Portfolio of Student of Dezyne E'cole College ,Mamta Manwani ,student second year diploma programme alng with her B.Sc-Fashion Design .This is her complete showcasing of her year working of second year .www.dezyneecole.com

2. 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
Mamta Manwani
Dezyne E’cole College
106/10,civil Lines ,Ajmer
Tel:0145-2624679
www.dezyneecole.Com
2016-17
Project Report

3. Dezyne E’cole College
Civil Lines, Ajmer
www.dezyneecole.com
This Project Of Ms. Mamta Manwani 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]

4. I take this opportunity to express my profound gratitude and deep regards to Dezyne E’cole College for their
exemplary guidance, monitoring and constant encouragement throughout the course of this project.
I also take this opportunity to express a deep sense of gratitude to the mentors of Dezyne E’cole College for their
cardinal support, valuable information and guidance, which helped me in completing this task through various stages.
MAMTA MANWANI
ACKNOWLEDGEMENT

5. SYNOPSIS
During my course of study I learned about fashion history and took a lot I inspirations from the history. Then I made a fashion timeline in which I
collected all the historical inventions that I liked the most. I also learned the fashion market and design basic to achieve the needs and desire of my
clients. Also garment engineering and designing the surface are important aspects to be learned to manipulate these basic in in own creation.
After learning all of these topics in the field of fashion design, I worked upon my own collection where i was given a case study to design a collection
for young working women, in which I designed 6 coats and jackets for women and constructed one out six in reality.
Not only this I worked upon one more collection in which I was inspired from the crystals and colours inside the glacial caves. I've also done some
extra works which I’ve included in this project.

6. Fashion Studies
Fashion History
Fashion Timeline
Fashion Market
Design Basics1
Garment Structure
& Surface Design
Pattern Engineering
Garment Technology
Print Development
Saree Design Project2
Collection
Making
Project 1 : I Named Her Allura
Project 2 : Frozen Blue
3
Other Skills
Doodle work
Paper Dresses
Neckties
Pockets
Waist belts4

7. Fashion Studies
Fashion History
Fashion Timeline
Fashion Market
Design Basics
1

8. The Fashion
History
To generate the look book of ideas I studied ‘The Fashion History’ during
my study program. Where I came across with the various time periods
and how fashion evolved through that time to this age of dressing. A
project on the timeline of fashion history and major inspirations of
famous designers study was done by me, which you can see in the
following slides as snapshots.

19. The Fashion
Timeline
After studying fashion history I
got to know about how
different concepts have been
chosen by the fashion
designers and how they
worked upon their collection. I
also studied the market to
understand the client as well as
to make my creations
acceptable by the people. I also
came across with award names
in the field of fashion design.
To collect all the information at
a sepal point place I decided to
write it down in a timeline
format, which includes the
changes in fashion and the
famous fashion designers with
their remarkable collections. I
also highlighted a few points
which I liked the most about
that very time period. The
main purpose behind making
this paper is to provide myself
a guideline while working upon
my own collection project.
That’s like what I’m supposed
to make ? How to make ? And
for whom to make ?

21. Fashion Market
The continual change, i.e. fashion, involves the exercise of
creative design skills which result in products that range from the
basic to the rare and elaborate. The creative design personnel
provide part of the mechanism by which the industry responds to
the need of change. At the same time the ability to identify
products that the customer needs and will buy is also essential to
the industry. Marketing can help to provide this additional and
skills needed to ensure that the creative component is used to
best advantage, allowing businesses to succeed and grow.
During my course of study I learned about different market levels,
market concept, fashion cycle, etc.

22. Fashion Markets
Fashion
Market
Haute Couture Pret-A-Porter Mass Market
Haute Couture : Haute couture houses are the major fashion
houses of the world, run by recognized, internationally famous
designers.
Pret-a-porter : Pret-a-porter is designer wear. The move into
ready to wear clothing by designers meant that they could offer
their stylish designs and high quality to a wider audience.
Mass Market : Mass market or street fashion is the market area in
which most people buy their clothes. New fashions can be in the
high street stores extremely quickly and what the customers lose
in exclusively they can make up for in value for money.

