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APPAREL DESIGNING AND DECORATION

(THEORY)
50 marks
Unit Topic Sub-topic Thrust area
1. SKETCHING AND Tools for Drawing and
DESIGNING Sketching
Human Figure
Child 0 year to 4 years
6 years to 10 years
Teen years
Adult 8-head theory
Fashion Figures
Block figure Front view
Fleshing figure/croquis Front pose
Poses or Figure
movement
Skin tones
2. STRUCTURAL Bodice
PARTS OF Skirt
APPAREL Necklines
Collars Standing or stand-up
collars
Turnover or roll collars
Flat or falling collars
Shawl collar
Sleeves and sleeve Sleeve length
finishes Variations: set-in,
kimono & raglan.
Sleeve Finishes
Sleeveless/armhole
shape
Hemlines
Waistlines
Yokes
Plackets & Openings centralised, asymmetric
& double breasted
Belts
Pockets applied, in-seam &
slashed
Train styles

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Apparel enrichment/ Decoration:

Decorative details Structural decoration
Applied decorations
Trimmings:
decorative trimmings
functional trimmings
3. APPAREL WOMEN’S WEAR
CLASSIFICATION Western wear Blouses
AND T-shirts
CATEGORIES Skirts
Trousers/pants
dresses
Suits
Jackets
Indian wear kurtis/kurta
salwar kameez
sari/sari blouse
ghaghra choli/lehnga
choli
swimwear
nightwear
MEN’S WEAR
Western wear Shirt
t-shirts
waistcoat
trousers/pants
suits
Indian wear kurta pyjama
Sherwani
Jodhpuri jacket
Indo western
CHILDREN’S WEAR
Infant Shirts
Baby suits
Romper
Bibs
Napkins
Diaper cover
Toddler t-shirts
romper/baby suits
pre-school
school children
teens

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4. DESIGN Design, Designer, What is Design?

CONCEPTS Designing
Types of designs Structural design,
decorative design
Elements of design Shape & Silhouette
Line
Colour
Texture
Principles of design Proportion
Balance
Rhythm
Emphasis
Harmony
5. DESIGNING & Social aspects of Class of clothing
PRESENTATION clothing Clothing functions
OF APPAREL Theories of clothing
origin
Selection of clothing:
Values & attitudes
Individuality and
conformity,
personality
Sources of Inspiration printed sources, historic
costumes
national costume
crafts
food
media
nature
internet
architecture
photography
galleries & museums
draping
Types of Fashion Fashion illustration,
Drawings Working Drawing,
Floats
Fashion illustration Illustration techniques
for the fashion figure and
rendering of garment
(nude figure & draped
figure)

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Working Drawing Purpose of working

drawings
Fundamental principles
of working drawing
Designing an apparel
line and presentation Design boards
Presentation boards

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APPAREL DESIGNING & DECORATION

(PRACTICALS)
100 marks

UNIT 1
Designing----10mks
 Strokes with different pencils. B & H range
 Different mediums of colour for illustration.
 Tracing the child’s croquis – 1- 4 years
 Tracing the child’s croquis 6 – 10 years
 Tracing the Teen years croquis
 Tracing the eight-head theory—front, side, back.
 Drawing a fashion figure – block figure – front view
 Drawing a fashion figure – fleshing figure – front view
 Drawing different poses of the fashion figure.
 Prepare different skin tones.

Decoration----10mks (Fabric sample size 6” X 6”)

 Embroidery (running stitch, interlaced running stitch, back stitch, stem
stitch, split stitch, chain stitch, lazy daisy stitch -- 07 stitches).

Project----5mks

UNIT 2
Designing----10mks
 Structural parts of apparel
a) Bodice & Skirt (1)
b) Necklines (6)
c) Collars (6)
d) Sleeves according to length (5)
e) Sleeves according to style (6)
f) Sleeve finishes (2)
g) Armhole shape (2)
h) Hemlines (7)
i) Waistlines (6)
j) Yokes (3)
k) Plackets (3)
l) Belts (2)
m) Pockets (4)
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n) Train styles (2)

o) Decorative details (4)
 Apparel classification and categories
a) Dresses (2)
b) Skirts according to style (4)
c) Trousers (4)
d) Collect pictures of children’s wear (4 pics)
e) Collect pictures of men’s wear (4 pics)

Decoration----10mks
 Embroidery (blanket stitch, buttonhole stitch, closed herringbone stitch,
flat stitch, cross stitch, couching, feather stitch, --- 07 stitches)

Project----5mks

UNIT 3
Designing----10mks
 Line – Drawing a nude figure & Design a garment with interior lines of
fabric patterns.
 Drawing a nude figure & Design a garment with decorative lines.
 Silhouettes (any 4)
 Colour impression.
 Collecting different types of fabric textures. (any 9)
 Illustrations of (any 6) different types of textures
 Collect 2 pictures of garments for each principle of design. (10 pictures)

Decoration----10mks
 Embroidery (French knots, bullion knots, double knot stitch, seed stitch,
satin stitch, long & short stitch -- 06 stitches)

Project----5mks

UNIT 4
Designing----10mks
 Using the sources of inspiration fashion illustrate and working drawing of
formal western, casual western & ethnic wear. Write the fashion features
(10 garments)
 Prepare the various design boards, Design an apparel line for women and
present them using the presentation boards (optional)

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Decoration----10mks
 English Smocking (cable stitch, outline stitch, chevron stitch, Vandyke
stitch, honeycomb stitch, surface honeycomb stitch, trellis stitch)
(Fabric sample size 10” X 18” finished sample size 10” X 6”, all the
above stitches can be done on one fabric sample, approx. 3 – 4 rows
of each stitch)
 Canadian Smocking ( pineapple, wave, shells, leaves, mat, flowers,
hearts)
(Fabric sample size 9” X 9” finished sample size depends on the
effect)
 Faggoting (optional)
 Drawn thread work (optional)
 Tatting (optional)

Project----5mks
Smocking project (1 item)

Units 1 & 2 have to be completed in the 1st term.

Units 3 & 4 have to be completed in the 2nd term.

Marks to be given as per the Checklist & Performa (continuous evaluation)

All the projects/assignments have to be done individually by each student

during school hours.

A record of the practical marks obtained by each student should be

maintained. This record should be presented to the auditor/examiner at the
time of the audit/inspection.

Maintain separate journals for Designing practical’s & Decoration practical’s

which should be used in the STD XI & XII

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1. SKETCHING AND DESIGNING

Everything we see, touch and use is either man made or natural. The shape of
the sun, the clouds, the hills, the trees, and flowers, everything living is natural.
Most of the non-living things are man-made like the clock, mobile phones, the
bed we use for sleeping comfortably, the chair and table, the quilt we use to
keep warm in winter, the clothes we wear, the robot, the computer, a simple
thing like a safety pin, a tooth brush, a spoon. They have all been designed and
created by human beings, specially trained and educated in the field of design
just like doctors and engineers. There are many kinds of designers and each is
trained in their special area. These specialized design professionals include
Fashion designers, Product designers, Textile designers, Graphic and
communication designers, Landscape designers Interior designers and many
more.
A designer not only improves the outside beauty and aesthetics of the object but
most importantly improves the use and functioning of the object. This brings
out a clear difference between two very close but different professionals, a
designer and an artist. An artist's work has aesthetic appeal, has beauty,
interpreted and expressed in his own way through colours and shapes in the
form of paintings. A designer's work too has aesthetic appeal but is in response
to a market need, a client need. A designer fulfils a need, a purpose. They create
for others, a client, a market, a country. Tom Ford, a fashion designer has aptly
said, "As a fashion designer, I was sure that I was not an artist because I was
creating something that was made to be sold, marketed, used and ultimately
discarded". A product is well designed when aesthetics, beauty and functionality
along with saleability are all in a perfect balance.

TOOLS FOR DRAWING AND SKETCHING

Every skill and form of art requires a range of tools in order to simplify the
work and save time and energy. The same goes for designing and sketching.
It is not necessary to be an artist to obtain successful results in fashion
sketching, but it is important to give each line you draw painstaking attention
even in practice so that, as you get accustomed to your work, you will find
yourself increasing in skill. Slip-shod methods never lead to improvement. So
work carefully with consideration to each detail as it will reflect upon the
finished design.
To do the best work, certain tools and materials are required:

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 Work surface: A smooth surface table of comfortable height, on which

to sketch, is necessary.
 Paper: Paper of medium weight and dull finish, thin enough for tracing
and sufficiently strong to withstand erasures without tearing.
 Tracing paper: depends on the transparency and also vary in thickness.
Most tracing papers are used for corrections or as overlays on a sketch.
 Pencils: lead should be of medium hardness. The pencils designated with
‘B’ have soft leads, a soft one blurs the lines and the pencils designated
with ‘H’ have hard leads, a very hard one would be difficult to erase.
The quality designated by ‘HB’ is the correct choice.
 Coloured pencils: Coloured pencils are best for showing the texture of
the fabric and contrast of trimming features, in order to show the
approximate effect on the finished sketch. There are three types of
coloured pencils available: hard leads, soft leads and the water-colour
based. As a rule, the thicker the lead in the pencil, the softer and darker
the pencil will be. Harder leads in pencils give a crisper line quality.
Watercolour pencils fall in between hard and soft leads.
 Pens: pens come in as many types of points or nibs as markers do, they
are fine, chiselled, broad and medium. Some have felt tips while others
have a metal or plastic tip. Some are waterproof or permanent, which
means that they will not run or bleed when you use them with other
media.
 Markers: there are many different types of markers. Each manufacturer
uses different chemicals that act as the colouring agent. There are many
types of points and a vast array of colours available.
 Water based paints: Both gouache and watercolours mix with water;
gouache is opaque, while watercolour is transparent. These paints are
used to create washes. Experiment with both. An incredible range of
possibilities can be obtained varying from intense to delicate with any
single colour.
 Inks: Inks are much brighter colours and work well with water colours.
 Brushes: Brushes come in varying sizes from size 000 to size 12.
Besides the size of their tips which can be round or flat, they are
available in different hairs or fibres. Some brushes are made with natural
animal hair and are usually the best, last longer without becoming
permanently stained or losing their shape. Remember to always treat the
brush well, clean it after each use and stand it upright on its wooden base
or lay it down on its side so that the tip does not become bent.
 Eraser: A soft eraser of the sort known as’ art gum’, is found to be the
best.
 Pencil sharpener\ sharp knife: is useful to maintain a sharp point of the
pencil.

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 Rough surfaced wood block: a wood block [about 1x2 inch size] with
sand paper attached on one side is convenient to rub the point of the
pencil lead to produce a long and fine tip.
 Thumb tacks, pins or clips: are all useful to pin the paper on which you
sketch to hold it securely in place.

HUMAN FIGURE
Every human being has a unique body shape hardly similar to another. One will
do well to understand this and design garments to fit each unique figure to
perfection. A human figure also undergoes changes depending on age, gender,
lifestyle etc. A baby has a rectangular body structure that shapes out during the
teen years. A boy’s figure will square out with broader shoulders where as a girl
will develop curves. An elderly person will ‘’shrink’’ where as a middle aged
person’s figure tends to get rounded out.
CHILD
A child of 0 – 9mths of age is known as an infant and a child of 1- 2 years of
age is known as a toddler. A one year old child has a 4 heads figure where as a

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two year old has a 4 ½ heads figure. The figure of a four year old child is 5 ¼
heads tall.
At the age group of 6 to 10 years the child’s bust and waist measurements are
almost the same as a toddler, only now, the shoulder, arm and dress lengths are
longer.
A six year old child’s figure is 5 ½ heads tall and an 8 year old has a figure that
is 6 1/3 heads tall. The same child has a 6 ¾ heads tall figure at the age of ten.

TEEN YEARS
At this stage the child is emerging into a miniature adult with girls getting
curvaceous figure and a boy squaring out. A teenage girl matures faster than a
teenage boy hence a girls figure is taller than a boy of the same age.

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A teenage girl has a figure of 7 ½ heads where as a boy of the same age has a 7
1
/3 heads length figure. The same boy shoots up in his later teens faster than the
girl and has a figure that is 8 heads tall whereas the girls figure during later
teens will be 7 ½ heads tall, but her waist will get slimmer and chest and hips
will be wider just as the boys shoulders will grow wider and angular.

ADULT FIGURE
There are many types of human figures. Some are tall, some are short, some fat
and some others thin. Just as a doctor knows the inside of a human body, a
designer must know various silhouettes of the human figure to prepare different
garments of different shapes. No two persons have the same figure. The height
and figure also depend upon the surrounding locations and area. A grown
up/adult human body is divided into eight equal parts, which are equal in height

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to that of the head. So each part is known as the “head”. The ideal figure is eight
heads tall i.e. EIGHT HEAD THEORY.
EIGHT HEAD THEORY
FIRST HEAD: From the top of the head to the nape of neck or to the chin.
SECOND HEAD: From the nape of the neck to the armscye (armpit).
THIRD HEAD: From the armscye to the hollow of the waist.
FOURTH HEAD: From the hollow of the waist to the hip (crotch).
FIFTH HEAD: From the hip to the mid- thigh.
SIXTH HEAD: From the mid -thigh to the small [below the knee].
SEVENTH HEAD: From below the knees to the calf.
EIGHT HEAD: From the calf to the heels (flatness of the feet).

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FASHION FIGURE
To be a fashion artist, one must first and
foremost understand the shape and
contours of the human figure. The
perfection you will achieve will depend
upon how well you have understood the
human figure. Simply by styling the
human figure you will get a fashion figure.
A fashion figure will have the structure
and action of normal female figure but the
proportion will change and the movement
will become more pronounced. The
normal figure that was eight heads tall has
now lost some weight and is ten heads
high. The fashion head is sleek and long,
the shoulders are wider and raised to add
grace and style, the arms and legs are
longer, the waistline is longer, the ribcage
is long and narrow, the hip is more
obvious. The arms and legs are slender and slim. The body and hand is
simplified. The ankles are narrow from the front than from the sides. The feet
are bony and slim.
Where the normal figure is graceful and looks good, the fashion figure is more
active and alive and sophisticated and has lots of style which is achieved by the
posture and rendering of the garment.
The model for the designs are called croquis and should be drawn in a pose that
will show off the apparel at its best. The model can be shown standing or
striding on a runaway. This is easiest to draw and it allows the illustration of the
design to be done in full view. It is important to model the garments on croquis
that are well-proportioned and well-drawn. Most fashion illustrators practice
drawing hundreds of croquis to perfect their ability to create a variety of poses.
Learning to draw the croquis (stylised figure) is very important for a fashion
designer or aspiring designer because it is the first and most crucial step when
communicating a design idea before bringing it to life on the dress form.
In fashion illustrations the basic body proportions are very different from the
real human body proportions. This is why it is called a stylised figure. It is an
elongated figure that presents fictitious proportions. There are two different
head proportion systems used in art and in fashion. In art the 7 ½ - 8 head
theory is used, while in fashion the 9 – 10 head theory is used. This 9 – 10 head
is the one most responsible for the elegant look of fashion illustration. The head

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count keeps the figures head small in relation to the body and helps lengthen the
arms and legs in a graceful way.
BLOCK FIGURE
Drawing a block croquis
1. Draw the balance line:
this is the first line in
the sketch and
represents the models
centre of gravity.
Draw it from the top
of the head to the tip
of the toes, along the
backbone of the
croquis. The balance
line should be a
straight vertical line,
even if the model
required is in a leaning
pose. For example if
the model required is
to be posed with her
hips titled slightly to
her left, draw a
straight balance line in
the middle of the page.
The line should extend
from the top of the
models head to the
ground that she is
standing on.
2. Divide the space: if a
9 head croquis is
being drawn divide it
into 9 sections of 1ʺ
each, if a 10 head
croquis is being drawn
divide it into 10
sections of 1ʺ each
3. Draw an oval to
represent the head in
the first space with the middle of it on the line, this is the base of the croquis

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and a proportional drawing can be made. Think of the croquis as the skeleton
of the model.
4. Draw lines extending from 1 ½ heads which is the shoulder line,
2 ¼ head, the bust line
3 head is the waist line and also the elbows are located at this mark
3 ½ heads is the high hip line (belly button)
4 ¼ heads is the crotch line and the wrist line
5. Draw the features in, using straight lines: shoulders are 1 ½ head wide,
Waist is 1 head wide,
Hips are 1 ½ head wide. This gives the croquis an hourglass silhouette
6. For the lower half of the body of a 9 head croquis, mark 6 heads as knees
and 8 for ankles.
For the lower half of the body of a 10 head croquis, mark 6 ½ heads
as knees and 9 for ankles.
7. Draw the legs by making straight lines from hip to the knee.
From the knee to the ankles, which jut out slightly on the inner half of
each leg. [The thighs (from high hip to knee) and the calves (from
knee to ankle) should be the same length.]
8. The last head is for the feet, which begin at the ankle to flare out in diagonal
lines for ¾ of the length of the head before they meet at a point.
9. Draw the hands similarly. These begin with the shoulder and under armscye
and end at the wrist which is at the crotch line. The fingers should end a little
above the 5 heads mark. [The length of the arm from shoulder to elbow and
from elbow to wrist should be the same length.]

