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Steps
This are steps, which I follow to complete the assignment of tie and dye:
01Wash fabric
Wash the fabric in the running water or in the container.
To remove any sizing or oils on the fabric that may
interfere with the dye. Through washing starch can also
be removed which is necessary for proper dyeing
02Prepare fixer water and Soak fabric
In a plastic bucket, or other suitable container, mix ¾
cup dye fixer per gallon of warm water. Dye fixer is a
chemical called sodium carbonate or soda ash.
Soak the material to be dyed in the dye fixer
solution. Let the fabric soak in the solution for 5 to
10 minutes, or until the fabric is completely
saturated.
03Fold, twist or tie the fabric
Once the fabric is dry, place the fabric on plane
surface and fold, twist or tie it into the pattern you
want to dye.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Steps
04 Mix dye color
Boil water and a pinch of salt in it. The mix dye color. You can
control the shade of the colors you mix by using different
quantities of dye in your concentrated dye solutions. For
bright, strong colors, mix 4 to 6 teaspoons dye powder per
cup of chemical water. For medium shades, mix 2 to 4
teaspoons dye powder per cup of chemical water. For light or
pastel shades, mix ¼ to 2 teaspoons of dye powder per cup of
chemical water. Stir dye well to dissolve dye powder
completely.
05 After dye wash loose dye from fabric
Remove water. Place fabric under cold running water
and rinse until no more dye comes out of the fabric.
06
Cut all the threads , open all the knots and
folds. Now you can see your pattern obtained.
Dry these samples.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Marbelling
The fabric is bunched up into a ball and
tied with a thread or string to prevent it
from opening up.
This bunch of fabric is the dyed.
Marbelling produces variegated and
irregular cloud like pattern. It produces a
rich and unusual background printing and
embroidery
After one dyeing, the fabric
sample can be opened up amd
retied in a bunch and dyed in a
darker colour. This produces a
cloud like pattern in two
colours.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Twisting and Coiling
This design produced by twisted and
coiling shows a more definite character
than Marbelling and is more evenly
spaced over the cloth. The whole length
of the cloth must be immersed in the dye,
when making a design by the twisting and
coiling technique.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Knotting
This is one of the easiest and quickest
ways of producing a design while dyeing.
A knot can be tied in several ways,
depending upon the shape, size and the
grain of the cloth. Fine fabrics such as
muslin, lawn, cambric, voil, silk and nylon
are ideal for this technique.
A strip of fine cloth is best; the
wider and coarser it is; the
fewer the knots will be formed.
Fine patterns are produced by
smaller knots.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Binding is one of the most important processes in tie and dye, used either alone or as a
supplement with other method. Binding applied before the second dying reserves the first
colour. Binding applied before the third dying reserves the second colour.
Linen thread Nos. 18,35,45 are excellent for binding, but cotton, cord, tape, rubber rings can
also be used. It is absolutely essential that the binding should remain firm and taut, and that
not blackening off should occur during the dyeing operation. Binding is ineffective if the
fastening off is not absolutely secure.
Binding
Patterns made with binding:
i. Strips or bands
ii. Circles
iii. A-double, tripple or multi 'spot' van be
achieved by picking up the appropriate
number of centers on the needle and
binding them together as a single unit.
iv. Large spot with criss - cross making
can be done by picking up a point of
cloth on a needle and making a lattice
binding starting half and inch below
and taking up to the needle.
v. Irregular spot can ne formed by
binding a little bunch of cloth.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Folding : Simple Stripes
Many striking patterns and effects,
especially stripes are produced by the
folding technique combined with binding.
Cotton thread can be used for binding fine
fabrics but stronger threads are used for
bulky fabrics.
It is the easiest and quickest
way to get dyed stripes on a
length of fabric. It is done by
folding the fabric into accordion
pleats (fan like) and binding it.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Folding : Folded Square
Many striking patterns and effects,
especially stripes are produced by the
folding technique combined with binding.
Cotton thread can be used for binding fine
fabrics but stronger threads are used for
bulky fabrics.
It can be achieved by folding
the fabric in various ways and
binding.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Sewing technique or Tritik
In this method the material is sewn and
tightly gathered up. Any design like
leaves, animals, figures, geometrical
shapes cam be drawn on the fabric. The
outline of these designs is done in a
single or a double row of running stitch.
A large knot of the thread is
made before sewing and
another one as soon as the
needle is taken out. All the
sewing should be done before
the threads are pulled.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
As the name suggests, is a means of obtaining
patterns by gathering fabric completely around
pieces of wood or any other suitable objects.
Binding can be added to give stability to the
gathers. The cross-section of the base whether
circular, triangular or rectangular affects the
pattern.
Ruching

