Student of Dezyne E’cole College ,www.dezyneecole.com Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories. Modern fashion design is divided into two basic categories: haute couture and ready-to-wear. The haute couture collection is dedicated to certain customers and is custom sized to fit these customers exactly. In order to qualify as a haute couture house, a designer has to be part of the Syndical Chamber for Haute Couture and show a new collection twice a year presenting a minimum of 35 different outfits each time. Ready-to-wear collections are standard sized, not custom made, so they are more suitable for large production runs. They are also split into two categories: designer/createur and confection collections. Designer collections have a higher quality and finish as well as an unique design. They often represent a certain philosophy and are created to make a statement rather than for sale. Both ready-to-wear and haute-couture collections are presented on international catwalks.

1. Fashion Technology
PORTFOLIO
Presented By:-
MAMTA MANWANI
B Sc Fashion Technology+ 1 year
diploma

2. GARMENT INDUSTRY

4. Hand Sewing By Dressmakers And Tailors

5. Growth Of The Couture

6. Mass Production Of Clothing

7. Retailing During The Nineteenth Century

8. Important Trendsetting Designers

9. Women’s Fashion Reflects Social Changes

10. ILLUSTRATION

11. CUFFS

12. CUFFS

13. SKIRTS

14. POCKETS

15. COLLARS & NECKLINES

16. 8 Head Theory
10 Head
Theory
12 Head
Theory

22. GRAPHIC DESIGN

28. FOUNDATION DESIGN

29. THE COLOUR SCHEMES
Colour Schemes
Complementary
Colour Schemes
Double complementary
Simple complementary
Clash Colour
Schemes
Related Colour
Schemes
Triad
Monochromatic
Warm and
cool colour
Neutral Colour
Schemes
Achromatic
Colour Schemes
Accented Neutral
Colour Schemes
Slit Complementary
Dichromatic
Adjacent
Polychromatic

30. THE COLOUR WHEEL
To divide the colours and how these are
formed from which one David Brewster
devised a colour wheel..
In the following colour wheel, Poster red,
Chrome yellow, cobalt blue are parent
colours.
GREY SCALE

31. MONOCHROMATIC COLOUR
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
person’s height is short.
POLYCHROMATIC COLOUR
SCHEME
From colour wheel when we take five
colours then it is a polychromatic colour
scheme.

32. ACCENTED NEUTRAL COLOUR
SCHEME
In a colour scheme when we use
combination of black white grey and brown
along with one bright colour like red,
orange, blue etc, is accented neutral colour
scheme.
SINGLE COMPLEMENTARY
COLOUR SCHEME
When we select one colour from the colour
wheel with a colour opposite to it in its
complement is single complementary colour
scheme.

33. DOUBLE COMPLEMENTARY
COLOUR SCHEME
When we select two colours from the
colour wheel along with their complements
is called double complementary colour
scheme
TRIAD COLOUR SCHEME
Three colours in the colour wheel equal
distance from each other forming a triangle
is triad colour scheme..

34. NEUTRAL COLOUR SCHEME
In a colour scheme when we use
combination of black, white, grey and
brown, it is known as neutral colour
scheme.
ACHROMATIC COLOUR
SCHEME
From colour wheel when we take five
colours then it is a polychromatic colour
scheme.

35. CLASH COLOUR SCHEME
In clash colour scheme we select a hue
and find complementary colour of the
same hue. Then select the colour either
from the left or right of that
complementary colour with the main
colour.
ADJACENT COLOUR SCHEME
A colour from the colour wheel with the two
colours from left and right to it is used, it is
adjacent colour scheme.

36. ONE AND THE SAME COLOUR CAN SEEM DIFFERENT

37. FABRIC TEXTURE

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

40. HOW TO CREATE FABRIC
TEXTURE

41. FABRIC MANIPULATION

42. TUCKS
One Tuck= 0.5 cm
Space Between Two Tucks= 0.3
cm

43. Box Pleat
Width of 1 box pleat= 2 cm
Length of 1 box pleat= 1cm
FABRIC MANIPULATION

44. FABRIC MANIPULATION

45. FABRIC MANIPULATION

46. FABRIC MANIPULATION

47. FABRIC MANIPULATION

48. FABRIC MANIPULATION

49. EMBROIDERY

50. PHULKARI
EMBROIDERY OF PUNJAB

51. KASHIDAKARI OF KASHMIR

52. KANTHA OF WEST BENGAL

53. GARMENT CONSTRUCTION

54. 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.
PATTERN MAKING
SLOPER/BLOCK
Basic Sleeve BlockBasic Skirt BlockBasic Bodice Block