FLESHING FIGURE
Drawing a flesh croquis
1. Draw the balance line: this is the first line in the sketch and represents the
models centre of gravity.
2. Divide the space: if a 9 head croquis is being drawn divide it into 9 sections
of 1ʺ each, if a 10 head croquis is being drawn divide it into 10 sections of 1ʺ
each
3. Draw an oval to represent the head in the first space with the middle of it on
the line, this is the base of the croquis and a proportional drawing can be
made. Think of the croquis as the skeleton of the model.
4. Draw lines extending from:
1 ½ heads which is the shoulder line,
2 ¼ head, the bust line
3 head is the waist line and also the elbows are located at this mark
3 ½ heads is the high hip line (belly button)
4 ¼ heads is the crotch line and the wrist line
5. Draw the features in, using curved lines: shoulders are 1 ½ head wide,
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Waist is 1 head wide,

Hips are 1 ½ head wide.
This gives the croquis an
hourglass silhouette
6. For the lower half of
the body of a 9 head
croquis, mark 6 heads
as knees and 8 for
ankles.
For the lower half of the
body of a 10 head
croquis, mark 6 ½ heads
as knees and 9 for ankles.
7. Draw the legs by
making curved lines
from hip to the knee.
From the knee to the
ankles, which jut out
slightly on the inner half
of each leg. [The thighs
(from high hip to knee)
and the calves (from
knee to ankle) should be
the same length.
8. The last head is for
the feet, which begin
at the ankle to flare
out in diagonal lines
for ¾ of the length of
the head before they
meet at a point.
9. Draw the hands
similarly. These begin
with the shoulder and
under armscye and
end at the wrist which
is at the crotch line.
The fingers should end a little above the 5 heads mark. [The length of the
arm from shoulder to elbow and from elbow to wrist should be the same
length.]

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POSES OR FIGURE MOVEMENT

A body is never held rigid. It is always held in a pose or implies movement. The
designer has to be aware of how the body moves in order to produce a
convincing illustration. Croquis should be drawn in a pose that will show off the
apparel at its best. Observing the body and keeping the following tips in mind
will help.

 OBSERVE POSES
When drawing fashion figures, it is very helpful to look for different poses in
magazines, and make a folder or sketchbook with them as reference. Look at the
poses to analyse things like how the shoulders dip to one side when the hips
sway towards the opposite side. Observe the angle that is created by the arm
when the model places her hand on her waist. Use them as reference when
drawing. Also when drawing the pose, think about the angles and proportions of
the body in each pose and identify the balance line, the shoulder, the high hip
and the supporting leg (the one which touches the balance line).

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 LOCATE MOVEMENT
To add some movement into the static pose that is drawn, locate the three
important components of the figure. The vertical balance line, the shoulder line
and the hip line. Tilting the shoulder and hip line is the first and most important
way to add movement. The secret here it to always tilt these line in opposite
ways to maintain realism in the pose and have it look natural. The movement of
the arms is defined by the shoulder line and the movement of the legs by the hip
line. The way in which these two lines tilt determines how the rest of the body
needs to be drawn. Anything above the high hip line will follow the tilt of the
shoulders, while everything below will follow the tilt of the hips. But remember
that all these tilts are not as severe as the shoulders and hips. Another important
thing to remember when drawing poses is that the leg that is supporting the
weight of the body needs to remain straight. This leg cannot be bent, otherwise
the pose will look unnatural.

 USE MOVEMENT LINES

Start by sketching a new figure, Draw the vertical balance line and draw the
markings of the heads. Then place the shoulder and hip axis to define the pose
and the movement within it. These lines will then guide how to draw the figure.
Use circles to indicate the location of things like the shoulders, elbows hips
knees and ankles, as you can see in the first image above. Connect this points
through lines to complete the basic structure.

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DRESSING THE FASHION FIGURE

Start with the undressed figure/croquis drawing in pencil. It shouldn't be inked
yet because the lines of the body that will be eventually covered by apparel need
to be erased.
When drawing the apparel, use the croquis as a guide, do not outline or shape
the apparel over the shape of the croquis itself. The body of the croquis figure
should be used only for proportions and fitting.
Remember that the human body is not a flat plane and fabric usually drapes
around the body and somewhat reveals what’s underneath. It should look like
the clothes are being worn by the body, which means that the fabric will fold
and crease in places like the angle created by the arm at the elbow, there will be
creases at the waist where the shirt is tucked in, etc.
Apparel of flimsy fabrics of close fitting styles will follow the lines of the body
shape. Outer garments and those of heavy fabrics will add bulk to the body
shape. Soft fabrics will fall in folds while firm fabrics will stand in a straight
line. Folds, pleats and wrinkles change the appearance of a fabric print, it may
need to bend or be cut off at certain points to look accurate. Set-in sleeves are
the only sleeves that have the armhole shape drawn from the shoulder to the
underarm point. Fastenings or plackets on single breasted garments lie on centre
front line. Pockets and panel seams are at equal distance from centre front not
the apparel edge. Collars meet at centre front or centre back. Zips must be set
into a seam line, the zip teeth not usually seen. Shaping to the body shown by
darts and seams to be placed accordingly at correct positions.

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After the design ideas are drawn on the fashion figure, erase the parts of the
body that are covered by the garments. Considered, again, the types of fabric
that will be used for the apparel. This will influence not only how they drape on
the body but also if some lines visible should be left. For example, the blouse
above is made out of somewhat sheer chiffon, so a faint outline of the waist and
torso is kept because it will be slightly visible through the fabric. This gives the
illusion of a sheer fabric over it.
Keep all these details in mind throughout the designing process. This will result
in more accurate and "true to life" representations of your design ideas.

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SKIN TONES
The colour of the human skin varies from person to person, it is better known as
complexion. Every person has a different complexion but the lightness or
darkness of the skin can be basically divided into three main categories: Darker
Skin Tone, Medium Skin Tone and Lighter Skin Tone. The lighter skin tone
people have a characteristic pinkish pale complexion while the medium skin
tone is a wheatish complexion.
To prepare skin tones
Requirements:
 A palette
 Palette knife
 Paint in blue, red, yellow (the primary colours) and white; black or other
colours of paint are optional
 A paint brush
 Water, for cleaning the paintbrush
 Airtight containers, for storing successful colour mixes
 Paper, for testing out colours

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STEP 1: To make the "base" colour for skin tones, on a palette mix together
with a palette knife equal parts of each primary colours: yellow, blue, red. Just
about every skin tone contains a little yellow, blue and red, but in different
ratios.
STEP 2: Add a little bit of white to the mixture of colours. This is helpful even
if you want to attain a darker skin tone. The white paint will add opacity and
pigment to any colour, so you can darken the tone later if desired. Black is
optional; use black paint sparingly. Black paint can make skin tones murky if
used in too great a quantity. To darken the skin tone with a more natural look,
use brown paint made by combining equal parts of all the primary colours.
STEP 3:
FOR A DARKER SKIN TONE:
Start with the base mixture, and add brown to the mix. Assess the visual of the
tone and adjust as needed. Is it too dark? Add a touch of white. Too light? Add
a bit of each of the primary colours to darken the mix.

FOR A MEDIUM SKIN TONE:

Start with the base mixture, and add a small amount of white paint. Adjust by
adding a small amount of whatever primary colour most represents the skin
undertone. If you add too much, adjust by adding more base and white paint.

FOR A LIGHTER SKIN TONE:

Start with the base mixture, and add a moderate amount of white paint. Adjust
by adding a small amount of whatever primary colour most represents the skin
undertone. If you add too much, adjust by adding more base and white paint.
Remember that while mixing different ratios of the primary colours: yellow,
blue, red an assortment of different skin tones can be created.

REVIEW QUESTIONS
1. When is a product said to be well designed?
2. Name any 3 designing tools and state their uses.
3. Write a note on:
a) Figure of a child
b) Figure of a teenager

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c) An adult figure
4. Describe the 8 head theory of a human figure.
5. There is a difference between a normal human figure and a fashion
figure. Support this statement with reasons.
6. Sketch and explain a stylised figure.
7. State the difference between “block croquis” and “fleshing figure”.
8. State and explain the use of the three important components of a fashion
figure.
9. Write a note on “movement lines” required for a pose.
10.What are skin tones? Explain in detail.

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2. STRUCTURAL PARTS OF APPAREL

Bricks, cement, concrete, sand, tiles, beams etc. are put together to create a
beautiful house. Spices, rice, meat, ghee, etc. put together skilfully produces a
mouth-watering ‘’biryani’’. Likewise, various parts of an apparel such as the
neckline, sleeves, waistline, collar etc. help create an outstanding garment. Just
as the builder and the cook requires knowledge of all materials in their line of
work in order to produce best results, so also the designer needs to know parts
of an apparel in order to put forth a unique garment.

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BODICE
Formerly the lace-up garment worn over a blouse, this term now described the
entire upper portion of a woman's dress.

SKIRT
The lower part of a dress, generally covering the person from the waist
downwards or a separate garment serving this purpose.

NECKLINES
Necklines are perhaps the most conspicuous part of any dress design. It is the
top edge that surrounds the neck, especially from the front view, it is part of the
bodice around the neck. In women’s garments, neckline can be shaped in
different ways and styles to get a decorative effect.

Jewel neckline: This is high round neckline

located at base of neck or throat, also called t-
shirt neckline or crew neck. Mostly found in
casual wear.

V- neckline: This is a
classic neckline formed
by two diagonal lines
from the shoulders that
meet on the chest
creating a V shape. The
depth of the V can vary
from demure styles to plunging. They are generally seen in casual wear.

Cardigan neckline: A Jewel or V neckline that

opens in the front, usually with buttons along
center front.

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Slit neckline: A narrow vertical opening in a

neckline. The slit may be in the front or back. It
may be held closed with a button and loop or
other fastener.

U-neckline: It is cut in front in the shape of letter

‘U’. It is the modification of round neckline. The
depth of neckline is more than the normal round
neckline.

Scoop neckline ; These

have a curved U-shape,
with the arms of the U
hanging on the shoulder,
the depth of the U can
vary, from demure styles
to plunging, conservative to scandalous, but one that is
not more than 6” below the collar bone.

Square neckline:
This neckline shape
resembles the square
shape and has two
corners in front. It is a
characterized by three
linear edges, the bottom edge meeting the side edges at right angles. The bottom
edge cuts across the figure horizontally and the side edges pass over the
shoulder. It is a moderately low-cut neckline.

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Florentine neckline: It is a moderately low, but

very wide, angular or square neckline.

Horseshoe neckline: A low rounded curved

neckline, shaped like a horseshoe in front.

Boat neckline: It is a wide, high neckline that

runs horizontally, front and back, almost to
the shoulder points, across the collarbone. Also
called bateau neckline.

Sabrina neckline: Wide horizontal neckline, not

as high as boat and usually has a little bow on
each shoulder where they connect.

Keyhole neckline: It is a high neckline with an

opening cut out at the front. Opening can be
round or wedge shaped.

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Sweetheart neckline: A neckline that has a curved

bottom edge that is concave and shaped like top of a
heart.

One-shoulder neckline: It is an Asymmetric

neckline starting over one shoulder and extending
diagonally to under the other arm. It cuts diagonally
across the torso and is also called Asymmetric
neckline.

Surplice neckline: It is formed by one side of the

garment overlapping the other, forming a V shape
neckline in the front. It is also known as the
bathrobe neckline.

Halter neckline: This neckline has a V-

neck or scoop front neckline with straps
which wrap around and connect at the
nape of the neck.

Décolleté neckline: Any neckline that reveals or

emphasizes cleavage, is cut very low in front. It is
mostly used in ball gowns, evening
gowns, leotards, lingerie and swimsuits.

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Off-the-shoulder: This is similar to boat

neckline but is lower, below the shoulders
and collar bone. It is a low neckline
extending around upper part of arms, baring
the shoulders.

Plunging neckline: Low-cut neckline,

usually V-shaped, extending to the level of
the breasts or to the waist. Lower than
décolleté neckline.

Strapless neckline: Neckline just above the

bust. May be held in place by darts and fitting,
boning, elastic, or shirring.

Camisole neckline: A straight across

neckline just above the bust line, held by
two narrow straps over the shoulder that
leaves the shoulders bare. Strap width
may vary from very narrow (spaghetti) to
wide. Also called spaghetti neckline when
it has very thin straps.

Funnel neckline: High neckline cut in

one with garment by slanting or curving
shoulder seams upward towards the neck.

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Banded neckline: A flat, shaped narrow band

finishing the neckline and front opening.

Bib neckline: A front center portion of a

garment, usually oval or square. May be set into a
blouse or dress below the neckline or extend
upward from the waist of pants or a skirt.

Gathered neckline: Full neckline drawn close to

neck. May be adjusted or gathered with a
drawstring cord or elastic. Also called drawstring,
peasant, or gypsy neckline.

Cowl neckline: Draped neckline resulting from

bias cut with excess fabric forming soft folds in
front or back.

Asymmetric neckline: Any neckline that looks

different on either side of the center front of the
top or dress. It can be cut differently or it could
be the same, but one side is folded down while
the other is fastened up.

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Caftan neckline: A round neckline with a slit going down

the center front. It’s usually embellished with trim, braid or
beading.

Queen Anne neckline: It has a collar getting up in the back

and a V-neckline of varying depth. The shoulders are
covered.

Grecian neckline: The ‘Greek’ neckline is characterized by

a piece of fabric which, starting from the centre of the breast,
opens to surround the neck.

Illusion neckline: It uses two different fabrics to

create an optical illusion. The covering bodice
ends with a staright cut or heart shaped above the
breast, which is joined by a transparent fabric or
lace to cover the sternum to the neck.

Variations of necklines

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Sometimes the back neckline too can be done in various variations:

Closed: this neckline covers the back and remains close to the
neck.

U-shape: deep round shape neckline.

Bare: deep neckline supported by thin straps.

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Strappy: bare back created by different straps combined.

Open: This neckline makes the back visible through an opening.

V-shape: deep neckline ending with a tip.

X cross: neckline with straps that cross in the centre of back.

Bow: neckline with a decorative bow that holds back the

shoulder straps.

Some other back variations

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COLLARS
A collar is the part of a shirt, dress, coat or blouse that fastens around or frames
the neck. A collar is added to the neckline of a garment in order to enhance its
appearance. A collar could be made close to or away from neckline and the
collar edge could be round, curved, square, or pointed (long or short) depending
upon design variation.

Collars can be categorized as:

 Standing or stand-up: fitting up around the neck and not lying on the
shoulders. Collar when stand itself is a collar.
 Turnover or roll: standing around the neck and then folded or rolled over.
It may be a partial roll or a full roll. A collar where the collar is supported
by a stand.
 Flat or falling (Rippled): lying flat on the shoulders. When collar is
without a stand.
 Shawl collar: formed by an extension of the garment front. These collars
can be a stand-up collar or a turnover collar. The collar is seamed at the
center back.

STANDING OR STAND-UP COLLARS

Band Collar: Straight or slightly curved collar

cut on a straight grain or bias. May fasten in the
front or back. Also called stand-up collar.

Ring Collar: A stand collar on a

wide neckline. Also called the
moat collar or wedding-band
collar.

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Choker Collar: Wide, high stand, close fitting

collar that fastens in the back. Also called
Victorian collar.

Chinese Collar: Stand

collar with square or
rounded ends that do not
quite meet at centre front.
Also called Mandarin
Collar or Nehru collar.