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Stencil Printing
The word stencil is derived from the
medieval word 'stanselon' which means to
decorate with bright colors, which in turn
come from the old French word 'estenceler'
which means to sparkle.
Stencilling has been used over the centuries
for a wide variety of functional and
decorative purposes and date back to
30,000 BC.
During the Paleolithic times prints
were made by hands. The
Chinese developed stencil prints
in about AD 1000.
Wall paper, playing cards and
other items were decorated with
stencil work were very popular in
France uptill the 19th century.
Stencil printing is the precursor of
the modern day screen printing.
Today it is considered as a
handcraft.
In stencil printing design areas
are cut from sheets of paper
coated with oil, wax or vanish or
from sheets of metal. A separate
stencil is prepared for each color.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Stencil Printing
The word stencil is derived from the
medieval word 'stanselon' which means to
decorate with bright colors, which in turn
come from the old French word 'estenceler'
which means to sparkle.
Stencilling has been used over the
centuries for a wide variety of functional and
decorative purposes and date back to
30,000 BC.
During the Paleolithic times prints
were made by hands. The
Chinese developed stencil prints
in about AD 1000. Wall paper,
playing cards and other items
were decorated with stencil work
were very popular in France uptill
the 19th century.
Stencil printing is the precursor of
the modern day screen printing.
Today it is considered as a
handcraft.
In stencil printing design areas
are cut from sheets of paper
coated with oil, wax or vanish or
from sheets of metal. A separate
stencil is prepared for each color.
The stencil must be planned so
that they fit together properly to
result in a perfect print.

SURFACE
DESIGN
TECHNIQUE
2018
FASHION DESIGN
2nd YEAR / APRIL
Block Printing
Woodblock printing on
textiles is the process of printing
patterns on textiles, usually of
linen, cotton and silk by means of
incised wooden blocks. It is the
earliest, simplest and slowest of all
methods of textile printing. Block
printing by hand is a slow process.
It is, however, capable of yielding
highly artistic results, some of
which are unobtainable by any
other method.
Woodblocks for textile printing
may be made of
box, lime, holly, sycamore, plane
or pear wood, the latter three
being most generally employed.

SURFACE
DESIGN
TECHNIQUE
2017
FASHION DESIGN
1st YEAR / APRIL
1st Year Diploma In Fashion Design
Embroidery
Embroidery is the embellishment of fabric enriching it with needle and thread . It
has also been referred to as “ Painting with the needle” The history of fabric
decoration takes us to the prehistoric times. Embroidery is most oftenused on
caps, hats, coats, blankets, dress shirts.

SURFACE
DESIGN
TECHNIQUE
2017
FASHION DESIGN
1st YEAR / APRIL
Gujrati Embroidery
Embroidery
from the
Saurashtra and
kutch regions in
Gujarat is not
only famous
but also
versatile. There
are plenty of
stitches used to
beautify the
product. Abhala
is the
embroidery
where small
round pieces of
mirrors are
fixed on to the
fabric using
buttonhole
stitch.
Geometrical
motifs are
fabricated with
multicolored
fabric fabric
pieces leading
to patch work
effect.