55. 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
LAND MARKS

56. DART MANIPULATION
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 shoulder blades.

57. CHILD’S BASIC BODICE BLOCK
Scale= 1/2”

58. WOMEN’S BODICE BLOCK
Scale= 1/4”

59. WOMEN’S BASIC SKIRT BLOCK
Scale= 1/4”

60. Scale= 1/4”
WOMEN’S SAREE BLOUSE

61. Scale= 1/4”
WOMEN’S CHOLI BLOUSE

62. Scale= 1/4”
WOMEN’S KAMEEZ/KURTA

63. Scale= 1/4”
KALIDAR KURTA

64. Scale= 1/4”
WOMEN’S PRINCESS PANEL KURTA

65. Scale= 1/8”
NIGHT SUIT

66. Scale=
1/4”
WOMEN’S CHURIDAR PYJAMA

67. Scale= 1/4”
WOMEN’S PATIALA SALWAR

68. CHOLI BLOUSE ATTACHED TO A CIRCULAR SKIRT

69. PRINCESS PANEL KURTA WITH CAPE COLLAR

70. DRAPING

71. Back View Side View
MID-SHOULDER DART

72. Back View Side View
MID-ARMHOLE PRINCESS PANEL
WITH FRENCH DART

73. Back View Side View
MID-SHOULDER PRINCESS PANEL
WITH MID-ARMHOLE DART

74. Back View Side View
ORIGAMI

75. Back View Side View
FULLNESS AROUND NECK-BAND

76. Back View Side View
HALTER NECK TOP WITH SIDE DART
AND PEGGED SKIRT

77. Back View Side View
ORIGAMI

78. CASE STUDY

79. To design a upper wear garment for a housewife who lives in Noida city, India. A
multipurpose topper she could wear at any occasion. Her age group is 28-30
years and most of the time she takes part in socio-economic activities. The
topper is suppose to be as per the person’s need.

80. CLIENT BOARD

81. Client Profile
Name: Smita Rao
Age group: 28-30 years
Profession: Takes part in socio- economic
activities
Hobbies: Reading, listening music, cooking,
swimming, writing
Prominent traits: Confident, bold, fun loving, social
responsible and friendly with time
Commonly used: Allen Solly, Van for Women, Miss
Brands Players, Madame
Occasion: Multiple occasions
Season: Spring-summer 10-11
Look created: Fusion of Traditional Indian with western
look and use of traditional Indian
embroideries with bold and modern look.
Observations
My client is a housewife who lives in Noida . Her age is 28-30 years. She is tall slim and a
powerful woman who takes part in most of the socio-economic activities. She needs a
multipurpose top she could wear for some get together or meeting of the clubs. looking at her
as she needs a top to wear at multiple occasions I need to make her look attractive, confident,
energetic, elegant, and bold at the same time to make her look generous, kind and sober. 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.

82. RESEARCH BOARD

84. MOOD BOARD

85. ELEGANT
POWERFULL
FRESH
CONFIDENT
COOL

86. COLOUR BOARD

87. POLYCHROMATIC COLOUR SCHEME
C=0 Y=100
M=100 K=0
C=100 Y=0
M=100 K=0
C=100 Y=100
M=0 K=0
C=0 Y=0
M=100 K=0

88. MATERIAL BOARD

90. IDEA GENERATION

92. DESIGN SELECTED

93. Texture Of Hexagons
of Different Colours
Using The Texture In A-
Line Top With Half Band
Collar And Cap Sleeve

94. DESIGN DEVELOPMENT

95. ELEMENTS OF DESIGN USED
LINE
Neckline of V-shape
SHAPE
Hexagons of equal sides
COLOUR
Hexagons of different
colours

96. PRINCIPALS OF DESIGN USED
Use of bright colour around
neck to emphasize face
REPETITION
Repetition of hexagons
Balance, Harmony, Rhythm,
Unity, etc.

97. DRAFT OF DESIGN

98. DRAFT PAPER PATTERN
WOMEN’S A-
LINE TOP
SIZE #34”
FRONT PART
WOMEN’S A-
LINE TOP
SIZE #34”
BACK PART
BAND COLLAR
SIZE #34”
CAP SLEEVE
SIZE #34”
FRONT & BACK
WOMEN’S A-
LINE TOP
SIZE #34”
FRONT PART
WOMEN’S A-
LINE TOP
SIZE #34”
BACK PART
BAND COLLAR
SIZE #34”
CAP SLEEVE
SIZE #34”
FRONT & BACK

99. ESTIMATION

100. Front Part 1 meter of fabric
Back Part 1 meter of fabric
Sleeve 25 Centimeter of
fabric
Collar 10 centimeter of
fabric

101. SPECIFICATION

102. Size 34”
Neckline
V-Neckline, Half
Band Collar
Attached To It
Type
A-Line Top
Half Band Collar
Cap Sleeve
Hemline
Straight
Hemline
Finished With
Heming
Surface
Design
Technique
Patch Work
(Hexagons of
Different
Colours)
Colour
Polychromatic
Colour Scheme Seams
Plain Seam
Top Seam
Surface
Design
Technique
Patch Work
(Hexagons of
Different
Colours)
Fabric Cotton

103. MAKING OF DESIGN

105. FINAL DRESS

106. Back View
Side View

107. THANK YOU