Medic Collar: Narrow stand collar that fastens on

the right side. Also called Ben Casey collar.

Wing Collar: A stiff stand collar with pointed ends

that fold outward. Also known as Butterfly Collar.

Cossack Collar:
Wide stand collar
that fastens on the
left side. May be
embroidered. Also
called Zhivago
Collar or Russian Collar.

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Clerical Collar: Stiff white

stand collar, fastened in the
back. Also called a Roman
collar. When the white
collar is partly covered by a
black or colored collar, it is
called a Rabat Collar.

Bow Collar: Long extension

of wide stand collar tied in a
bow. Also known as Pussy
Bow Collar.

Ascot Collar: Long, medium-wide to

wide stand collar with the two ends
brought to the front and looped over
each other. May be an extension of
the collar or attached at back neck of
collar. Longer variations are called
stock-tie collar or flip-tie collar.

Funnel Collar: Large wide stand collar variation

which stands away from the face. Generally opens in
front.

Ruff Collar: a high standing pleated collar, made

of starched linen or lace, also known as Millstone
Collar.

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Ruffle Collar: Straight piece of fabric, lace, or trim

gathered to neck edge to form ripples.

STAND COLLARS MADE OF RIB KNIT

Turtleneck Collar: High rounded neckline finished
with very wide strip of rib knit that is often worn
folded over.

Mock-turtle Collar: High rounded neckline finished

with medium wide strip of rib knit.

Cowl Collar: Wide bias-cut draped collar. May

be of knitted fabric like a wider and deeper
variation of the turtleneck which drapes in soft
folds.

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TURNOVER OR ROLLED COLLARS

Parts of a turnover collar

PARTIAL ROLL COLLARS

Convertible Collar: A partial roll collar which

can be worn open or
closed. Lapels are formed
when worn open. Also
known as Camp Collar.

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Notched Collar: Tailored collar used for suits. There is

a notch where the collar ends and joins the lapel. It has
square corners on lapel and collar.

Cloverleaf Collar: same as the notched collar but with

rounded corners on lapel and collar.

Peaked Collar: with sharp point on lapel.

Johnny Collar: A very small partial

roll collar attached to a V neckline.
Usually a single-layer knitted collar.

Chelsea Collar: A medium-wide

collar for a low V-neckline, with a
partial roll and long pointed ends.

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FULL ROLL COLLARS

Shirt Collar: The traditional two-piece high
stand, full roll collar, (called band and collar).
The ends of the collar may be square, round, or
pointed. Variations include: Spread Collar,
Button-down Collar, Pin Collar & Tab Collar

Spread Collar: variation of a shirt collar with

wide spacing between ends of the collar.

Button-down Collar: variation of a shirt collar

with buttonholes in the ends of the collar, fastened
to the shirt by small buttons.

Pin Collar: variation of a shirt collar with eyelets

through which a collar pin is inserted

Tab Collar: variation of a shirt collar with a small

strap that buttons or snaps to other side of the space
between the ends of the collar.

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Barrymore Collar: A button-up shirt

collar style with long, exaggerated points
(4 to 5 inch long points) in front (similar
to Byron or poet's collar.)

Swallow-tailed Collar: with extremely long, narrow-

pointed ends.

Club Collar: Medium sized collar with rounded front edges.

Also known as Buster Brown Collar

FLAT COLLARS

Bermuda Collar: Narrow collar

with squared ends at center
front. Also known as Pointed
Flat Collar.

Peter Pan Collar: Small, flat,

rounded collar.

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Double Collar: Two collars of the same shape, the

upper one smaller to show the lower one.

Choir-boy Collar: Medium-sized collar with

rounded ends at centre front.

Puritan Collar: Wide collar extending to the shoulders

with pointed squared ends or rounded corners at centre
front and outer edges.

Platter Collar: Medium-sized collar with large

rounded ends in front. Also called Dog's Ear Collar.

Sailor Collar: Collar is square

in back and tapers to a V in
front. Variations include braid
trim around the edges and a
dickey or inset in the V. Also
called middy collar or nautical
collar.

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Bishop Collar: Large round collar. The front edges

extend downward and are squared.

Bertha Collar: Wide, flat, round collar, often of lace or

sheer fabric, worn with a low neckline, extending from
neckline to shoulder. Opening may be at front or back.

Cape Collar: Large circular

collar that looks like a cape and
extends or hangs over the
shoulders.

Pilgrim Collar: Wide rounded collar extending to

shoulders with pointed ends at center front.

Circular ruffle Collar: Edging made from a

circular piece of fabric.

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Pierrot Collar: A straight

ruffled collar that lays on top
of the shoulders. It usually
has two or more rows of
ruffles.

SHAWL COLLARS
Shawl Collar: Collar formed by
an extension of the facing and
garment front (undercollar).

Tuxedo Collar: Variation of a shawl collar that

continues the length of the garment front opening.

OTHER COLLAR VARIATIONS

Cascade Collar: A cascade collar is a
circular-cut ruffle that is attached to the
neckline of a garment. The ruffle can
extend as far down as the waistline in a
straight or diagonal line, or team up
with another ruffle to add even more visual interest.

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Bib Collar: Flat rounded, square, or oval

shape collar that runs down the front of a
dress or top like a child's bib. Often
covered with ruffles, pleats, or
embroidery.

Jabot Collar: Collar ruffles

made entirely out of lace or
lace-trimmed linen attached to
neckline at center front.

Fichu Collar: Named after an

18th-19th century scarf (fichu)
worn across the shoulders and
tied in front, this collar is
distinguished by fabric that
folds away from the neck and
over the shoulders, and is often
accented by a tie at front.

Portrait Collar: A wide-lapelled, fold over collar that

frames the collarbones and exposes the parts of the
shoulders near the neck.

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SLEEVES
These are part of a garment which covers the arm of the wearer or through
which the arm passes or slips. There are many variations of the sleeves but they
are all based on the three main styles: set- in, Raglan, and Kimono.
Kimono sleeve: cut in one with the body of the garment, with no armhole seam.
Set- in sleeve: cut separately from the bodice of the garment and sewn into the
armhole of the bodice.
Raglan sleeve: extends to the neckline and has slanting seam lines from under
arm to neck in front and back. The armhole starts from the armpit and ends on
the neckline or next to the neckline.
Design can range from short to long, very full to tight fitting, interest can be
added at cuff or sleeve head.
SLEEVE LENGTHS

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Armscye/Armhole: No sleeve or sleeveless.

Drop shoulder: The sleeve is attached to an armhole shaped to extend wider
than the natural shoulder.
Cap: Extension to the front and back of the garment to cover the top of the arm.
It covers only the shoulder part and doesn’t enlarge under the armpit level.
Short: Sleeve length ending about half the distance between elbow and
underarm.
Elbow length: Any style sleeve that ends at the elbow.
Bracelet: Three-quarter length cuff less sleeve to show bracelet.
Long: Long sleeve tapered to the wrist so it can be pushed up to stay in place.
Also called push-up.
Angel: Any long flowing sleeve. May extend longer than the wrist.

VARIATIONS OF SLEEVES
SET-IN SLEEVES
Cut separately from the bodice of the garment and sewn into the armhole of
the bodice.
Plain sleeve/Set-in sleeve: The plain/set-in sleeve has a high
rounded sleeve cap. The sleeve underarm seam and the blouse
side seam are constructed first so the sleeve is set into the
armhole. May be any length.

Shirt sleeve: A sleeve with a barely rounded

wide sleeve cap, attached to the armhole
before the underarm seam and side seam are
sewn as a continuous seam. May be any
length. Long shirt sleeves are usually cuffed,
this sleeve is also called tailored shirt sleeve.

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Barrel sleeve: Straight long set-in or shirt sleeve which is smooth at

the armhole with minimal fullness at the cuff.

Roll-up sleeve: Straight short or elbow length sleeve designed

to be rolled or folded up to from a cuff. May be either plain or
shirt sleeve.

Fitted sleeve: A full-length narrow set-in sleeve. May

either be one-piece with darting at the elbow or two-piece
with vertical seams down front and back of arm, also called
suit sleeve.

Bell sleeve: A set-in long sleeve that is smooth

at the armhole, fitted from shoulder to elbow and
flared from elbow to hem edge.

Butterfly sleeve: A set-in sleeve that is smooth at the armhole,

widely flared at the hem edge, may be elbow length or longer.
The difference between a Butterfly sleeve and a Bell sleeve is
that butterfly sleeves usually don’t go completely around the full
arm.

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Bishop sleeve: It is a billowy long set-in

sleeve that hangs gracefully over the arm from
a smooth cap. The sleeve has more fullness at
the bottom than the top and gathered at wrist
by cuff. May be gathered at cap as well as at
wrist.

Button-tab sleeve: A long roll-up sleeve with a button-tab

sewn above the elbow. The sleeve is rolled up and fastened
by the tab with buttonhole and button. May be either plain or
shirt sleeve.

Puffed sleeve: Short full sleeve with

gathers at armhole or lower edge or both.
Also called puff sleeve.

Poet Sleeve: A long sleeve fitted from

shoulder to elbow, and then flared (somewhat
dramatically) from elbow to wrist (or
sometimes mid-hand). Often features ruffles on
the cuffs.

Layered sleeve: A wide sleeve that consists of multiple

circular layers of overlapping fabric.

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Balloon sleeve: Long full sleeve with gathers at armhole and at

lower edge. Usually made of crisp fabric.

Leg-o'-mutton sleeve: Sleeve with full gathered or pleated top

tapering to narrow at the wrist. Also called leg-of-mutton sleeve
and Gigot sleeves.

Pagoda sleeve: a wide, bell-shaped sleeve or

funnel-shaped sleeve popular in the 1860s, worn
over an engage ante or false undersleeve,
arranged to show the sleeve lining and an inner
sleeve.

Paned sleeve: a sleeve made in panes or panels,

allowing a lining or shirt-sleeve to show through popular
in the 16th and 17th centuries.

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Petal sleeve: Sleeve is shaped with a curved

overlap along outer arm, it resembles a petal as
the sleeve sections cross over each other at the
cap. Also called lapped sleeve.

Circular cap sleeve: Short flaring sleeve that extends out

from a smooth cap at armhole.

Melon sleeve: Sleeve made in lengthwise sections that are

wider in the middle of the sleeve to give a melon shape in the
middle of the sleeve. Usually made of stiffened fabric.

Juliet sleeve: A long, tight sleeve with a puffed upper section.

Lantern sleeve: Long or 3/4-length sleeve

made with two sections and a crosswise seam(s)
to give width. Sleeve is smooth at the armhole
and wrist and flares out from the cap and
hemline.

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Hanging Sleeve: A sleeve that

opens down the side or front, or at
the elbow; the reason is to allow
the arm to pass through.

Virago Sleeve: A full “paned” sleeve which is

gathered into two or more puffs by a ribbon or fabric
band above the wrist.

Variations of Set-In Sleeve

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KIMONO SLEEVES
Cut in one with the front and back of garment, with no armhole seam.

Kimono sleeve: Sleeve may be cut in one with the front and
back of the garment or may be attached to the front and back
with a vertical seam. Shape is usually angular under the arm
in contrast to curve of dolman. Also called mandarin sleeve.

Dolman sleeve: Sleeve may be cut in one

with the front and back of the garment or may
be attached to the front and back with a
vertical seam. Shape is usually curved under
the arm. Sleeve is usually long and fitted at
the wrist.

Batwing sleeve: Long sleeve with deep armhole

almost to the waist and extending to narrow wrist.
May be cut in one with the garment or may be a
separate sleeve. Also known as a Magyar sleeve.

Cape sleeve: May either be a semicircular

extension of the front and back bodice or a circular
or semicircular piece sewn over the top of the
shoulder to give a cape effect.

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RAGLAN SLEEVE
Extends to the neckline and has slanting seam lines from under arm to neck in
front and back. The armhole starts from the armpit and ends on the neckline or
next to the neckline.

Raglan sleeve: Sleeve joined by diagonal seam that extends

from underarm to neckline. May have a dart to shape the
shoulder or may have an additional seam along the outside of
the arm.

Peasant sleeve: A wide raglan sleeve with gathers at the

neckline and lower edge. Gathers may be controlled by
drawstring or elastic. Sleeve may be short or long.

Saddle sleeve: Variation of the raglan in which the shoulder

portion is horizontal across chest then diagonal under arm.
Also called epaulet sleeve.

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SLEEVE FINISHES
The finishing of a sleeve edge usually depends on the pattern design. It may be
a simple self-hem or faced finish (shaped or bias) or decorative double binding
made from self or contrasting fabric. The finish is sometimes attached with
casing, ruffles or with cuff.

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CUFFS

Roll-up cuff: Usually a straight sleeve which is folded up to

form a cuff.

Barrel cuff: A band of fabric stitched to the sleeve. Usually

closed with one or two buttons. Also called single cuff.

Knit cuff: Rib knitted fabric which fits closely but is stretchy
enough to slip over the hand.

French cuff: Wide cuff which turns back and is fastened with
a cuff link through all layers.

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Neapolitan cuff: A two-button turned-back cuff with an extra

piece of fabric folded back to imitate a French cuff, but is held
together by two buttons. Also called cocktail cuff, capril cuff
or bond cuff.

Band cuff: Has no vertical opening. It slips on over the hand.

Gauntlet cuff: A wide turned-back cuff that flares wide at the

arm and tapers toward the wrist. Also called cavalier cuff.

SLEEVELESS
When the armscye is finished off directly with
piping or facing, without attaching a sleeve or a
ruffle, it is known as sleeveless. Sleeveless
garments are well preferred as the restrain of
sleeves is absent thus making the garment more
comfortable, airy and light. This is best suited
for summer apparel and to show off beautiful
shapely arms.

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WAISTLINE
The waistline is the line of demarcation between
the upper (bodice) and lower (skirt) portions of a
garment, which notionally corresponds to the
natural waist but may vary with fashion from just
below the bust to below the hips. The waistline of
a garment is often used to accentuate different
features. The waistline is also important as a
boundary at which shaping darts (such as those
over the bust and in the back) can be ended.

Types of waistlines
Waistlines may be grouped by their shape, depth,
and location on the body.

None: The princess seams style of dress needs no waistline at all, since it does
its shaping without darts, by joining edges of different curvature. The resulting
"princess seams" typically run vertically from the shoulder or under the arm
over the bust point and down to the lower hem. This creates a long, slimming
look, often seen in dresses with an "A-line" silhouette.

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Diagonal: An asymmetrical waistline that runs across the

body diagonally. Usually the highest point is below the
natural waistline.

Drop waist: A low, horizontal waistline that

usually falls near the level of the upper hips.
Balances the upper and lower bodies, and
adds to the visual impression of height by
lengthening the torso. Also known as low
waist or low torso.

Hipster: A very low, horizontal waistline

that usually falls near the level of the hips.
Also known as hip hugger.

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Empire: A high waistline that cuts horizontally across the

body, just below the bust. This waistline gives a long,
slender look and excellent fabric drape in the skirt and
allows for short, inconspicuous shaping darts.

Raised: A horizontal waistline that falls significantly above

(more than1”) the natural waist. This is also known as high
waist.

Natural: A horizontal waistline that falls at

the natural waist and tends to make the
wearer seem shorter by visually dividing the
figure in half.

V-shaped: A generally flattering

waistline, especially for figures
with notable curvature. Also
known as the Basque waistline or
the Antebellum waistline.

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U-shaped: A softer, less pronounced version of the

Basque waistline.

Inverted V-shaped: Starts high in the center and

drops at the sides and can fall as high as the bustline
(e.g., paired with a low V neckline to give a "bowtie"
look), but usually found near the hips (e.g., extending
Bolero curves in the bodice).

Inverted U-shaped: A softer, less

pronounced version of the
inverted-V waistline, usually a
gentle downwards curve.

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HEMLINE
The hemline is the line formed
by the lower edge of a garment,
such as a hemline of
a dress or coat, measured from
the floor. The hemline is perhaps
the most variable style
line in fashion,
changing shape and ranging in
height from hip-high to floor-
length. The fashionable style and
height of hemline has varied
considerably throughout the
years, and has also depended on
a number of factors such as the
age of the wearer, the occasion
for which the garment is worn
and the choice of the individual.
Hemlines can be grouped by
their height:

Floor Length Hemline: the hemline touches the floor and is one of the longest
hemlines. It is also called full length hemline, long hemline or flock length
hemline.