SURFACE
DESIGN
TECHNIQUE
2017
FASHION DESIGN
1st YEAR / APRIL
Phulkari
Phulkari is a
rural tradition
art of crafting
embroidered
odhni (head
drape or shawl)
used by
women in
Punjab, literally
means “ flower
work”.
“PHUL” Means
flower and
“KARI” means
wok. Also
known as “
Gulkari” . A
very intricate
needle work,
along with
bright colored
threads mainly
red, orange,
blue, green
etc.

SURFACE
DESIGN
TECHNIQUE
2017
FASHION DESIGN
1st YEAR / APRIL
Kantha
A Kantha is rich
multicolored
embroidery from
west Bengal. It is
done with simple
running stitch.
Rural women in
Bengal typically
use discarded
saris, dhotis, and
cloth and layer
then with stitches
to make a quilt,
light blanket
shawls. General
motifs used in
kantha
embroidery are
human figures,
animal, floral
symbols, fishes
and trees.

SURFACE
DESIGN
TECHNIQUE
2017
FASHION DESIGN
1st YEAR / APRIL
Kasuti
Kasuti is a world
famous embroidery
of Karnataka state
earlier was known
as Mysore state,
Kasuti embroidery
speaks about the
people of
Karnataka their
traditions, customs
and professions.
Stitches in kasuti
are always vertical,
horizontal and
diagonal. The main
Specialty of this
embroidery is that
never the design is
traced in the
material to be
embroidered and
the embroidery
starts without
knotting thread but
with a tiny back
stitch. Kasuti is
done always by
counting the
threads

Print
Development
Kriti Tolani
2nd Year Diploma Fashion Design

 Design Questions
 Papyrus Flower
 Simplifying Papyrus Flower
 Drafting And Construction Of Motif
 Repetitions Of Motif
 Repetition Of Motifs In Saree
Content

A study of motif and their significance in design of saree was done. We learnt how to
develop motif, place them on while designing sarees or any other fabric. This skill has been
presented by me on paper through hand drafting using proper measurement and through
Corel software too. During the learning of this subject some question were given, which we
had to solve according to the condition of the question. Following designs are made on the
basis of these questions.
Synopsis

Draw a semi circle of 24cm diameter.
Prepare a design for wall decoration using the following motifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Two triangles of different sizes. (d) Two decorative
fish forms.
Question:1

Construct a square 18cm as one of its sides and organize the following motifs.
(a) Three curved lines. (b) Three circles of different sizes (c)Three fish forms of different sizes.
Question:2

Construct a circle with radius measuring 10 cm and organize the following motifs.
(a) Three curved lines touching the circle. (b) Two circles of different sizes (c)a line dividing the circle in two
unequal parts (d) a square with one side measuring 4cm.
Question:3

Draw a circle with its radius measuring 10 cm. Draw another smaller circle of 4 cm radius in such a way that it
would touch the circumference of the larger circle and organize the following motifs.
(a) Five flower forms of different sizes (b) Two circles of different sizes (c)Three squares of different sizes.
(b) A bird form if necessary.
Question: 4

Draw a semi circle with its radius measuring 10 cm and organize the following motifs.
(a) Two triangles of different sizes (b) Two circles of different sizes (c) a square (d)Two rectangles (e) Two or
three straight lines, if necessary.
Question: 5

Draw a line of 18 cm in the middle. Using the line as diagonal, prepare a hexagon. On two parallel sides of
hexagon, construct two rectangles of 2 cm in width, from outside of the hexagon.
(a) Two straight lines joining opposite angles of hexagon (b) Three circles of different sizes with a little width to
the circumference (c) a square with some width.
Question: 6

Prepare a design for a vase with its height measuring 30 cm. Width and outer shape of the vase are left to your
choice. Use the following units
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.
Question: 7

Draw a line of 18 cm in the middle. Using the line as diagonal, prepare a hexagon. On two parallel sides of
hexagon, construct two rectangles of 2 cm in width, from outside of the hexagon. Make six triangles and in one
triangle create a design with decorative flowers, leaves and birds. Trace the design in rest of the triangles.
Question: 13