23. Fashion Market
ConceptDesign
Centered
Fashion
Marketing
Concept
Failure Marketing
Centered
ConcernFor
FashionDesign
High
Low
Low High
Concern For Customers And Profit
low concern for customers, profit and design leads to failure. This
occurs as a consequence of overestimating design ability while
disregarding custom preferences and the need for profit. The
fashion marketing concept attempts to embrace the positive
aspects of high concern for design customers and profit by
recognizing the of marketing and design. If designers under stand
how marketing can enhance the creative process and marketing
personnel appreciate that within the fashion industry design can
lead as well as respond to customer requirements, progress can
be made.

24. Fashion Cycle
Fashion cycle – a period of time or life span during which the
fashion exists, moving through the five stages from introduction
through obsolescence. When a customer purchases and wears a
certain style, that style is considered accepted. The acceptance
leads to the style becoming a fashion.

25. Levels Of
Fashion Market
Prét-A-
Porter
Mass Market
Haute
Couture
Trickle Across
Trickle up Theory:
Trickle up Theory of fashion suggests that the flow of fashion
moves upwards from the poor to the wealthy or from the lower
class to the upper class. It is opposite to the trickle-down effect.
Pertaining to the theory that change and information moves
upward in a hierarchy.
Trickle Down Theory:
Fashion begins at the top of the class structure & spreads
downward, slowly, through the class structure. The people of the
upper class display their wealth by participating in an extravagant
lifestyle, including wearing apparel made of expensive modes of
production and using costly materials. One person’s style is
towards imitation; the other’s is towards differentiation.
Trickle Across Theory:
The Trickle Across Theory is a hypothesis that states that fashion
acceptance begins among several social classes at the same time.
There are fashion leaders in all groups. Members of each social
group look at the leaders of their own group for fashion trends.

26. Design Basics

27. Principles And
Aesthetics
Beauty is a quality that gives pleasure to the sense. It creates a
positive emotional reaction in the viewer. Most psychologists
believe beauty and aesthetic are essential to human life. The
principles of aesthetic constitute an important part of the
Aesthetic Values required in fashion design, which are also the
determinants of the effect of any designs. Aesthetic value and
aesthetic judgment both play important roles in the success of
any designs. These two aspects help to judge any designs
objectively.
PRINCIPLESOFDESIGN
BALANCE
PROPORTION
EMPHASIS
RHYTHM

28. Fashion Design
Elements
Design is a matter of mixing known elements in new and exiting
ways n order to create fresh and pleasing combinations. The main
elements of fashion design are line, shape, texture, pattern and
colour. Awareness of these elements will help to evaluate
whether a design is good or not, create fashion illusions and spot
trends and changes in the fashion world. In addition,
understanding how these elements can be executed and
manipulated is essential for good designing.
ELEMENTSOFDESIGN
LINE
SHAPE
TEXTURE
PATTERN
COLOUR

29. Good Design
The formula to create good designs must incorporate a
harmonious combination of all the design elements and
principles. Design is the plan used to put an idea together, the
process of designing is the selecting and combining of the design
elements according to the principles of design in order to achieve
harmony.
THE
PRINCIPLES
OF DESIGN
THE
ELEMENTS
OF DESIGN
HARMONY
GOOD
DESIGN

30. Garment Structure
& Surface Design
Pattern Engineering
Garment Technology
Print Development
Saree Design Project2

31. Pattern
Engineering
Being a fashion designer one important consideration before I
start designing is to focus on the different kinds of silhouette
developed through the years in the fashion timeline. Along with
the silhouette we have to be followed while developing a design.
This generation of silhouette I learnt through the practical
experience during my study of draping and garment construction.
The garment construction taught me the basics of stitching and
how a fabric behaves when cut on straight grain and bias.

32. Flat Pattern
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.

33. Fashion Draping
Many a times it is not possible for a designer to directly create a
draft of a design when the designer wants to see the look of a
toile on a dummy. Then there is the need of an art of draping, in
which one can directly drape a fabric on a dress form.
It’s a technique used by designers to create garments by draping
fabric on dress from. A pattern is then cut from the designer’s
sample garment. The garment is made of unstitched cloth that is
held to the body by means of pins, fibulae, or clasps, sashes or
belts tying, or frictional gravity alone. Many draped garments are
one piece.
Even when there is a need to give some natural falls to the
garment according to the design through draping it is done.. Also
there are so many arts of draping includes, vertex and origami lets
a designer to create something that is out of reach from the mind
of common people.
Snapshots of the garments learnt under this section have been
showcased in the following slides.