Ankle Length Hemline: the next highest hemline, brushes the ankles. It is also
called evening length hemline or ballet hemline.

Tea Length Hemline: where the hemline falls near the bottom of the calf. It is
also called Ballerina hemline.

Maxi Hemline: this cut falls at the mid-calf, it is also called mid-calf hemline.

Midi Hemline: hemline length located halfway between knee and ankle. It is
also called calf length hemline.

Below knee Hemline: is also known as street length or cocktail length.

Hemline is 3 to 5 cm below knee.

Knee/ Normal Length Hemline: hemline measuring to mid-kneecap length.

Above knee Hemline: hemline is 3 to 5 cm shorter than mid-knee.

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Short Hemline: hemline that goes below the mid-thigh.

Mini Hemline: a short hemline where the hem is about mid-thigh length. It is
also known as tennis hemline. When used properly in dress or skirt it lends
amazing dimensions, but when used improperly it ends up making the wearer
look trashy.

Micro-Mini Hemline: extremely short hemline, length is less than 38 cm from

waist to hem.

Diagonal or Asymmetrical hemline: it is designed in such a

way that the hemline has different lengths, either the front or
back is lengthier, or shaped differently, than the opposite side.
A high low is an example of an asymmetrical hemline.

High-low Hemline: A hemline that is short in the front

and dipping or long in the back.

Handkerchief hemline: A hemline style in which different

points of the hem's fabric drape down to resemble a loosely
hanging scarf.

Lettuce hemline: A hemline style in which the edge is

stretched as sewn, resulting in a ruffled edge or a wavy edge on
the finished garment.

Scalloped hemline: a hemline made with scalloped shape at

garment edge made by cutting in the desired scallop shape and
finishing with bias binding, shaped facing, machine satin stitch
or buttonhole stitch.

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PLACKETS or OPENINGS
A placket is an opening in the upper part of skirts, upper part and lower part of
trousers or at the neck or sleeve of a garment. Plackets are almost always used
to allow clothing to be put on or removed easily, but are sometimes used purely
as a design element. Placket as a design element can be classified as centralized,
asymmetrical and double breasted.

CENTRALIZED OPENING or SINGLE BREASTED

Single-breasted refers to a garment having one column of fasteners and a
narrow overlap of fabric at the centre front of the garment.

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DOUBLE BREASTED OPENING

Double breasted opening has a wide, overlapping front flap and two parallel
rows of fasteners.

ASYMMETRICAL OPENINGS
Asymmetrical openings have a column of fasteners and a narrow overlap of
fabric diagonally across the garment.

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TRAIN STYLES
Trains are created by lengths at the hem line,
usually graduated flare from the side seams.
Mostly used in wedding dresses, they add
formality and a touch of majesty making the bride
look and feel almost regal. Trains can also be
attached to the head veil, shoulder or waist and can
be detachable or rolled up to form a bustle effect.

Sweep: a small swish of a train, also called the brush train, is the
shortest train that trails about 6” on the floor, barley dusting or
sweeping the floor.

Court: slightly longer than the sweep train, with the train
extending from the waistline rather than the hemline of the dress.

Panel: a panel train is not part of the dress, but rather a

separate panel of fabric about a foot wide that trails behind
the dress. Usually detachable and can be made into any
lengths.

Watteau: a train falling from the shoulder blades to the

hemline of the gown or longer.

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Chapel: the most popular of all train lengths, it extends

between 12” to 18” from the waist. These can also be made
detachable.

Cathedral: a cascading train extending between 22” to

40” behind the gown. These can also be made detachable
or with a bustling option.

Royal: also called the monarch train, a train extending

longer than the cathedral. These can also be made
detachable or with a bustling option. Princess Diana
wore a 300” long train.

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YOKES
A yoke is a shaped pattern
piece which forms part of a
garment, usually fitting around the
neck and shoulders, or around the
hips to provide support for looser
parts of the garment, such as a
gathered skirt or the body of a shirt.
The yoke can be made in a variety of ways in the design of a dress, skirt, pant,
coat or jacket. It may be introduced at the shoulders, bodice, waist or hips. It
may control fullness or conceal the darts between the yoke and
the body of the garment. The shape will vary according to the
design. A yoke can be designed with gathers or without, they
may be designed just for decoration and may not have any
fullness.
Emphasis may be given by adding surface
interest within the shape of the yoke. Different
effects may be achieved with smocking,
shirring, pin tucks, pleating and quilting or the
use of contrasting colours, patterns and
textures. The outline of the yoke may also be
trimmed with piping, braids, lace, etc.
A yoke can be
designed with various shapes such as
square, round straight line, scalloped,
triangular and asymmetrical etc.
Sometimes part of a
yoke may extend to the
full length of the
garment. This type of
yoke is referred to as
yoke with panel. Sometimes the yoke may extend into the sleeve,
or it may extend only part of the way across the garment as in a
partial yoke. A yoke can be deep or shallow, broad or
narrow according to the effect desired.
If the garment is of light colour, the yoke may be made of
a contrasting coloured fabric for a dark
coloured garment the yoke may be white or
light coloured. A yoke with prints attached
with the plain garment or vice versa would
give a good appearance.

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The yoke can be joined to the body of the

garment in a decorative way, may be by
insertion of ruffles, lace, ric-rac,
faggoting, decorative stitches or
top stitches in contrasting
coloured thread.
The yoke can be beaded,
quilted, embroidered, shirred, smocked, tucked, and pleated.
The yoke may be introduced at the top of the dress (shoulder
yoke) above the waist line (midriff yoke) below the waist line
(hip yoke) and fullness may be released in the form of gathers,
pleats, tucks etc. from the edge of the yoke.
Deep narrow yokes with vertical
decorations include vertical eye movement giving an
impression of added height and less width, thus making a
person look taller and slimmer. Horizontal lines in yokes
make a person look shorter and fatter and are suitable for
thin figures. A yoke wide at the shoulder and pointed
towards the waistline gives the impression of a narrow
waist and wide shoulder.

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BELT
A belt is a band made of materials such as fabric either soft or with stiffening,
wide or narrow, plain or intricate, they can be made of plastic or leather, cord or
braid may be used. They are usually worn at the waist. The function of a belt is
to hold up the skirt or pant that one is wearing, provide fitting or worn to hide
the waist joint of bodice and skirt. A belt can be worn to enhance the apparel
and make it look different every time. Belts can be brought separately and
added to a garment or can be made specifically for a particular garment. The
belt is usually fastened at the center front with a decorative buckle which can be
a covered buckle or a novelty buckle made of plastic or metal, a bow or even a
flower.
There are many different types of belts:

Crushed Wide Belt: a belt that is wide, made of fabric, tied or

passed thru a buckle with a lot of folds.

Obi Wrap Belt: a belt inspired by the Kimono-Japanese belt. It

is wide in the center and thin in the far ends. It is worn with two
rounds and closed with a knot in the center front.

Modern Obi Belt: inspired and reinvented the obi belt with
different options and details.

Thin Buckle Belt: belt that can be made of fabric, leather,

metallic, etc. with a variety of buckles.

Asymmetrical Novelty Buckle Belt: thin belt with an

asymmetrical buckle.

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Cinch belt: a belt created with a wide elastic band.

Sash Belt: a belt made of fabric, can be wide

or narrow, kept on the waist with a large clasp
or a knot.

Cummerbund: a very wide band worn around the waist made

of a pleated fabric fastened at the back natural waist.

Contour Hip Hugger Belt: a wide belt worn at the hips with
a buckle, bow or flower.

Grecian Rope Belt: inspired by the ancient greek dressings,

made with drawstring that weaves many times around the
waist.

Two Thin Loose Belt: a double round belt with two clasps.

Low Waist Belt: a belt worn around the hips.

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Twisted Fabric Belt: belt made by twisting strips of fabric.

Spaghetti Belt: made with fine cords of fabric, plastic or leather

with the ends knotted up or tasseled.

Classic Buckled Belt: made of fabric, plastic or leather with a buckle. The
width of the belt can be narrow ½” to broad 2”.

Chain Belt: made with metal rings, linked together.

Indian Belt: made with embroidered disks of leather and metal

links.

Tubular Belt: composed of a single tube strip, cord or string,

knotted at the waist.

Braided Belt: belt crafted by plating strips of fabric, drawstring,

yarn or leather.

Double Ring Belt: belt with latch of two metal rings, the belt
may be made of fabric, leather or plastic.

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POCKETS

A pocket is a bag-like or envelope-like receptacle either fastened to or inserted

in an article of clothing to hold small items. Pockets are decorative as well as
utility fashion elements. In men’s and boys’ clothes, pockets are used mainly for
utilisation purposes rather than for decoration while in women’s clothing it adds
design interest. Children love to have pockets in their dresses. Appearance of
children’s garments can be enhanced to a great extent by designing pocket of
varied shapes, sizes, and locations with decorative details such as bias binding,
lace, ruffles, tucks, pleats, applique, embroider etc. suited to the design and
purpose of the dress.
The three basic types of pockets are:
 Applied pockets: these pockets are sewn on to the outside of the garment
usually with top stitching. Also known as patch pocket. A patch pocket
may be furnished with a flap which holds it shut or mere appearance of a
flap may be given by trimming the top of the pocket with a shaped band
that looks like a working flap.
 Structural pockets: form an integral part of the design and is any type of
pocket in which the opening falls along a seam line of the garment, it is
also referred as pocket set into seam and in seam pocket. This type of
pocket is used in pants of men and women, skirts, trousers, shorts, kids’
wear, kurtas and pyjamas
 Inserted pockets: are those inserted behind a slash in the garment. Also
known as slash pocket and set in pocket.

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Selection of Pocket Design:

Plan pocket designs that harmonize with the design of the fabric as well as the
design of the garment and its structural parts (collar, sleeve, cuff etc.). The sex
and age as well as the figure and personality of the wearer should also be
considered while designing pockets. Scalloped and rounded pocket are
becoming only for girls dresses. Straight line pockets are suitable for men’s and
boy’s garments. For older women, inconspicuous designs such as in seam
pockets and slash pockets are advisable. The pocket designs should also be
appropriate for the type of garment and the purpose and use of the garment. For
example, simple straight line pockets are suitable for school uniforms and
casual wear garments, while pocket styles with decoration trimmings (suited to
the wearer) may be used on party wear dresses.
(In some of the following illustrations, a folded blue handkerchief is included
for illustration purposes and dotted lines for indicating edges inside the
garment.)
Flap: Separate piece of fabric that hangs
down over the pocket opening. Pocket may be
patch or slash. The flap may be a variety of
shapes. Sometimes flaps are used without any
pocket, purely for decoration.

APPLIED POCKETS
Key Pocket: Small patch pocket sewn inside a larger pocket
to hold keys or coins. Also called coin pocket.

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Patch Pocket: Patch pockets are

stitched onto the outside of garment
and may be cut in various shapes, the
lower edge of pocket may be square,
rounded, or angular.

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Back Patch Pockets

Kangaroo Pocket: Large patch pocket placed on the

center front just above the waist.

Bellows Pocket: Patch pocket that allows for expansion from a

pleat in the center of the pocket or along both sides of the pocket.

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Handwarmer Pocket: Double-layer patch pocket. One

layer opens from the top while the other layer opens on the
side allowing the hand to be held inside.

Cargo Pocket: Large patch pocket with a curved upper side

extending to the waist forming a belt loop.

STRUCTURAL POCKETS
In-seam pockets: are inserted in a seam such as side seam or yoke seam. The
pocket hangs are attached to the seam allowances and are not visible from the
outside.
Side or vertical design seam Pocket: Pocket
bags are attached to vertical seam allowances.

Yoke or horizontal design

seam Pocket:
Pocket bags are attached to
horizontal seam allowances or
cut-in-one with yoke piece.

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Front hip pockets: Variation of the in-seam pocket in which the garment front
is shaped and faced by the front pocket bag. The inner pocket bag fills in the
cutaway portion of the garment front.

Continental Pocket: Front hip pocket

formed by two angles from waistline to side
seam.

Western Pocket: Front hip pocket

forms a curve from waistline to side
seam.

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INSERTED POCKETS
Bound Pocket: A slash pocket with both edges of opening finished
with binding. Also called buttonhole, besom, slit, slot, or double
welt pocket.

Half-moon Pocket: A curved bound pocket used

on western wear. May be reinforced at the ends
with embroidered arrows. Also known as Smile slit
pocket.

Stand Pocket: A slash pocket in which

the lower edge is finished with a separate
piece that stands above the pocket
opening. Also called breast pocket.

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Hacking Pocket: Slash pocket with flap located at

an angle near waist level on jackets or coats.

Welt Pocket: A slash pocket with the lower opening

finished by an upstanding welt which fills the opening.

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APPAREL ENRICHMENT
Irrespective of age, sex and nationality every individual wants to look their best.
A plain piece of fabric will make one dull, therefore every garment is enriched
with some decoration and trimming. They are like two sides of a coin, which can
be used separately or together.
DECORATION
It is done either on the surface of the garment or made to sew as a part of the
garment. Decoration enhances the look of the garment. There are two types of
decoration: Structural decoration & Surface or Applied decoration.
Structural decorations are decorations introduced in the structure of the garment.
The different types of structural decorations are darts, gathers, shirring, pleats,
tucks and smocking. They add shape & fullness to the garments.
Surface or Applied decoration consists of self-material as well as contrasting
materials and colours worked up ingeniously and applied artistically but not
added as a ‘stuck-on-trim’.

STRUCTURAL DECORATION

Darts: Dart is a fold of fabric stitched

from a specified width to nothing at one
(triangular shape) or both ends (diamond
shape). They are visible on the front side
of the garment as a seam line. These are
used to make flat fabric fit on curved
lines of the body shape. Darts are made
in different parts of the bodice, like neck
line, shoulder, armhole & waistline with
all of them ending facing the bust. On
the lower garment they start at the waist
and end at the hips.

Gathers: Gathering means to draw

together into a mass. Gathering is one
form of introducing fullness. These are
usually made when large material is to be
set in a small part of the garment. Gathers
may be used for neatness, loose fitting,
comfort, free movement, and gracefulness.

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When several rows of

evenly spaced gathers are
used it is known as
“Shirring”.

Pleats: A pleat is formed by folding the fabric upon itself and securing it in place
with stitching. They provide fullness, and when evenly spaced and perpendicular
to the floor the straight silhouette is achieved. There are various types of pleats
such as side pleats, box pleats, inverted box pleats, kick pleats, pinch pleats, knife
pleats, cartridge pleats, accordion pleats and sunray pleats.

Tucks: Tucks are similar to pleats, but

are sewn throughout their length. Hence
fullness is available only below the tuck.
There are a number of tucks such as pin
tucks, cross tucks, shell tucks and blind
tucks.

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Smocking: This a
decorative work
particularly valued
because of its beauty
on garments. It is a
kind of decorative
stitch done by
gathering certain amount of fabric. Smocking adds
beauty and fullness to the garments.

SURFACE OR APPLIED DECORATION

Embroidery: Embroidery
is one of many good
methods of applied
decoration. But it needs
good skill, time and artistic
talent. Embroidery may be
done by machine or hand.
Chikankari embroidery
also known as shadow
work, Coin Work/mirror
work embroidery, Dori
Embroidery, Kutch Work
Embroidery also known as
‘Sindhi stitch’, Zardozi
embroidery is a rich
embroidery, which is
intricately woven in
golden and silver. It can
also be studded with pearls
and precious stones to
enhance the exquisiteness
of rich and glowing fabrics
like silk, velvet and
brocade. Kantha, Kashida, Kasuti, Phulkari and Kutch work are all Indian
embroideries.

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Bead work: is one of the

oldest method of surface
enrichment which is being
done till date.

Ribbon Work Embroidery:

a surface decoration, that
uses ribbon, embroidery floss
and perle cotton to work
beautiful motifs and
decorative stitches.

Stone Work Embroidery: a

surface enrichment like bead
work wherein precious and semi-
precious stones in a variety of
shapes, sizes and finishes are
used.

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Quilting: is the art of stitching two or more thickness of fabric together in some
planned design to provide warmth, decoration or an effect of bulk.