Draw an attractive hand fan. The outer shape may be of your choice but it should be not less than 20 cm. Use the
following units
(a) Decorative forms of flowers, leaves, birds. (b) Geometrical shape may be used, if necessary.
Question: 8

Draw a triangle ABC with base measuring 14 cm and its altitude 14 cm. Draw a semi circle, with centre D of the
base AB as its centre on the other side of the triangle.. Use the following units (a) use of geometrical shape, if
necessary.(b).Decorative forms of leaves, flowers, fruits and birds
Question: 9

Construct a rectangle with two of its sides measuring 24cm and 18 cm. Divide it into two unequal parts and
organize the following motifs.
(a) Any suitable shape you like (b) Three kite forms of different sizes (c)Three circles of different sizes.
Question: 10

Draw a hand bag and in one section prepare the design with the help of decorative forms of leaves, branches,
flowers, butterflies or birds. Trace the design in other section. Use complimentary colours.
Question: 10

Draw square ABCD one of its sides measuring 15 cm. Produce BC and DC to P and G respectively outside the
square. So that CP and Cg are 5 cm each in length. Use the following units
(a) A circle of any radius(b) Three decorative forms of birds, (c).Decorative forms of leaves , if necessary.
Question: 10

Architectural
Motif Of Egypt : Papyrus Flower
We learnt how to develop motif, place them on while designing sarees or
any other fabric. This skill has been presented by me on paper through
hand drafting using proper measurement and through Corel software too.

Developing The Motif In Geometric Shape :
1. Constructing Octagon

Developing The Motif In Geometric Shape :
2. Placement Of Motif In Geometric Shape

Regular Repetition :
Drafted on Corel Draw:
Drafted through hands drafting:

After developing the regular repetition pattern of the motif, I have placed it in saree’s boarder.
216.530”
43”
5”

Scattered Repeat :
Drafted on Corel Draw:Drafted through hands drafting:

Grouping :
Drafted on Corel Draw:
Drafted through hands drafting:

After developing the grouping pattern of the motif, I have placed it in saree.
216.530”
43”

Stripe Repeat :
Drafted on Corel Draw:Drafted through hands drafting:

After developing the stripe repeat pattern of the motif, I have placed it in saree’s pallu.
216.530”
43”
5”

After developing the brick repeat pattern of the motif, I have placed it in saree’s pallu..
216.530”
43”

After developing the half-drop repeat pattern of the motif, I have placed it in saree’s boarder.
216.530”
43”

After developing the overlapping pattern of the motif, I have placed it in saree’s boarder.
216.530”
43”

Pattern Engineering
Computer Aided Design
Kriti Tolani
2nd Year Diploma Fashion Design

Contents
 Introduction
 Basic Bodice Block
 Straight Skirt
 A-line Skirt
 Circular Skirt
 Gored Skirt
 Gathered Skirt
 Semi-Circular Skirt
 Handkerchief Skirt
 Pegged Skirt
 Wrap Around Skirt
 Plain Sleeve
 Puff Sleeve
 Raglan Sleeve
 Ruffle Sleeve
 Kimono Sleeve
 Shirt Collar
 Peterpan Collar
 Sailor”s Collar
 Lahenga
 Belted Patiyala
 Gent’s Kurta
 Aligadi Pajama
 Hip Tight Peticoat
 Haulter Neck
 Zouave

Introduction
CAD is the use of Computer Software used to design patterns and drafts using advance tools and
geometric procedures. It is an Automatic Cut Order Optimizations. It is also used for maker making
on the fabrics with line or stripes. It is used to increase the productivity of the designer.
Orbito is a software for apparel designing. People in design department moving more towards this
software because it is easy to operate, it is less time consuming, it is fast and accurate.
The garments learnt during my study at College was drafted using the industrial software used for
pattern making Orbito.