42. Garment
Engineering
Under a free enterprise system
it is accepted by the business
world that money is the name
of game, and the clothing
industry is no exception. Under
this topic I learnt about pre
sales design room process,
proper utilization of materials,
garment trimmings etc. I also
learnt about the principles of
fusing technology, sewing
technology, pressing
technology and finishing and
inspection of the garment.
A great deal of responsibility is
involved when a completed
sample is handed over to the
marketing department. By this
action the designer has
confirmed that the garment
meets all the planned, relevant
commercial and technical
criteria, and above all that the
quality is precisely what is
required by the market.
Following slides will showcase
the outcome of my learning
under this topic.

49. Surface
Ornamentation
Surface ornamentation is a way of designing t he surface of the
fabric either structurally or decorative.
Designing the surface of fabric gives fabric a volume and an
attractive look whenever required. It works like a major helping
agent while designing the outfit for an individual not having a
standard body figure.
This technique is very much useful when used in garments
keeping the elements and principles of design in mind. One can
design extraordinary things if he/she has knowledge about several
surface design techniques.
These includes, fabric manipulation, traditional Indian
embroideries, traditional Indian woven textiles, dyed textiles,
printed textiles, painted textiles etc.

50. Tie & Dye
Tie and dye is a resist dyeing process. It consist 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 those
areas which are resisted. The different methods of tie & dye
are twisting and coiling, stitching, folding and binding
method.

55. Print Development
I was assigned a task to work with geometry and a square of size
3” I had to inscribe the ideas inside it. Nearly 15 such ideas using
geometry inscribed inside the square had to select any five ideas
and then repeat them through simple repetition. After this
repetition I had to check this idea with colours using achromatic,
monochromatic and simple complementary colour scheme in the
5 selected ideas followed by the use of Photoshop. We used
Photoshop for generating prints further and finally applying same
on the shift dress.

58. Traditional Indian
Sarees
The saree is a traditional garment worn by most Indian women.
The word saree described In Sanskrit ‘Sati’ which means ‘strip of
cloth’ and ‘sadi’ in Pali, and which was corrupted to saree in
modern Indian Language.
Although at present there is a lot of western influence in the way
people dress. Today, saree comprises over 30% of total textile
mills, the number of saree-manufacturing centers are in hundreds
and so there are innumerable types of fabrics, weaving
techniques, methods of dying, printing or embellishing, designing
patterns, kind of motifs, colour scheme etc. can be found.
There is something about the saree that makes a woman look
dignified, charming and every bit stylish. Over the years, the saree
has evolved into a fashion statement which most fashion
designers glorify the look and feel of this traditional garment.
A saree consist of a drape varying from five to nine yards in length
and two to four feet in breadth, that is typically wrapped around
the waist, with one end draped over the shoulder, baring the
midriff. There are various styles of saree draping, the most
common being the Navi style, which originated in Andhra
Pradesh.
The saree is usually worn over a petticoat, with a fitted upper
garment commonly called a blouse. The saree is associated with
grace and is widely regarded as a symbol of grace in cultures of
the Indian Subcontinent.
Assignments done under this topic are in the following slides.

64. Collection
Making
Project 1 : I Named Her Allura
Project 2 : Frozen Blue
3

65. I Named Her
Allura
By

66. Case Study
I Named Her
Allura
By
To design a collection of coats and jackets for young
working women of age group 26-28 years. The student
have to create a collection comprising of nearly 6-8
dresses. The student have to clearly state about their
collection the following points:
1. Story Boards
2. The Market
3. Influence
4. Illustrations
5. Garment Technology Processes
6. Final Look
7. Label

67. Design Rationale
Clientele
Market Level
Muse
I Named Her
Allura
By

68. Clientele
Age group: 26-28 years
Profession: CEO, Manager, Boss, Leader
Prominent : Confident, bold, Powerful,
traits Energetic, Leading, Moving.
Occasion: Multiple occasions
Observations
In the market there are multiple women who will look
forward to my collection. I have seen many young woman in
India who a working by their own and most of them are
business women. This new change has lead me towards this
collection and I’ve made many more observations to
consider while working upon this collection
I Named Her
Allura
By

69. Market Level
I Named Her
Allura
By
PRÉT-A-PORTER
FASHION
MARKET
HAUTE
COUTURE
PRET-A-
PORTER
MASS
MARKET

70. Muse
I Named Her
Allura
By
The muse taken for this case study is a working woman
who owns a post of CEO in a company and she is
elegant, powerful, bold and energetic.