Patchwork: also
known as pieced work
is a form of surface
decoration that involves
sewing together pieces
of fabric into a larger
design.

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Lace work: is another surface embroidery, where medallions or motifs are

attached onto the apparel with running stitches. Crochet is a kind of interlacing
done with a crochet hook which can be a lace medallion or an edge.

Tassels: Tassels can be made of any size or colour by using embroidery thread,
yarn, beads, etc. It could be made of any thickness and length.

TRIMMING
Trims are functional and decorative details applied to a garment. Fastenings, like
buttons, zippers, velcros, etc. which add utility to a garment are functional trims.
Appliqués, ribbons, laces added to the basic garments to increase the aesthetic
appeal are called as decorative trims. Pockets, collars and cuffs can also be
treated as trims. Appropriate trims can greatly enhance the overall look and the
aesthetic appeal of the garment.

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FUNCTIONAL TRIMS
Buttons: Buttons are available in a variety of sizes, shapes, material, colours and
designs. They are used both ornamentally and functionally. Even functional
buttons add a decorative element to the garment.

Buttonholes: Are slits made in one of the two parts of a placket through which
the buttons slip to close the placket. Button holes can be machine-made, hand-
made or bound. Women’s garments are buttoned right over left, whereas mens
garments are buttoned left over right.

Loops: are a type of buttonholes that extend from the placket edge and are used
to secure the placket opening. They give a decorative look and serve the
functional purpose.

Zippers: The zip is a sliding closure applied on straight

plackets. It can be used as a functional or decorative element.
The zip is available in almost every length and colour, and it
can be dyed in almost any shade. Visible zipper closings in
contrasting colours and a novelty puller are used to accentuate
the look of casual wear, sportswear and children wear. Delicate,

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concealed invisible zips are ideal for formal clothes such as evening gowns and
dresses.

Lacings: is another type of fastening where cords, laces or spaghetti strings, are
threaded through metal eyelets set into each side of a placket. They help in
providing adjustable closing and increase the sex appeal of the garment. Lacings
can be done in corsets, backless choli, at the side of a skirt, end of the sleeve, end
of capris and necklines. Ribbon, lace, fabric strips and even shoelace can be used
to lace the slit in the garment. Fabric loops are an alternative to eyelets.

Ties: They are like lacings used to secure the opening in a garment. They are
adaptable to both casual and formal styles. Ties made from garment fabric are
popular on ethnic garments.

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Velcro: it is the brand name

for hook and loop fastener
made of fabric. These were
first used in space suits, but
nowadays the children’s
apparel industry makes the
most use of it.

Snaps: also known as press

buttons is a functional trim
having two interlocking
discs.

Hook & Eye: hooks are made of bent wire, available in different sizes whereas
the eye could be metallic or made with the help of needle and thread.

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DECORATIVE TRIMS
Linear trims: are decorative stitches applied to seam lines and garment edges.
These stitches can be created on domestic sewing machines and are usually the
least expensive of trims. The following are examples of linear trims:-
 Corded edge: outlines and defines the edge it is stitched on. It is done with
the help of a cord and gives a raised effect.
 Faggoting: it gives an openwork finish and is most effective for straight
lines.

 Multi-needle top stitching: can be used with novelty threads and colours to
highlight the seams.
 Overlocking stitch: this stitch is generally used to finish the seam on the
wrong side, but can also be used to finish hemlines or decorate a seamline.

 Flat-fell Seam: this seam is used on jeans or sports clothes and provides a
look of two row stitching, generally done with a different coloured thread.

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 Slot seam and Welt seam: these are used to provide a good finish at the
seam line in expensive garments.
 Shaped edges finishes: these provide a fabulous decorative finish, but are
used sparingly because it prevents length alterations. Some examples of
shaped edges are: Scalloped edge, Lettuce edge, Crochet edging - hand
crafted lace & Picot edge.

Frills or Ruffles: give a feminine look to an ensemble. There are two types of
ruffles depending on the way they are shaped - straight ruffles and circular
ruffles. Straight ruffles are made with a straight piece of fabric gathered along
one edge. Circular ruffle usually has a smooth, un- gathered edge attached to the
seam. A wide ruffle is known as a flounce.

Passementerie Trims: all types of cords, ribbons and braids fall under this
category. They are available in a wide variety of colours, fabrics, widths, weaves
and styles. They range from very wide metallic fancies to the classic narrow
braids, from simple to very elaborate. Ric-rac is a curvy zigzag braid.

Appliqués: are shaped pieces of fabric

sewn to a garment with decorative
stitches. Usually, appliqués are simple or
decorative graphic shapes applied flat on
the surface of the base fabric or are
stuffed to give a three dimensional
effect.

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Bias Bindings and Piping: are usually applied to a seam or round ends, on
collars, cuffs, yokes, they can be made of a self or contrast bias strip.

Studs: These were first used by denim brand:

Levi-Strauss as a means of reinforcing the
seams on work pants designed for miners in the
Californian gold fields. The rivet fastened
pockets and seams are very durable, but today
studs can be classified as decorative as well as
functional trims. Types of studs include rivet-
like nail heads and rhinestones or Swarovski
crystals.

Lace: Lace can be used as edging, insertion and banding. Lace for edging has one
straight edge which is to be applied to the
fabric. It is commonly used at the neckline,
armhole, sleeve hem, garment hem, yoke line
etc. Lace may be gathered to give a frilled
effect. Lace for insertion has its two edges
finished symmetrically. A design with fine
tucks and insertion of lace can be combined
and applied in a horizontal direction. The
bias tubing inserted in such lace can be tied
into a bow. The tubing may also be pulled to
produce gathers.

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Bows: These have decorative uses. In children’s garments bows may be attached
near the neckline, shoulder, hemline, along the centre front line etc.

Pompon: a round fluffy ball made of yarn, generally used to finish the ends of
cords.

Fringe: an ornamental trim of threads left loose or formed into tassels or twists,
used to edge clothing or material.

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REVIEW QUESTIONS
1) Draw and label the different structural parts of apparel.
2) Draw and describe the different types of necklines.
3) Mention the different categories of collars.
4) Name the three main styles of sleeves.
5) With the help of a diagram explain the different length of Hems.
6) How are plackets classified?
7) What is a yoke? Why are they used in a garment?
8) List the different types of belts.
9) Explain three basic types of pockets.
10) Design a garment by using any 3 types of trimmings.

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3. APPAREL CLASSIFICATION AND

CATEGORIES
Clothing is a basic need of humans beside food and shelter. But just as gourmet
cooking has taken over the need for food, so has fashion taken over the simple
role of clothing from covering the body to making one look glamorous.
Initially, wearing clothes was simply to cover one’s body but now it has
incorporated the need to look gorgeous as well. And this trend is not limited to
women only, but men as well as children now wee for a slice of this glamorous
industry.

WOMEN’S WEAR
Womenswear has always enjoyed the centre stage in fashion as from time
immemorial women are born with a need to look attractive. This need has been
recognised, appreciated, indulged and milked as well. This is evident from the
fact that the fashion industry had grown by leaps and bounds and appears to be
growing further.
The fashion industry has sensed the need and requirement of every women and
has accordingly accommodated every taste, culture, weather, and pocket.
Variety in apparel has made it possible for clothing for all occasion and
lifestyles. Women now seek multipurpose, multiuse clothing. They choose
apparel that is wearable in a variety of settings: office, social activities, gym,
home, or vacation. As a result there is a breakdown of categories: gym wear has
become street wear; underwear is outerwear and so on. Dressing up is now
considered as a form of art.

WESTERN WEAR
Western wear includes blouses, T- Shirts, trousers, jeans, Suits, and dresses.
Tops, skirts and dresses are attires that bring out femininity of a wearer. T-
Shirts and jeans are most acceptable ensemble for youngsters.
BLOUSES/TOPS/SHIRTS
Blouses is a part of an ensemble worn on the upper half of the body which can
be paired with a skirt or a trouser. The different styles in blouses can be
achieved through variations in bodice, collar, sleeves and placket. They can be
loose or fitted.

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Oxford blouse: A classic

tailored blouse resembling
the men’s shirt, can be worn
as casual or formal wear.

Safari blouse: a casual

blouse with button tabs that
hold the cuffed sleeves in
place.

Western style blouse: a snap-shut

shirt with a yoke.

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Knotted or tie-up blouse: a

blouse cut with two shirt tails
that knot at the waist.

Tunics: a loose blouse clinched at the

waist with a belt. When made longer
they can be worn as a mini dress.

Drawstring blouse: elasticated or with

drawstring at the waist creating a billowy
drape.

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Wrap-over blouse: one side of the blouse folds over the

other and is tied at the side.

Peasant blouse: made of light weight cotton

generally with embroidery.

Crop top: also known as cropped top, belly shirt, half

shirt, midriff shirt, midriff top, tummy top, short shirt, and cut-
off shirt, is a blouse, the lower part of which is high enough to
expose the waist, navel, or some of the midriff.

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Camp shirt: a loose, straight-cut,

short sleeved blouse with a simple
placket front-opening and a camp
collar. It usually has a straight
hemmed bottom falling at hip
level, not intended to be tucked
into trousers.

Dress shirt: a shirt with a formal

stiff collar, a full-length opening
at the front from the collar to the
hem usually buttoned, and
sleeves with cuffs. Also known
as button shirt, button-front,
button-up shirt.

Guayabera: is an embroidered dress

shirt with four pockets.

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Poet shirt: is a loose-fitting blouse

with full bishop sleeves, usually with
large frills on the front and on the
cuffs.

Shirtwaist: a woman's tailored

shirt, also called a tailored
waist, is cut like a dress shirt,
but extended into dress length at
the bottom.

Halter top: a shoulder less, sleeveless

blouse, with a string around the back of the
neck and elastic across the lower back
holding it in place.

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Onesie: also known as diaper shirt has

a long back that is wrapped between
the legs and buttoned to the front of
the shirt.

Tube top: also known as boob tube is a

shoulder less, sleeveless "tube" that
wraps the torso not reaching higher than
the armpit, staying in place by elasticity
or by a single strap that is attached to the
front of the tube.

Blouson: A women’s jacket or shirt or shirt that blouses and

is drawn in at the waist or slightly below the waist.

Peplum: A peplum is a ruffled or flared panel of fabric, which

falls just below the natural waistline, an extension of the
bodice.

T-SHIRTS
T-Shirts comes in various styles and fit for many occasions. They are available
in a wide range of colours and patterns, some are with collar and some
collarless.
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T-shirt: also called as tee shirt, is a

casual shirt without a collar or buttons,
made of a stretchy, finely knit fabric,
usually cotton, and usually short-
sleeved.

Long-sleeved T-shirt: is a T-
shirt with long sleeves that
extend to cover the arms.

Ringer T-shirt: is a tee with a separate piece

of fabric sewn on as the collar and sleeve
hems.

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Sleeveless top: is a T-shirt without sleeves,

or one whose sleeves have been cut off,
also called a tank top.

A-shirt: also called a vest or singlet is a

sleeveless t-shirt with large armholes
and a large neck hole.

Camisole: a top with narrow straps. Also

referred to as a cami, spaghetti straps, shelf
top or strappy top.

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Polo shirt: is also known as a

tennis shirt or golf shirt. It is a
pullover, soft collar short-
sleeved shirt with an abbreviated
button placket at the neck and a
longer back than front called the
tennis tail.

Henley shirt: is a collarless polo

shirt.

Top shirt: is a long-sleeved collarless

polo shirt.

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Sweatshirt: long-sleeved athletic

shirt of heavier material, with or
without hood.
A sweatshirt with a hood is also called
a hooded sweatshirt, hoodie or hoody.

Polo neck: Also known

as roll-neck,
turtleneck or skivvy is a
sweater with a close-fitting,
round, and high part similar to
a collar that folds over and
covers the neck

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SKIRT
A Skirt is a garment that covers the body below the waistline or the lower half
of the body. Both men and women have been wearing skirts for hundreds of
years. Skirts according to style or fashion are:
A-Line Skirt: this skirt fits at the waist, slightly touching
hips and thigs, broader at the hem. As it is narrow at the
top and wider at the bottom it looks like the letter ‘A’.

Circle Skirt/ Circular Skirt:

this skirt is made in a circular
shape that has a flare at the hem
and are usually made of
lightweight fabric. Also known
as Umbrella Skirt.

Gored Skirt: also known as flare skirt, is derived from

the A-line skirt. The only difference is, these skirts are
wider at the bottom. Depending on the number of gores
(panels) they are also named as four gore skirt, six gore
skirt and eight gore skirt.

Gathered Skirt: the simplest of skirts, gathered at the

waist. When it is gathered at the hip and set in a yoke it
is called a Yoked Skirt.

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Wrap around Skirt: these skirts wrap around the

waist and the leg, sometimes having a slight flare
design. It is fastened with a button or tie. A casual
wear and mostly made of cotton fabric.

Yoked Skirt/Skirt with yoke: this skirt can have

either pleats, panels or gathers set in the yoke, the
yoke is generally from the waist to the hips.

Pleated Skirt: pleats are folds of fabric sewn at the top of the skirt, it hangs
from the waist to different lengths. The pleats can be either knife pleats,
accordion pleats, box pleats, inverted box pleats.

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Sun-ray Pleat Skirt: a flared skirt with stiff pressed

pleats which are narrow at the waist and widens
towards the hem. Very broad sun-ray pleats are called
umbrella pleats.

Drape Skirt: it is an elegant skirt with

soft folds.

Trumpet Skirt: this skirt is fitted

from waist to above knee and then
flares out from the knee to the floor or
to the desired length.

Fishtail Skirt/Mermaid Skirt: this

skirt is fitted from waist to calf and
then flares out from the calf to the
floor.

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Pencil Skirt: this skirt hugs the body and lengthens from
the waist to beneath the knees or down to mid-calf.
.

Tube Skirt: similar to pencil skirts but made in a stretch

fabric and usually reaches just below the knee.

Straight Skirt: fitted at the waist and hips but falling

in a straight line downward so that it is loose at the
knees. Similar to pencil skirt only less tight.

Tiered Skirt: also

known as gypsy skirt, its
length can be from mini
to full length.

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Prairie Skirt: an
American style skirt, it can
be slightly flared to very
full, with one or more
flounces or tiers.

Tutu Skirt: it is a specialised skirt, originally

used in ballet. This skirt is made of tulle.

Balloon Skirt: is a youthful skirt which has the middle or

central part flare, narrowing down to the lower edge,
forming a silhouette of a balloon.

Bubble Skirt: it creates a bubble at the bottom of the

skirt as the hem is tucked back under. Also known as
the puffball skirt.

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Peasant Skirt: also known as

dirndl skirt, is a casual skirt
lightly gathered at the waist,
falls below the knee and made
with several layers. The layers
can be of the same fabric or
different fabrics for each layer.

Tulip Skirt: is like an inverted tulip, it has

more fabric around the waistline and a close
fitting hemline.

Sarong Skirt: A long, wide piece of

sheer, often patterned fabric, tied
around the waist for a skirt-like effect.
Used widely in tropical climates as a
skirt or as a cover-up over a swimsuit.
Also known as Pareo.

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Bustle Skirt: this skirt has ruffles in

the back, and flat across the stomach.
[A bustle is a type of framework used
to expand the fullness or support the
drapery of the back of a woman’s
dress, it is worn under the skirt, just
below the waist.]

Grommet Skirt: also

known as skirts with
gussets or godets, these
skirts are great for dancing
as they are made with
godets which is an extra
piece of fabric. The
addition of godet causes
the skirt to get additional
flare and volume.

Handkerchief Skirt: this has an asymmetrical or

uneven hem.

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Skort: sometimes called a scooter

or ‘skant’, is a pair of shorts with a
fabric panel resembling a skirt
covering the front. Some skort are
skirts with shorts hidden
underneath.

Skater Skirt: is a short, high-waisted circle skirt with

the hemline above the knee, often made of soft light
weight fabrics

Rah-rah Skirt: a short skirt with layered flounces worn by

cheerleaders

Button/zipper through Skirts: is a skirt

that fastens with buttons or zipper from top
to bottom of skirt.

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Harem Skirt: a straight skirt with high slits on either side.

Overskirt: is a skirt worn to lay over another garment, either another skirt,
petticoat, underskirt or breeches.