Basic Bodice Block
Measurements:
Size-34
Centre Front Length = 14 ½ “
Width of Back = 9 ½ “
Waistline to shoulder = 14 7/8 “
Shoulder Length = 5”
Centre Front to Princess line = 3
Width of back = 8 ½”
Centre Back Length = 16 ¾”
Shoulder Blade = 7”
Centre Back to princess line= 2.5”
Scale – 1” = 1”

Basic Skirt block
Measurements:
Size-34
½ Round hip = 18 ¾ “
Back hip = 9 3/8”
Front hip = 9 3/8”
Round Waist = 12 ¾”
Front waist = 6 ¾ “
Back waist = 6”
Centre front to princess line = 3”
Centre back to princess line = 2 5/8”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

A-line Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Gores Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Gathered Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Half-Circular Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Handkerchief Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Pegged Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Wrap Around Skirt
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1/2”

Basic Sleeve Block
Measurements:
Size-34
Biscep Circumference = 11
Elbow Circumference = 10
Cap Height = 5
Sleeve length = 21
Wrist Circumference = 7.5
Scale – 1” = 1/2”

Puff Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Scale – 1” = 1/2”

Raglan Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Wrist Circumference
Scale – 1” = 1/2”

Ruffle Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Scale – 1” = 1/2”

Kimono Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Scale – 1” = 1/2”

Bell Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Scale – 1” = 1/2”

Cap Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Scale – 1” = 1/2”

Tulip Sleeve
Measurements:
Size-34
Cap Height = 5
Sleeve length = 21
Scale – 1” = 1/2”

Shirt Collar
Measurements:
Size-34
Bodice Block Measurement
½ Back Neck line+ ½ Front neck line = 16
Scale – 1” = 1/2”

Sailor’s Collar
Measurements:
Size-34
Scale – 1/2”
Scale – 1” = 1/2”

Peterpan Collar
Measurements:
Size-34
Scale – 1/2”
Scale – 1” = 1/2”

Lahenga
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = 20
Hip level = 7”
Scale – 1” = 1”

Belted Patiyala Salwar
Measurements:
Length = 37”
Round Hip = 44”
Round Bottom = 16”
Waist = 38”
Scale – 1” = 1”

Hip Tight Peticoat
Measurements:
Size-34
Back hip = 9 3/8”
Back waist = 6”
Skirt length = Full
Hip level = 7”
Scale – 1” = 1/2”

Gent’s Kurta
Measurements:
Round chest = 42”
Across Back = 18”
Waist length = 25
Sleeve Length = 24
Full Length = 40
Scale – 1” = 1”

Aligarhi Pajama
Measurements:
Length = 40
Hip = 40
Round Bottom = 14
Scale – 1” = 1”

Zouave
Measurement:
Centre Front = 42”
Centre Back = 42”
Scale – 1” = 1”

Kriti Tolani
How to
Make a
Collection?

Reviving The Legacy
From Starting, I Was Very Attracted To Indian Culture As Well As By Indian Art And Craft And It
Has Fascinated Me And Even The People Over The World. So Taking Art And Craft Of India As
My Inspiration, I Have Designed A Collection After Studying The Subject ‘How To Make
Collection’ And Taking Knowledge About Various Designers During My Course Of Studies. This
Project Gives An Insight To All The Process And Steps Which Helped Me To Create My
Collection Into Reality.
Synopsis

Contents
1. Influences
2. Cristobal Balenciaga
3. Art and Craft Of India
4. Design Development
Brain Storming
Story Board
Mood board
Material Board
5. Motif Development
6. Final creation

Influences
It is possible to group or identify common themes in
fashion, those which influence the creative process in
developing a collection, or how we choose to wear
clothes. Recurring influence include traditional
costume, active sports, work wear, the military, politics
and Futurism.
Each new collection can explore a subtle redefinition of
these recurring influences through the use of colors,
fabrics, proportion and juxtaposition.
Archivism
Archivism refers to the way in which designers look
back to previous collections for inspiration. In particular,
the original aesthetic of a well-established label may be
revisited decades later. For example Italian nobleman
Emilio Pucci was popular throughout the 1960s for his
use of wild, colourful patterns taken from Renaissance
paintings, filigree, animals, stained glass windows and
ceramic tiles.
My collection is based on the Archivism influence. I
am inspired from Cristobal Balenciaga's ‘Fit and
Flare’ dress. I am reviving Indian art in the form of
traditional Indian embroideries by taking motifs and
embroideries of different states on that dress.
Influences
Conceptual Influence
Forms & Function
Workwear
Sportswear
Futuristic Influence
Archivism Influence
Global Influence
Political Influence