71. Design Rationale
Inspiration
Influence
I Named Her
Allura
By

72. Inspiration
I Named Her
Allura
By
The "executive look which first found expression in the
1970s as part of the working woman's wardrobe,
matured by the mid-1980s into "power dressing".
It was only when enough women were clearly
established as authoritative in the work environment,
that it was possible to renovate the women suit: no
more feminized imitations of men’s professional
garments but suit different in fabric, cut, color and
ornament, helping women to show both their authority
and their femininity. Wearing a suit did not represent an
effort to camouflage with men but an effort to stand out
and define a clear visual presence. In fact, it was only in
the second half of the 1980s that more feminine
garments were introduced in the "power uniform". For
instance blouse, usually seen as romantic, were now
worn with intricate stock or cravat effect neck
wrappings, made up in silk or polyester satin foulard.
Jersey knit bodies, were used to have an elegant
silhouette.

73. Influence
I Named Her
Allura
By
INFLUENCES
CONCEPTUAL
FORM &
FUNCTION
WORKWEAR SPORTSWEAR FUTURISTIC POLITICAL GLOBAL ARCHIVISM
Form And Functions

74. Story Boards
Mood Board
Research
Material Board
I Named Her
Allura
By

75. Mood Board
I Named Her
Allura
By
In the mood for of this collection I’ve collected all the
key wards and tearing from the magazines. Also all the
colours that are related to the mood of my design. The
mood that I’ve selected here is energetic and powerful
mood.

77. Research
I Named Her
Allura
By
I searched various cutting lines in women's coats and
jackets to make further variations in it. Also I searched
about the details that I can use during the ideation
process.

78. Material Board
I Named Her
Allura
By
Wool 100%
Satin
Stitching Threads
Shoulder Pads Buttons

79. Ideation Process
Brainstorming
Illustrations
I Named Her
Allura
By

80. Brainstorming
I Named Her
Allura
By
This process helped me to figure out what exactly I
want to create. I collected all of the ideas that came
into my mind while studying for this collection.

81. Illustrations
I Named Her
Allura
By
After the ideation process I selected 6 ideas out of
more then 20 ideas. I illustrated those ideas and made
illustration board.

83. Pre Sales Design
Room Process
Specification
Drafts
Marker
Costing
I Named Her
Allura
By

84. Specifications
I Named Her
Allura
By
This specification sheet of selected design consist of all
the details with flat drawing.

85. Drafts Of Design
I Named Her
Allura
By

86. Marker Planning
I Named Her
Allura
By

87. I Named Her
Allura
By
Costing

88. The Final Collection
Making Of The Dress
Elements & Principles Used
Design Explanation
Final Dress
Collection Name
Designer’s Label
I Named Her
Allura
By

89. Making Of The
Outfit
I Named Her
Allura
By
Toile Making
Marking & Cutting & Sewing
Final Trial

90. Elements And
Principles Used
I Named Her
Allura
By
Repetition
Rhythm
Asymmetrical
Balance
A design is not considered as a good design without the
use of elements and principles, these are important to
be used to make it completely wearable. I’ve used
following principles in my design.

91. Design Explanation
I Named Her
Allura
By
As the influence that I’ve chosen for this collection is
‘forms and functions’, I’ve made certain variations in the
cutting lines of following coat which are explained
below.
S-shape placket line
which is ending a bit
longer then the usual one
Jacket pockets
are been used
over here
Princess Line which is not
crossing the bust line
instead it is given a bit
aside to hide the curves.

92. Final Dress
I Named Her
Allura
By

93. I Named Her
Allura
Collection Name
I’ve selected ‘I named her Allura’ title for this collection
because whenever a woman names her daughter she
use to give a name that relates to what she wants her
daughter to become. ‘Allura’ means strength, power and
an attractive woman. She expects her to become
powerful independent and attractive. So with these
expectations she names her Allura.