Peplum Skirt: is a pencil skirt or a tube skirt with a peplum. [A peplum is a

ruffled or flared panel of fabric, which falls just below the natural waistline.]

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Hobble Skirt: is a skirt with a narrow hem that restricts

or impedes the wearers stride. It was a short lived fashion
(fad) in the early 1910s.

High Waisted Skirt: the skirts that fits higher than the waistline are called
high waisted skirts.

Low-rise Skirt: is a skirt that sits around the hips, an inch or two below the
belly button. They are not worn at the natural waist, nor low enough to
expose the buttocks or crotch. Also known as low waist Skirt.

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Kilt: a knee-length skirt with deep pleats usually

of plaids, worn as part of the dress for men in the
Scottish highlands.

Sulu: a traditional skirt/national dress worn by the men and

women of Fiji.

Foustanella: a white knee-length pleated skirt worn

by the men in Greece and Albania.

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Sampot: it’s a long rectangular cloth worn around the lower

body. It can be draped and folded in different ways, it is
similar to dhoti. Also known as Pha Nug.

Sarung: a large tube or length of fabric, often

wrapped around the waist and worn by men and
women throughout South Asia and other places.

Dhoti: a type of skirt draped around

the waist and is prominent among
Indian men.

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TROUSERS OR PANTS
Trousers/ Pants are bifurcated garments for the
lower half of the body. It is worn from the waist or
hips to below the crotch or to the ankles, covering
both legs separately. Trousers may be held up by
their own fastenings, a belt or suspenders (braces).
Trousers can be categorized according to their
length and styles.

Trousers according to their lengths are as follows:

Hot Pants: a square leg hemmed 2.5 to 3.5
cm below crotch at the inseam and 2.5 to
3.5 cm above crotch at the side seam, it’s
also called as boy shorts or short shorts.

Shorts: 4 cm below the crotch level.

Jams: full-cut, elasticised waist, above-knee length

pants. Also known as Jamaica’s.

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Bermudas: short knee length pant that fits

closely, also known as walking pants.

Surfer: tight-fitting pants that end below the knee.

Pedal Pushers: straight –cut pants with

the hem just below the knee. When they
are fitted with the hem just below the
knee it is known as deck pants.

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Toreadors: tight-fitting calf-length trousers.

Clam Digger: mid-calf pant with

straight or fuller cut, with a large cuff
and it may also have a drawstring. It is
used mostly for casual wear.

Seven-Eighths: any pants coming to

just below the calf of the leg.

Capris: pants that ends several centimetres

above the ankle. Also known as Three
quarter pants, crop pants, flood pants or
high-waters.

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Full Length Trousers/Classic: full length

pants, usually with centre front zipper closing,
fitted at the waist with darts or pleats.

Stirrup: narrow pants which have an

extension worn under the foot.

Trousers according to their styles are as follows:

Leggings: are tight-fitting trousers or skin tight garment, made
of fabric that allows for stretch, a clingy material, often knitted
cotton and spandex (elastane) or lycra.

Jeggings: are leggings that are made to look like skin-

tight denim jeans. Jeggings is a registered brand name owned by
a Turkish textile company.

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High-Waisted: A style of
pants in which the waistline
falls high above the hips
usually at least 8 centimetres
(3 inches) higher than
the navel. Also known
as high-rise.

Hip-Huggers: are pants that sit low on, or

below, the hips, usually at least 8 centimetres
(3 inches) lower than the navel. They are also
called Low-Cut Jeans, Low-rise pants, Hipster,
and Lowriders.

Palazzo: are long trousers cut with a loose, extremely wide leg that flares out
from the waist. Palazzo pants flare out evenly from the waist to the ankle, and
are therefore different from Bellbottoms, which are snug until they flare out
from the knee. Palazzo pants are also not to be confused with Gaucho trousers,
which only extend down to mid-calf length. Harem pants are yet another loose
style, but they have a snug cuff around the ankles.

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Bell Bottom: are pants that fit snugly from waist to

knee and then they flare out from the knee to the
ankle forming a bell-like shape of the trouser leg.
Also known as flares.

Gaucho trousers: are wide-legged trousers with a cuff

that ends around mid-calf.

Baggy pants: Wide-leg jeans and pants with at least

20" in circumference at the hem.

Sweat Pants: Sweatpants are a casual variety of

soft trousers intended
for comfort or athletic purposes, although they are
now worn in many different situations. They are
also known as tracksuit bottoms, jogging
bottoms, trackpants, trackies, tracky daks or yoga
pants.

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Fashion pants: is a variation of the sweatpants design for the

fashion conscious. These pants are often made from a variety of
materials, like velvet or satin, and in many colour combinations
or patterns. One distinguishing characteristic is that fashion
pants generally lack the elastic band at the ankles.

Windpants: are similar to sweatpants but are lighter and shield

the wearer from cold wind rather than insulate. Windpants are
typically made of polyester or nylon, with a liner made of cotton
or polyester.

Tearaway pants: also known as breakaway pants, rip-off

pants, or popper pants. Tearaway pants are windpants with snap
fasteners running the length of both legs. The snaps allow
athletes to remove their tearaway pants in a timely manner to
compete in some sports.

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Bondage trousers: are trousers with zippers, straps, chains, rings and buckles,
in a variety of styles, including tight or baggy, long, short or Capri.

Cargo trousers: also called combat

trousers or combats are loosely cut pants originally
designed for tough, outdoor activities, and whose
design is distinguished by one or more cargo
pockets.

Cargo shorts are a shorts-length version.

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Cycling shorts: also known as bike

shorts, bicycling shorts, chamois, knicks,
or spats are short, skin-tight legwear designed
to improve comfort and efficiency
while cycling.

Bib shorts are cycling shorts that are held up by a

bib (integral suspenders/braces) instead of an elastic
waistband.

Baggy shorts: Also known as shy shorts are

cycling shorts that look like regular shorts on the
outside, but have a thin chamois lining on the
inside

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Jodhpurs: are tight-fitting trousers that reach to the ankle, where

they end in a snug cuff, and are mostly used for horse riding.
Originally jodhpurs were snug-
fitting only from just below the
knee, to the ankle and were
flared at the thighs and hip.

Harem Pants: are long, loose, and baggy,

caught in at the ankle.

Hammer pants: a loose fitting trouser

inspired by harem pants are tapered at the
ankle with a sagging rise made suitable
for hip-hop dancing.

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Culottes: describes a split or bifurcated skirt or any

garment which "hangs like a skirt, but is actually
pants.

Romper: A one-piece garment consisting of a top with attached

shorts.

Jumpsuit: A one-piece garment consisting of a top with

attached pants.

Jumper: A sleeveless, one piece garment or dress meant to be

worn over a blouse, shirt, or sweater. Dozens of variations have
been named to describe their prominent features such as "bib
jumper" or "A-line jumper."

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Carpenter: also known as overall, over all, overalls, bib-and-

brace overalls, dungarees, party bibs or Salopettes ( French
word for overalls). are a type of garment which is usually used
as protective clothing when working.

Shortalls: are a type of overalls in which the legs of the

garment resemble those of shorts. Shortalls designed
for toddlers often have crotch and leg snaps to
facilitate diaper changes.

Slim-fit pants: Also known as tight pants, pencil pants, skinny pants, skinnies
or skinny jeans (when made
of denim) have a snug fit
through the legs, taper
completely at the bottom of
the leg and end in a small
leg opening that is
approximately 9" in
circumference.

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Drainpipes: Also known as stove pipes, cigarette pants, or gas

pipes, are skinny but then the lower leg is straight instead of
tapering and so they are often slightly baggier at the bottom of
the leg than skinnies.

Boot Cut Jeans: will normally taper to the knee

and then slightly flare out to accommodate a boot.

Boyfriend jean: is meant to be worn slouchy and relaxed. With or without a

cuff.

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JEANS
Jeans are pants, made from denim or dungaree cloth. Originally jeans were
designed for cowboys and miners, but became popular in the 1950s
among teenagers. Now Jeans are a common fashion item and come in various
fits, styles and colours. (Skinny, tapered, slim, straight, boot cut, cigarette
bottom, narrow bottom, bell bottom, low waist, anti-fit, flare, distressed [visibly
aged and worn, but still intact and functional jeans] …………) Jeans in their
all-time favourite indigo colour look the best.

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DRESS
A dress also known as a frock or a gown is a garment consisting of a skirt with
an attached bodice. It consists of a piece that covers the torso (bodice) and
hangs down over the legs (skirt) to any length. Dresses can be formal or
informal. The variations in dresses can be achieved through manipulating its
length, waist line, flare and seams. The variations created with these elements
will determine the ultimate fit of the dress. A dress in all its femininity and
grace is suitable for all occasions like a special date, a wedding, an award
function, a birthday, a casual outing, and even a mourning ceremony. It’s
suitability to different function is dependent on the whims of fashion and the
modesty or personal taste of the wearer.
The variety of dresses can be categorised
 By styles: Shift dress (semi-fitted), Sheath dress (fitted), Princess dress,
Empire dress, Shirt dress, Strapless dress etc.
 By silhouette: trapeze, empire, hourglass, bell, bouffant, balloon
 By the level of waistline: empire, high waist, natural waistline, dropped (or
low waist), Basque waistline, U-shaped, Inverted V-shaped, Inverted U-
shaped
 By the level of hem line: full length, evening length, Tea Length, Maxi,
Midi, Below knee, Knee Length, Above knee, Short, Mini, Micro-Mini,
Diagonal hemline
Frock: in olden times was a loose, long garment with wide, full sleeves, such as
the habit of a monk or priest, commonly belted; later was applied to a woman's
dress in the fashion of the day.
Gown: in olden times was a loose outer garment from knee- to full-length worn
by men and women and today in certain professions (academics, judges, and
some clergy); later, gown was applied to any full-length woman's garment
consisting of a bodice and attached skirt.

Coatdress or coat dress: resembles

an overcoat, usually with collar,
lapels and front fastenings similar to
a coat, and made in spring- or
autumn-weight fabrics. The coatdress
is often recommended for those
wishing to project a professional
look.

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Wrap dress: is
a dress with a front
closure formed by
wrapping one side across
the other, and knotting
the attached ties that
wrap around the back at
the waist or fastening
buttons. This forms a V-
shaped neckline and
hugs the wearer's curves.

Cocktail
dress or cocktail
gown: is worn
at cocktail
parties and semi-
formal or "black
tie" occasions.
Historically the
length of a
cocktail dress is
long, often touching the ankle but the modern
definition of a cocktail dress is a dress above the
knee. It must be smart, such as the little black
dress, and may have sequins or lace as a feature.

Little black dress: also known as LBD is a black evening or cocktail dress, cut
simply and often quite short. It is intended to be long-lasting, versatile,
affordable, and accessible to the widest market possible and in a neutral colour.
The LBD is considered essential to complete a wardrobe by many women and

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fashion observers, who believe it a "rule of fashion" that every woman should
own a simple, elegant black dress that can be dressed up or down depending on
the occasion: for example, worn with a jacket and pumps for daytime business
wear or with more ornate jewellery and accessories for evening.

Debutante dress is a white gown, accompanied by

white gloves and pearls worn by girls or young women
at their debutante cotillion. [Debutante cotillions were
traditional coming of age celebrations for eligible
young ladies ready to be presented to society as ready
for marriage.]

Evening gown is a long flowing

women's dress or gown usually worn to a formal
affair. It ranges from tea and ballet to full-length.
Evening gowns are usually made of luxurious
fabrics such as chiffon, velvet, satin, organza,
etc. Silk is a popular fibre for many evening
gowns. Although the terms are used
interchangeably, ball gowns and evening gowns
differ in that a ball gown will always have a full
skirt and a fitted

bodice; in contrast, an
evening gown can be any
silhouette:
sheath, mermaid, A-
line or trumpet shaped
and may have an empire
or dropped waist.

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Jumper: also known as jumper

dress, pinafore dress
or pinafore is a sleeveless,
collarless dress intended to be
worn over a blouse, shirt or
sweater.

Sarafan: is a long, traditional Russian jumper

dress (pinafore) worn as Russian folk costume by
women and girls.

Apron dress: the design

of the dress is directly
inspired by an apron
(having a bib in front and
ties in the back).

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Sundress: is a dress intended to be worn in warm weather. It is an informal or

casual dress in a lightweight fabric, most commonly cotton, and usually loose
fitting. The dress like a jumper, is sleeveless and collarless but is to be worn
without a layering top (not worn over a blouse or sweater). Sundresses can be of
any neckline and hemline, including modest styles and a variety of patterns.
Sundresses are made in a variety of closure types, including back zippers, side
zippers, front buttons, back buttons, back ties and pullover style.

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Gymslip: is a sleeveless dress with a pleated skirt most

commonly seen as part of a school uniform for girls. The
term "gymslip" refers to the school uniform. It is like the
pinafore worn with a blouse underneath.

Princess line or princess dress: describes a

woman's fitted dress or other 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. A rarely used alternative
name for the Princess line was French-dart-line
dress after the specific darts used in its construction.

Slip dress: closely resembles an under slip or

petticoat. It is traditionally cut on the bias,
with spaghetti straps. Slip dresses first became
widely worn in the last decade of the 20th century,
as part of the underwear-as-outerwear trend.

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Shift dress: also known as straight dress or chemise dress, is short and straight
with a simple line. It hangs loose on the body from the shoulders as its cut
straight at the sides and left unfitted at the waist, like the undergarment known
as a chemise. Shift dress is commonly confused with a sheath dress, both are
dresses that end somewhere around the knee. The difference is that a shift tends
to be less fitted around the waist and hips. While the sheath dress is body-
clinging. A shift dress actually shifts - with the bottom having a wider skirt than
the top, while, a sheath dress is narrower, with pretty much identical
measurements at the bust and the knees.

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Sheath dress: is a type of dress designed to fit

close to the body, relatively unadorned and falls
around the knees or lower thighs.

Shirtdress: is a style of dress that

borrows details from a man's shirt.
These can include a collar,
a button front, or cuffed sleeves.
Often, these dresses are made up in
crisp fabrics like cotton or silk,
much like a men's dress
shirt would be. As they are
typically cut without a seam at the
waist, these dresses often have a
looser fit, usually relying on
a belt to define the waist.

Strapless dress: is a garment that

stays put around the upper body
without shoulder straps or other
visible means of support. It is usually
supported by an internal corset and/or
brassiere, with the tightness of the
bodice preventing the dress from
slipping out of position.

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Wedding dress or wedding gown: is

the clothing worn by a bride during
a wedding ceremony. Colour, style and ceremonial
importance of the gown can depend on the religion
and culture of the wedding participants. In Western
cultures, brides often choose white wedding dress,
while in eastern cultures, brides often choose red to
symbolize auspiciousness.

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Ball gown: is the most formal attire for social occasions. It is traditionally a
full-skirted gown reaching the floor, made of luxurious fabric, delicately and
exotically trimmed. The most common fabrics are satin, silk, taffeta and velvet
with trimmings of lace, pearls, sequins, embroidery, ruffles and ruching.

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Bouffant gown: is a women's dress

silhouette made of a wide, full skirt
resembling a hoop skirt (and sometimes
including a hoop or petticoat support
underneath the skirt). It may be tea length or
floor length. Today, it is mainly seen in
wedding gowns, Quinceañera gowns
(The quinceañera is a celebration for Latina
girls who, turning fifteen, are honoured as
an introduction into her community as a
young woman and no longer a child) or ball
gowns.

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Trapeze dress: also known as tent dress or sack dress, a full, loose-fitting dress
that is narrow at the shoulders and very wide at the hem, having no waistline or
darts and no shaping seams. Trapeze dresses may widen considerably or only
slightly at the bottom. When the trapeze dress widens considerably at the hem,
it’s often called a tent dress. When it’s narrower, it’s sometimes referred to as
a sack dress. The dresses vary in sleeve and dress length and can be greatly
altered with embellishments: fringe, lace, buttons (particularly large ones), and
even with large fake jewels or sequins and glitter. They are usually long
sleeved, fluffy sleeved, or sleeveless. They are often worn with skinny jeans
or leggings underneath, as many trapeze dresses are made short enough to
where the crotch or underwear can be seen. They are normally worn as mini
dresses but can sometimes be long, or short as to be worn as a shirt.