A private man, monastically dedicated to the pursuit of
perfection, Cristobal Balenciaga let his dramatic, fluid
clothes speak for him. Although lauded less than Dior,
he anticipated aspects of the New Look, headed the
most exclusive Paris maison in the immediate post –
war era through the 1950s, helped create 1960s
garment shapes, and most importantly invented a
totally new silhouette for women.
Balenciaga had a legendary talent for cut, seaming, and
finish. He understood how fabric draped and how the
stiff materials he loved dictated sculptural shapes. Born
in a fishing village in Basque Spain, the young
Balenciaga absorbed a great deal from his mother, a
dressmaker to local wealthy women. In his early teens,
a local aristocrat, who later became both patron and
client, helped him secure a superior tailoring
apprenticeship.
An Insight in the principal characteristics of
Balenciaga’s work and his crucial contribution to
the history of fashion and design is on the next
page.
Cristobal Balenciaga
1895-1972

A Couturier must
be an architect for
design, a sculptor
for a shape, a
painter for colour, a
musician for
harmony, and a
philosopher for
temperance.

Art and Craft of India
From starting, I was very attracted to Indian culture as
well as by Indian art and craft. It is the backbone of
India.
Traditional Indian arts are truly in a league of their own,
the beauty of Indian arts and crafts extends to various
levels. There is the physical beauty which is purely
aesthetic, whether you speak of the vibrant, blue hues
of Rajasthani pottery or the stark symmetric designs of
Warli art. They depict A socio-cultural narration.
Through their forms and motifs, they tell stories and
sagas. On a deeper level, the Indian traditional arts are
fascinating and that has fascinated me and even the
people over the world. But nowadays, it is losing its
identity, people want easy going work which can be
done through machines, so hard work is been lost from
India. Like the Kasuti of Karnataka which was at one
time been the livelihood for people has now being lost.
I am reviving Indian art in my collection, by the use
of Indian traditional embroideries. I am being
inspired by the Archivism influence in which we
revive the past.
I researched and made a list of art and craft of each
states and union territories of India. I also
researched about the Indian traditional clothing.

1.Andhra Pradesh
KalamKari
2. Arunachal
Pradesh Weaving
3. Assam
Muga silk
4. Bihar
Madhubani
5. Chattisgarh
Godna Print
6. Goa-Jute and
Crochet Work
7. Gujrat
Mirror Work
8. Haryana
Surahi-Pottery
9. Himachal
Pradesh Chamba
Rumal
10. Kashmir
Shawla
11. Jharkhand
Channapatna toys
12. Karnataka
Kasuti
13. Kerala
Embroidery
14. Madhya Pradesh
Carpets
15. Maharashtra
Himroo and Mashru
16. Manipur
Shamilami
17. Meghalaya
Weaving
18. Mizoram
Weaving
19. Nagaland
Jewellery
20. Odisha
Pipli Craft
21. Punjab
Phulkari
22. Rajasthan
Bhagru Prints
23. Sikkim-Woven
File fold
24. Tamil Nadu
Tanjore Painting
25. Telangana
Crochet Laces
26. Tripura-Can
and Bamboo work
27. Uttar Pradesh
Chickankari
28. Uttarakhand
Woolen weave
29. West Bengal
Kasuti
30. Delhi
Ivory Carving
31. Daman & Diu
Tortoise Shell Work
32. Lakshdweep
Wood Work

Design DevelopmentThis Stage Of Collection Involves The Process Of Designing. It Includes The Storyboard For
my Collection Which Will Then Be Projected With A Titled Concept And Colour And Textures
For Developing The Specific Mood To my Collection Which Will Be Proceeded In The Ideation
Of The Designs.