94. I Named Her
Allura
By
Designer’s Label
Designing a label for a collection is the most important
process. It is the identity of the collection. For this
collection I’ve chosen a finger nail shape as women use
to grow their nail and it’s a part of feminism.

95. Frozen Blue

96. Market Level
HAUTE COUTURE
FASHION
MARKET
HAUTE
COUTURE
PRET-A-
PORTER
MASS
MARKET

97. Design Rationale
Inspiration
Influence

98. Inspiration
From a very long time I was very much attracted
towards the beauty of snowfall. Although many
people relate snow with silence and death but I
believe this is like a heaven and the most beautiful
thing on earth. I always wanted to take the colours
and crystals inside the glacial caves onto the dress.

99. Influence
INFLUENCES
CONCEPTUAL
FORM &
FUNCTION
WORKWEAR SPORTSWEAR FUTURISTIC POLITICAL GLOBAL ARCHIVISM
CONCEPTUAL INFLUENCE

100. Story Boards
Mood Board
Research

101. Mood Board
For the mood board of this collection I’ve collected
all the key wards and tearing from the magazines.
Also all the colours that are related to the mood of
my design. The mood that I’ve selected here is
cold and icy. I’ve taken all the colours that appear
while the lights scatter through the crystals inside
the glacial caves.

103. Research
During my research for making of this collection I
came across with a very few designers who have
taken snow as their inspiration. So I collected a few
ideas to try to come up with new ones.

104. Ideation Process
Illustrations

105. Illustrations
For this collection I made 4 illustrations and tried
to take up the concept of glacial caves onto my
dress designs.

106. The Outfit
Making Of The Dress
Design Explanation
Final Dress
Designer’s Label

107. Making Of Dress

108. Design Explanation
The dress below is made just to see the look of the dress
when made into reality. The trash DVDs are used on low
cost fabric to create the look and the fabric is hand
painted. Expensive embellishments can be used while
making it for haute couture market. The design is
explained below.
Gradation is used for
the eye movement
from down to upward
Stiff collar is used with
reflecting crystals With the acrylic colours
the effect of lines that can
be seen on the layers of
glacial is created here.

109. Final Dress

110. Designer’s Label
Frozen Blue
As this collection is inspired from crystals inside the
caves I’ve taken the shape of snow flake for the
label.

111. Other Skills
Doodle work
Paper Dresses
Neckties
Pockets
Waist belts4

112. Doodle Dress
I participated in Kaliedoscope annual event fashion
show in which printed the fabric using doodling
method and coloured the fabric using gradation.
Here I selected fish motif and repeated it on a gored
skirt.

113. Paper Dresses
I also participated in annual identity exhibition where
we were assigned a task to create dresses using
papers. Under this project our team made two
dresses one of which was inspired from nature and
we used origami to construct that. Another one was
inspired from Islamic cut work in which we took snow
flakes as motif.

114. Neckties
Other than my course I also studied about neckties
and made a few creations and also practiced
different types of knots.

116. Pockets
I also studied about various types of pockets and as I
was inspired with English alphabets and shapes I
designed a few pockets.

118. Waist belts After studying history of fashion there were many
different things that were inspiring. Taking peplums
from Christian Dior's ‘New Look’ as inspiration I
designed a few waist belts and made them stiff to
change the silhouette.

119. Industrial
Visits
Bagru Hand Block Printing
Brocade of Banaras
5

120. Bagru
We traveled to Bagru, 30 km from Jaipur for block
printing workshop. Bagru is a town that is famous for
their expertise in block printing and more specifically,
their printing with vegetable and natural dyes.
Bagru printing is one of the traditional techniques of
printing with natural colour followed by the chippas
of a remote place of Rajasthan. The process starts
from preparing the cloth to finished printed fabrics
through their indigenous methods. Motifs having
some specialty are transferred onto light coloured
background with wooden blocks following two styles
direct and resist style.

121. Brocade
Brocade is a class of richly decorative shuttle-
woven fabrics, often made in colored silks and with
or without gold and silver threads.
I visited to some Silk Houses in Banaras where I saw
how actually this beautiful textiles are made.

122. THANK YOU FOR WATCHING
By Mamta Manwani
2nd Year Diploma In Fashion Design
Confirming To NSQF Level 6 Of NSDC
Dezyne E’cole College