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Empire silhouette, Empire line, Empire waist or just Empire: is a style

in which the dress has a fitted bodice ending just below the bust, giving a high-
waisted appearance, and a gathered skirt which is long and loosely fitting but
skims the body rather than being supported by
voluminous petticoats. The outline is especially
flattering to figures that wish to disguise the
stomach area or emphasize the bust. The shape of
the dress also helps to lengthen the body's
appearance.

A-Line Gown: This style is fitted at the bodice and

flows out to the ground with an unbroken line
(resembling the outline of the letter ‘A’) Due to its
classic and simple style, the A-line dress is
appropriate for any occasion.

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Mermaid silhouette: contours to the body from the chest to below the knee (or
lower), then flares out to the hem.

Bell silhouette: is a popular shape for

women’s fashions. It shows a fitted upper
bodice, with a hip to hemline curve
mimicking the shape of a bell.
hour glas s s ilhouette

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Hour glass silhouette: resembles an hourglass shape or the X shape,

characterized by wide hips, narrow waist and wide bust. It’s the iconic 50’s
dress.

Charleston dress: also known as

flapper dress is a straight, loose dress
with a waistline dropped to the hips,
it’s the 20s iconic dress.

Pencil dress: is a straight, narrow cut dress with the

hemline at the knee, (resembling the outline of the letter
‘H’) it’s the iconic 60’s dress.

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Y-shape dress: is the combination of the

hourglass (X) for the top and the pencil (H) shape
for the bottom. It’s the 40’s iconic dress.

Balloon Dress: is narrow

at the bust and waist with
a wide skirt that is balloon
shaped and a hem that
falls to the knee.

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SUIT
Suit is when a jacket is worn with a
matching or coordinate trouser or a skirt or
over a dress. The suit can be of fancy,
corporate, or casual look depending upon its
cut, fabric and detailing. The suit makes the
wearer look sophisticated while enhancing the
figure and adding to it a hint of glamour.

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JACKET
Jacket is derived from the French word Jacquetta meaning jacket of a lady’s
suit. A jacket adds elegance and sophistication to an outfit. It is a lightweight,
cropped coat ending at the waist or down till thigh level and can have a variety
of variations in its style. Fabrics such as tweed, gabardine, corduroys, denim are
used for making jackets.
The different styles of jackets are:
Bolero Jacket: is a straight cut, high waist length
jacket worn open in front or meeting at one point.
It is collarless with variations of sleeve length.

Anorak Jacket: this is a wind cheater with a hood and

has a zipper placket in front.

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Blazer/coat Jacket: this is a thigh length, straight cut, or slightly fitted jacket
with broad coat collar lapels. It can be single or double breasted.

Blouson or Lumber Jacket:

this is a straight cut hip length
jacket with a waist band and
sleeve cuffs.

Denim Jacket: this is made of denim worn at various lengths, it has buttoned
cuffs like that of a shirt. It has double stitching lines characteristic of jeans.

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Donkey Jacket: this a thigh length straight jacket with

sleeves, and a roll back collar.

Eisenhower Jacket: it is a fitted waist length

jacket.

Flared Jacket: a thigh length jacket,

fitted at the shoulders and flares
downwards.

Gilet Jacket: this jacket style is also known as a

waistcoat. It is fitted with length till below the normal
waist and is sleeveless.

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Safari Jacket: a straight cut jacket worn belted, it has large pockets, pleats and
epaulettes

Ball Jacket: it is a casual jacket having a zippered or buttoned front with

knitted cuffs, collar and waist band, worn as a baseball or football jacket. Also
known as Leatherman jacket.

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ETHNIC OR INDIAN WEAR

India has a wide range of costumes worn throughout the country. Each of this
costume is well known for its charm, beauty and uniqueness. Salwar-Kameez,
Kurta-Chudidar, Sari -Sari blouse, and Ghagara or Lehnga- Choli are part of
Indian wear.
KAMEEZ OR KURTA
Kurta or kameez covers the upper half of the body ending somewhere between
thigh and calf. It is a long tunic [A tunic is any type of garment for the upper
body, usually simple in style, reaching from the shoulders to a length
somewhere between the hips and the ankles] and is available in various styles
such as fitted, straight cut, princess style, kalidar, and angarkha. With each style
having unlimited options in terms of neckline, sleeve design, and length of the
kameez. The kameez is worn along with salwar, chudidar, or plazzo pants.

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KURTI
A short kurta is referred to as the kurti whose length varies from hip length to
thigh level with slits on the sides.

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SALWAR
A salwar is the bifurcated
garment that covers the lower
half of the body. It is a loose
fit garment worn at waist and
extends till the heel or the foot.
It is loose pajama-like trousers.
The legs are wide at the top,
and narrow at the ankle.

Patiala salwar has extra

fullness.

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Churidar is a fitted
garment for lower part of
the body like salwar, but it
has a tight and gathered fit
below the knee level
especially on the calves.

DUPATTA
It is a long piece of fabric like a scarf which is draped in various traditional
styles. It is also known as odhni, orhni, chunni, lahario or chunari and was
formerly used as veil to cover the head and screen the face from public view.
Now it is used to cover head, bust or draped on one shoulder.

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SARI
Sari is increasingly becoming a fashion statement. It
makes one look modest and attractive at the same time.
Sari has been an Indian attire since long back and it is
the national costume of India. Nowadays no fashion
presentation is complete without the display of sari in
their elegance. It has attracted the fancy of most of the
Indian and many international designers. Everything
about the sari, starting from
the fabric to the styling of
the sari and the blouse or
Choli has undergone
change. These days a sari is
available with wide range
of embellishments such as,
crystals, beads, sequins,
stones, embroidery, and laces. Add to this Choli
varying from a fully covered Indian blouse to a
halter , a bustier, a backless and you have an
ensemble which makes everybody to take notice
and still very much Indian.
Nowadays the structured
saris are also very much
popular. These are stitched saris which makes the
draping process easy and fast. They provide beautiful
drapes and can be worn by anyone who does not have
the knowledge of draping a sari.
Throughout India, sari is draped
in various styles, each state has
its own style of draping sari
such as Gujarati, Maharastrian,
Bengali, Coorgi etc.

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SARI BLOUSE OR CHOLI

Sari blouses are stitched tops worn with draped
saris. Plain blouse, choli cut blouse, a halter, a
bustier, a backless are amongst the few variations
of sari blouses.

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GHAGRA CHOLI
Ghagra-Choli is an Indian version of top and skirt.
Ghagra, Lehenga, Sharara, or Chaniya is the skirt
that is heavily gathered at waistline, the length can
vary from knee length to ankle length.
Lehenga is worn on
festivals and special
events while Ghagra or
Chaniya is a traditional
skirt worn on day to day
basis by girls and women.
Lehengas are more fitting
worn at the waist to
enhance the shape of a
woman, whereas Ghagras or Chaniyas are loose
fitting worn more as a comfort wear. Both are worn
below the navel area leaving the
back and midriff bare. Sharara and
Garara are flared pants (which
look like skirts), Garara has a joint
at or below the knee and has flounces while Sharara has a flare
from the waistline, both are generally worn with kurtis.

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Choli is an upper garment which

is worn cut just below the bust or
till mid riff, are well fitted, have
sleeves of varying lengths.
Sometimes a briefer edition of
choli called Kanchali is worn with
the ghagra. It is an open backed
blouse, fastened at the back with
cords or ties.
A Ghagra can be also be worn
with a Kurti, which is also an
upper garment that reaches till the
hip bone or thigh length, or longer with a Kameeze.

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INDO-WESTERN WEAR
A combination of Indian look and western silhouettes for
women

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SWIM WEAR
Swim wear is available in a variety of styles in the One –piece version, Two-
piece version or as a burkini.
One –Piece Versions are generally sleeveless but
can be also be strapless or halter and the hip portion
at times is covered by a detachable or attached skirt.
To meet the Indian standards of modesty some one-
piece swimwear have elbow length sleeves, with the
panty hemline ending at thigh length or at surfer
length.

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Two-piece version by the fashion industry is

considered as a bikini, where the panty can vary
from thong to hot pants to full coverage and the top
can be a bra style, tank top or camisole. All these
style variations are now also known by various
names like string bikini (triangular pieces held
together with strings), monokini or
numokini (single, top part missing),
tankini (tank top, bikini bottom),
camikini (camisole top and bikini
bottom), hikini or hipkini, thong,
slingshot or sling bikini (actually a
one-piece swimsuit), seekini (transparent bikini), microkini
(extremely skimpy bikini), skirtini (bikini top and a small, skirted
bottom) and granny bikini (bikini top and boy shorts bottom).

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Burkini or burqini is a type of

modesty swimsuit for women. The
suit covers the whole body except
the face, the hands and the feet,
while being light enough for
swimming. The design is intended
to respect Islamic traditions of
modest dress.

NIGHT WEAR
Night wear is available in the form of nighty
worn with or without a night gown (house coat)
and a night suit which is a top worn with
pyjamas, capris or shorts. The styles, fabric,
colours and trims can vary the nightwear from a
casual attire to a sensuous one.

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MEN’S WEAR
Women have always had a fancy for fashionable attire, and therefore their
wardrobes are full of apparel suitable for a plethora of occasions. Now, with
changing times, even men are taking keen interest in fashion. They too want to
indulge in fashionable attire for corporate meetings, casual meetings, parties, to
the club and for weddings. As a result of changes in their interests and more
casual lifestyles men's clothing has also changed. Formerly the men’s wardrobe
was limited to suits, trousers, and shirts, now these have expanded along with
their activities, and increased clothing choices have made them more fashion
conscious. Also there is an intermixing of corporate business and leisure
wardrobes: a suit jacket over jeans, or shirt and tie replaced by a T-shirt. Casual
does not mean sloppy or cheap.

WESTERN WEAR
SHIRTS
There are two types of shirts: The Dress Shirt and the Sports Shirt.
Dress shirts are long sleeved, worn buttoned at the neck and usually with a tie.

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Sports shirts are those which are available long or short sleeves and can be
worn unbuttoned at the neck.

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T-SHIRTS
T-shirt also known as Tee-shirt fall in
category of casual wear. They are
constructed in a knitted fabric with or
without stretch, with or without collar in
short or full length sleeve. The Tee shirt
with a collar and a short front placket are
known as Polo T-shirts. The collarless T-
shirts, with round or V- neck are known as
Crew T-shirts.

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WAIST COAT
It is a sleeveless fitted waist length garment which
is worn under the single breasted jacket. It is
provided with an adjustable buckle at the back to
get a proper fit.

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SUITS
A suit consists of a jacket and a trouser made of
same fabric with or without a waist coat. Blazer is
similar to a jacket in all respects but, it is worn
with trousers of a different fabric or colour. The
jackets can be Single breasted or Double breasted.
Single breasted jackets have one row of two to
three buttons. The double breasted jackets have an
overlap with two rows of buttons with two to three
in each row.

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Safari suit is an attire adopted from safari jacket by

the tropical countries as an alternative to the suit. It
is a two piece outfit, a short sleeved jacket with an
open shirt collar and matching trousers. It has
generally has four patch pockets. They are made of
cotton or cotton blended fabrics in colours suitable
for the warm weather.

TROUSERS
Trousers are worn with jackets or shirts and may be
constructed from same suit fabric or different fabric. The
trouser can either with straight fuller cut or it can be slim
fitting trouser.
Casual trousers are –jeans, cargos,
chinos available in variety of cuts
such as baggy, boot cut, and bell-
bottoms.

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ETHNIC OR INDIAN WEAR

Indian ensembles include the traditional Kurta, short kurta, Sherwani and
Jodhpuri jacket. These are worn with Pyjama, Dhoti, or Churidar. These
garments can be worn for casual as well as formal occasions depending on the
styling, fabric, pattern and embellishment.

KURTA PYJAMA OR DHOTI KURTA

Kurta is a long loose garment with varying
lengths from knee to calf levels. Kurtas are
available in two styles: The Straight-cut Kurta
which is of knee length and the Kalidar Kurta
also known as Kali Kurta has two side panels that
attach to the central piece on the front as well as
back. A kurta can be with a round neck or it can
have a stand collar, a placket and side slits.

Kurta can be worn with pyjama, Churidar or Dhoti.

A Pyjama falls straight and stands away from legs.
Churidar are fitted at the ankles with the churries
(gathers) adding an illusion of girth on the legs.
Both these garments are tied at waist with the help
of a string and are constructed garments but Dhoti
is a rectangular piece of cloth which is 5.5 meters
in length and 1.25 meters wide and draped on the
body.

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SHERWANI AND JODHPURI JACKET

Sherwani worn with a Churidar is a popular attire
for Hindu rituals and ceremonial functions. It is
knee to calf length and is stitched with fitting at the
waist. It usually has stand collar and richly
decorated with embroidery, beads, stones and
kundan work. It has button fastenings till the waist
and side slits for easy movement.

Jodhpuri Jacket is a traditional garment similar to a suit

worn with flat front trousers or Jodhpur
pants. It has a stand collar with 6 to 8
buttons on the placket
and a breast welt
pocket and two slit
pockets finished with
binding on the lower
half.

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INDO WESTERN WEAR

Short Kurta is a shorter thigh length version of
the kurta which is worn with Jeans or casual
trousers and gives the Indo-Western look to the
wearer.

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CHILDRENS WEAR
All children like new clothes and want to wear them in preference to their old
ones as they discover that newness has great attention value. Children are
especially interested in colours of their clothes and want to wear the clothes of
their favourite colour. Ornamentation in clothes such as buttons, animal or
cartoon figures and functional as well as decorative pockets catch a child’s
attention. Children like to wear clothing which is easy put on and take off, they
like comfortable and soft textured fabrics. They also like to have similar colours
and styles in their apparel as their playmates.
Clothing for school children needs to meet not only its physical protection but
also social and emotional requirements in terms of peer groups acceptance and
building self-confidence. Children in this age group start making a choice when
buying their clothes.
Teenagers are very conscious about their looks and physical changes and
therefore want to dress according to their peers, as this gives them a feeling of
security and acceptability.
INFANT
Infant is the term used for new born babies. Infancy lasts for a year from the
time a baby is born.

SHIRTS
Shirts for an infant are available in a variety of styles, made of woven or knitted
cotton fabrics. The shirt can have no sleeve, half sleeve, or full sleeves and big
armholes which makes the dressing easier. They are also known as Diaper
Shirts.
Slip-on shirts: are without any fasteners, which can be worn by
pulling over the baby’s head.

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Front open shirt: are those

which close with flat
fasteners or tie-ups and are
easy to put on and take-off.

Wrap over shirt: are those which have an

extension from centre front till the side of the
shirt or like a double
breasted.

BABY SUITS
These are loose fit and comfortable full length body suits with or without
attached foot portion. They have opening on the inner leg seam till the crotch
for easy change of diaper. The front opening of baby suit makes it easy in
wearing. Since they cover the full body they are worn when it is slightly cold.

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ROMPER
It is a one-piece combination of shorts and a shirt worn by infants.

BIBS
Bibs are made up of cotton towelling material and can have waterproof backing.
Bibs are worn over the clothing to protect them from getting soiled and wet
while feeding babies. Bibs can be tied at back with cords or fastened with
Velcro.

NAPKINS/ CLOTH DIAPERS

Two types of napkins are available in market. One is the Stitched type that is
tied with tie ups or fastened with Velcro. The other type is Square shape and is
folded in triangular form and fastened on to baby with a knot or nappy safety
pins.

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DIAPER COVER
These are generally made of waterproof fabrics.

TODDLERS
An infant enters the toddler stage by the time he/she is one year old. Garments
in the form of Frocks or T-Shirts with shorts or leggings are used. These clothes
should be comfortable to wear, easy for laundering, long lasting because
toddlers soils the clothes while crawling, sitting, and playing on the floor.
Textures that are soft and does not irritate skin should be used.

T-SHIRTS
T-Shirts in bigger size are either sleeveless or with sleeves. The neckline can be
round or V-shape or it can be with collar. T-Shirts for toddlers also have some
detailing in form of buttons or cartoons to attract them. The shirt can be worn
with shorts, capris and leggings.

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ROMPERS /BABY SUITS

A child at this stage needs clothes with which it can easily move around. Sun
dress, rompers and overalls are mostly worn during summer while baby suits
during winters. Sun dresses or frocks are mostly worn with bloomers or shorts.