Brain Storming
After The Research Part I Found
That The Indian Traditional Art
And Craft Are Really Very
Interesting. After Taking
Knowledge About Various Arts
And Crafts I Stressed On Where
My Aesthetics And Interest Takes
Me.

I Created Story For My Collection, Which Tells That How
Indian Art And Craft Are Dying.
The Traditional Arts Have Stood The Test Of Time-until
Now. I Researched And Found That The Arts And
Crafts Have Shown A Declining Trend Over The Past Few
Decades. After Prospering For Centuries, Many Arts Are
Now Fighting For Survival.
For Example The Case Of Kasuti, A Hand Embroidery
Technique Native To North Karnataka. Despite The Fact
That It Is A 10th Century Craft, Wages Have Traditionally
Been Quite Low And With The Introduction Of Power
Looms And Sewing Machines, An Appreciation For The
Skilled Application Of Hand Embroidery Has Largely Been
Replaced By 'Efficiency' That Enables The Reproduction
Of Such Images In A Very Short Timeframe.” Another
Example Is That Of The Patan Patola, The Ancient Art Of
Double Ikat Weaving. Despite Being A 750-year-old Craft,
It's On The Verge Of Extinction Today, As It's Being
Practised By Only Four Families In Gujarat.
Despite The Flagrant Decline Of Indian Arts, There Is
Hope On The Horizon. A Dedicated Community Of
Individuals And Groups, Scattered All Across The Country,
Are Trying To Protect And Revive Indian Art And Craft.
Their Modes Of Operation Do Differ, But The Objective Is
The Same-to Preserve The Legacy Of Traditional Indian
Arts In All Its Vibrancy And Glory.
Story Board
Reviving A Legacy:
Traditional Indian Arts
With My Collection I Am
Trying To Play My Part
By Protecting Indian Art
And Craft To Protect
Our Glorious Traditions
From Fading Away Into
Oblivion.

Shophisticated
Harmonious
rejuvenating
Charm

Motif Development
The Indian Traditional Art And Craft Are Really Very Interesting. After Taking Knowledge About
Various arts and crafts of states I Stressed On Where My Aesthetics And Interest Takes Me.
And I found that Embroideries of different states attracted me very much. So I developed a
motif which has motifs of different different states. It has fishes of Kantha embroidery, Paisleys
of Kashida, Mirror work of Gujrat, Murri and fanda work of chickankari, Phulkari motif,
geometric pattern of Kasuti, Ari work, cut work, applique work.

8.66 cm
11cm
Geometric Pattern Of Kasuti
Embroidery
Jali Work With Ari Work
2 Paisley Motif With Chain
Stitch Of Kashida
Murri And Phanda Work Of
Chickankari
2 Fish Motif With Running
Stitch Of Kantha
Geometric Pattern With Satin
Stitch Of Phulkari
Mirror work of Gujrat
This piece of fabric is applied
on the skirt using running
stitch
Motif developed on Corel Draw Colour selection for the developed motif

Placement of motif on Fabric
12 cm 10 cm
13 cm 11 cm
14 cm 12 cm
15 cm 13 cm
16 cm 14 cm

Toile of the
skirt
Draping
Draping
Stitching Of Toile
Fitting and checking
of toile

Elements and
Principles Of design in
my dress
Elements:
• Point
• Line
• Shape
• Colour
Principles:
• Repetition
• Gradation
• Contrast
• Proportion
• Balance
• Harmony
• Unity
Color
PANTONE EMERALD:
Pantone No.- 17-5641
C-65
M-0
K-81
Y-23
PANTONE PEACH COBBLER:
Pantone No. – 14-1231
C-0
M-15
Y-27
K-0
Strapless
Wrapped Bodice
Ankle-length
columnar skirt
Embroidery
Flowing Sash

Kriti Tolani
Dezyne Ecole College

Kriti Tolani ,Fashion Design ,Dezyne E'cole College

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