Overalls

Sun dress

Romper

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PRE-SCHOOLERS
The pre-school and nursery school
period plays a crucial role in the
development of a child. The child
wants to put the dependency of
childhood behind him and wants to
become independent.
The clothes for pre-school child
should:
 Satisfy his need to climb,
jump, run, carry and push with ease and skill.
 Be flexible and not binding, warm, absorbent and stretchable, easy
washable, soft and durable.
 Be easy to put on and take –off.
 Be attractive and simple in design.
 Have growth allowance for adjusting to a rapidly growing body.
 Have looseness at shoulders and armholes to prevent freedom of
movement.

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SCHOOL CHILDREN
The period of childhood between 6 to
12 years of age, when a child starts
going to a regular school, is called the
elementary school stage.
Clothing requirements for school
children:
Peer groups acceptance is very
important to these children as this

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provides them with a feeling of being grown up

and independent. By 10 to 11 years, children
make their own decisions on what to wear.
The clothes for school children should:
 Be comfortable and allow for easy body
movement.
 Garment construction should be simple
and sturdy with adequate ease allowance
for movement.
 The garment should be able to withstand the strain of rough play.
 The garments should be easily wearable without anybody’s help.
 The trims applied on the garments should be simple, easy to wash and
iron, colourfast and lasting.

Garments that generally are a part of a school child’s wardrobe are:

In a Girls Wardrobe: Tops, Blouses, Shirts, Kurtis, T-Shirts, Skirts,
Jeans/Trousers, Shorts/Capris/Drawstring Pyjamas, Salwar Kameez,
Sports Wear, Night Wear, Sweaters, Jackets, Coats & Under Garments.
In a Boys Wardrobe: shirts, T-Shirts, Jeans/ trousers, Kurta
pyjamas/Dhoti, Sherwani chudidar, Shorts/pyjamas, night wear,
Sweaters, Jackets, Coats, Briefs & Under Garments.

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TEEN AGERS
The period of life between 13 to 19 years of age
is called as teenage.
Teen agers are very conscious about their looks
and therefore want to dress conforming to their
groups. They want to dress up neatly, nicely and
expensive clothes which provides them with a
feeling of security and social acceptability. Girls
pay attention to fit, colour, and style while
buying clothes whereas boys give maximum
attention to style and then to fit, colour and
comfort. The wardrobe of teen agers must be
planned on the basis of their activities and
occasions they are required to attain. The general
category of clothes they require are school wear,
casual wear, party wear, sportswear and sleep
wear.
Casual wear comprises mostly of t-shirts, skirts and jeans, Sportswear
comprises of T-shirts, jeans, pants, shorts, overalls, jumpsuits, leggings,
girls' skirts, boys' shirts, sweatshirts, sweatpants, and sweatsuits, in knits and
woven, particularly denim and fleece. Sleepwear includes pyjamas,
nightgowns, nightshirts, and robes.

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REVIEW QUESTIONS
1) What is a safari blouse?
2) Illustrate and describe a drawstring blouse?
3) List the various names of a crop top.
4) What is a skirt?
5) Sketch and describe gored skirts?
6) Design a palazzo.
7) What is a little black dress?
8) Design a tankini?
9) Design a house coat?
10) Why does a baby suit have an opening on the inner leg seam till the
crotch?

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4. DESIGN CONCEPTS

Design is organization. It is about a fresh look, a unique, and an unusual

interpretation. Good design respects our need for the familiar while still being
unique. When anything is designed it is put together with some intent or goal in
mind. Some designs are casual and some are elaborate. Some succeed, others
fail. Whenever something is purposely done, someone has designed it.
Examples: music is designed, coffee is designed, marriages are designed, and so
are books about design, pocket calculators, jokes, robberies, hijacking etc.
A good design does not "assemble" or "decorate" arbitrarily. It is a conscious,
logical yet creative activity. There is a method, a plan, a reason, and a process
involved while creating good designs.
For successfully designing a garment or decorating, it is necessary to understand
what constitutes a good design. The entire purpose of spending the scarce
resources like time, effort and money in designing and decorating a garment is
to make it attractive and pleasing to the eye. A design can be defined as an
arrangement of lines, shape, colors and texture that create a visual image.
Charles Eames has very correctly defined design as "A plan for arranging
elements in such a way as to best accomplish a particular purpose". Designing
means moving from the state of randomness to the higher state of organization,
to create a design or impression or to communicate an important / innovative
idea. On the highest level of design is the careful and knowledgeable
manipulation of art elements to produce an expressive personal idea.

There are two basic divisions of designing in the field of clothing, these two
divisions are often inseparable and can be defined in other words as the factors
influencing the design or the types of design.

TYPES OF DESIGN
Structural Design
Decorative Design

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STRUCTURAL DESIGN: Structural design refers to the

basic cut or pattern of a garment. It includes all the various pattern
parts and construction details (Structural decoration) such as darts,
pleats, tucks etc, that shape the flat fabric into a garment and fit the
body contours. Structural design may add a decorative quality if
emphasized by Colour contrast or row of top stitching to outline
the basic garment parts. In apparel, structural design is more
important because it is the fundamental component of design.

DECORATIVE DESIGN: Decorative design refers to

details that are used to trim the garment such as braid, lace,
edgings, insertions etc. A decorative design needs the basic
form i.e.) the Structural design and the decorative details will
be used or draped over it.

To enhance the beauty of the apparel, a designer has to first of all use his
knowledge of the basic tools of design. The designer's tools are the elements
and principles of design. They use these tools like a carpenter uses his tools.
The Elements of design are Line, Shape, Texture, Colour and Space and the
Principles of design are Rhythm, Balance, Proportion, Emphasis and Harmony.

ELEMENTS OF DESIGN
In the art of designing apparel/clothes as in any other art there are certain
essentials that help to ensure results not only correct in every detail but artistic
and beautiful in their effect. A complete knowledge on the various fundamental
elements of design would help a designer to create and design an
apparel/garment on an aesthetic manner. To create beautiful apparels
consistently one needs to follow certain guidelines in selecting and arranging
design elements. A design can be defined as an arrangement of line, shape,
colours, texture that create a visual image. A design has unity when all lines,

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texture, colour and shape seem to belong together. The elements and principles
of design are flexible and should be interpreted within the context of current
fashion. The principles of design are the rates that governs how elements are
combined. The elements of design are therefore the raw materials in design that
must be combined successfully.

The following are the elements of design:

Elements
of Design

Form &
Line Shape/ Colour Texture Space
Silhouette

Elements of design are those components which an apparel designer employs in

designing the garments. These elements are considered as ‘plastics’ in art
language because they can be manipulated or arranged by the designer to create
desired illusions.

LINE
Line is the simplest and most important design elements and is referred to as an
elongated mark that connects two or more points. Line in fashion can be created
by the silhouette of a garment or the construction and by the decorative features
which it is made up of. The lines that produce the silhouette and the structure
are the exterior ones while all others (trims and line patterns in fabric) within
the garment are known as interior lines.
Line in fashion is important because line affects how someone sees a fashion.
Lines offer a path of vision for the eyes when wearing an outfit. Our eyes follow
lines, and eyes can be lead up or down or side to side or around a garment.
Individuals can project different facets of the personality by selecting
appropriate lines e.g. the effect that bold and wide vertical lines give is different
from the effect of lines that are narrow.
Line has different aspects including direction (vertical, horizontal, diagonal,
curvy, jagged), weight (thick, thin), sharpness of edge and length. The direction
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and weight of a line can affect how a garment looks on a body as it provides the
visual dimensions of length and width. When lines combine, space is enclosed,
forms and shapes are defined. Wise selection of lines can flatter the wearer’s
appearance.

The above picture shows how the both the exterior lines and interior lines are
used in a garment.
Lines are the greatest devices of fashion designers. There are two kinds of lines
- straight lines and curved lines. Straight lines can take four directions. Vertical,
horizontal, diagonal or zig zag. A curved line may be extreme, approaching a
full circle or it may be very gentle or subtle almost straight.
Straight lines are in opposition to the natural curve of the body. They are rigid
or crisp. The use of straight lines in clothing design is very often softened by the
texture of the fabrics selected. For eg. When a soft fabric such as Jersey is used,
the straight lines drape on the body curves, stiff fabric such as organdy or taffeta
maintain the straight line because they stand away from the body. Lines within a
garment are created by darts, seams, decorative details and fabric prints. Each
kind of line produces its own special effect. Straight lines and shapes denote
force and strength and have a masculine quality, curved lines are the lines of
nature, they are graceful and gives a feminine effect. The arrangement of lines
in clothing design can cause the wearer to appear taller, shorter, heavier or
thinner than what actually is and can also make hips look small or large,

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shoulders look broad or narrow, and waists look thick or thin. Each direction of
a line creates an optical effect or illusion.
HORIZONTAL LINES: Lines running crosswise cause the eye to travel
across and thus increase the apparent width of
the figure. E.g. Horizontal stripes and borders,
boat necks, off-shoulders, yokes, wide collars,
belts, large pockets, all move the eye across
the garment emphasizing its width at that
position. A soft sheer fabric may be tucked,
sheered or ruffled horizontally and used with
good effect to create illusion of breath. A
horizontal effect
can also be
achieved by a
row of tucks or
lace, depending
upon the width of
the tucks and the space between them. A thin
horizontal line looks less wide than a thick
horizontal line. As horizontal lines lead the eye
across the garment, use these lines where you want
to look wider because they reinforce width and add
bulk.

LENGTHWISE LINES: vertical lines

carry the eye up and down and thus are
used to emphasize height and add length
to the figure. A person wearing a
garment with vertical lines in the form of
stripes, plaids or vertical seams appear
taller and more slender. Vertical lines are
seen in the vertical closing of jackets and
dresses. They can also be in a row of
decorative buttons, narrow pleats or
piping inserted in a vertical seam, so as
to emphasize the line. Stiffer fabrics give
a straight look, a thin vertical line looks longer than a

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thick vertical line. Since vertical lines lead the eye up and down the garment,
use these lines where you want to look taller because they reinforce length,
height, and narrowness.
DIAGONAL LINES: diagonal lines create
the illusion of activity, excitement, drama,
and motion and lead the eye up and down as
well as across the figure. It means stressing
length thus slenderizing the figure. Diagonal
lines hold the eye’s attention longer than
horizontal or vertical lines and are often
found in V-necks, open collars, ties, stripes,
flared skirts or pants, zippers, shoes with
crisscross straps,
Combinations of diagonal lines to
form pointed or v shaped seams have
a tendency to emphasize height and
slenderness by drawing the eye up
and down on the figure.

ZIGZAG LINES: these lines are a series of connected

diagonal lines, which provide a jerky and abrupt movement of
the eye, leading to an increase in the apparent mass of that
area. They suggest the illusion of
excitement, drama, motion, and confusion.
Zigzag lines also known as jagged lines are
often featured in the patterns of fabrics or in
the design of logos. Since zigzag lines draw
the eye’s attention to where they are used,
use these lines to add emphasis to an area of
the body, or to add interest to a look.

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CURVED LINES: Curved lines hold

the eye’s attention longer than straight
lines. They create a gentle, romantic,
soft, casual, feminine, graceful, sensual
illusion. Curved lines are often found in
necklines, bows, lapels, sleeves, ruffles,
skirts, and gathers. Curved lines lead the
eye around the garment. Curved lines
can increase, emphasize, or reinforce
body curves. They can counter angular
body areas. As these lines cause the
observers eye to travel less abruptly
across the body because of their upward as well as outward
movement, it is another means of stressing width in a more
pleasing way.

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FORM & SHAPE /SILHOUETTE

Shape is a space enclosed by lines. In an apparel the silhouette is the outer shape
and in fashion is important because it affects how someone sees a garment. A
shape can be also seen in the structural and decorative details of the apparel –
the openings, collars, sleeves, darts, frills, yokes, etc. Silhouette is the basic
component in visual communication as our eyes perceive shapes, which have an
impact on how the garment is perceived. Often the silhouette gives the first
impression because it is seen from a distance and because it is contrasted to a
background. The dictionary meaning of silhouette is a dark image outlined
against a lighter background”. The silhouette of a garment refers to the outline
shape that it gives to the wearer. Silhouette is determined by the texture of the
fabric and the cut of the garment, the length and width of the garment, position
of the waist line, length of the shoulder seam etc.
Basically every silhouette is a variation of two shapes – the rectangle and the
triangle. The variations and combinations generally may be classified as
tubular/fitted, semi-fitted/A-line, slightly fitted/bell, loosely fitted/bouffant etc.

Sheath Silhouette: is a form fitting silhouette from the top

to the bottom of the garment. This style is usually fitted
with slits in the hem for ease in movement. This silhouette
generally is the rectangular, but it also depends on the body
shape. Sheath dresses, fitted jeans, pencil skirts are
examples of this silhouette.

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A-line Silhouette: is fitted at the bodice and the skirt

has a slight flare making it look like a capital A. this
silhouette is narrow at the top and widens towards the
hem in a gradual manner
smoothing out awkward
lines and curves of the body
and hence flatters most
body shapes.

Straight Column Silhouette: The dress which belong to

this silhouette will have a rectangular shape as it has
almost the same measurement for the bust waist and hem.
It is also referred as Rectangular
silhouette / tubular silhouette.
A shift dress is an example of this
type. A person with a thick waist
and wide hips will love this
silhouette as it hides these flaws
very comfortably.
In a gown, this silhouette may
also show up fitted in the bodice
and with a column style skirt
without any flare, going straight
down to the floor. This is a
very often seen silhouette in summer clothes. Clothes
of this silhouette is best made with fabric which drape
very well, which are light weight.

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H-Line Silhouette: This is a silhouette, usually of a

one-piece garment, going straight from shoulder to
hip, and crossed at the waist with a belt, cuff or other
accent, thus resembling the letter ‘H.’

Hour Glass Silhouette: This

silhouette is characterized by a
fitted waistline. This very
popular silhouette emphasizes
the curves of the feminine
figure. The fashion shape
shows the bust and hip at
approximately the same width,
while the waist is narrower.
You can design this silhouette
with the help of waistbands,
belts, and darts. Corsets tops and bustier with a flared
skirt can emphasize the waist and
create this silhouette.

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Wedge Silhouette: This is a silhouette with an

emphasis on the shoulder. This silhouette is made so
with the help of design additions like shoulder pads or
with sleeve types like the butterfly sleeves or puff
sleeves, giving extra emphasis to shoulders. Most
tailored coats have a
shoulder wedge silhouette.
A raglan sleeve and its
variations like the batwing
sleeves and dolman
sleeves will also create a
wedge shape as it adds
bulk under the arm. Fabric suited for making
garments in this silhouette are heavy weight fabric
and crisp fabrics like organdy. Knits are good for
dolman and raglan sleeved dresses.

Trapeze Silhouette: This silhouette which is similar to an A line silhouette but

with a more pronounced flare near the hem is shaped like a trapezoid or rather a
tent. Basically speaking it looks like a triangle, flaring as it does from under the
armhole. This silhouette works as a short dress rather than as a full length dress,
as it can overwhelm the figure.

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Empire Silhouette: This

was a popular silhouette
in the early 1800s, the cut
features a waistline just
below the bust and a skirt
that flows down all the
way down. This
silhouette emphasizes the
bust and disguise the
stomach area. T

Balloon Silhouette: has a fitted or

loose upper bodice with balloon like
shape at the hem. This type of dress is
perfect for skinny women as the dress
emphasizes volume.

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Bell silhouette: is full skirted. Fullness may be in the

form of gathers, pleats or flare. Bell or Ball gown
silhouette is fitted in the bodice till the waist and then
flares generously to the hem to make a bell shaped
skirt. This silhouette is typically found in traditional
dresses/ wedding dresses; the flare of the skirt in this
silhouette is mostly achieved by layers of fine fabric.
A petticoat with many frills of crinoline under the
gown also helps to create this silhouette.

An extreme bell silhouette which is sometimes

referred to as bouffant silhouette. Stiff fabrics
like organdie and taffeta produce bouffant effect.

Thin figures and stout figures should avoid extremely tubular or clinging styles
as well as extreme bouffant styles. A fitted garment emphasis the figure
contours. The less fitted the shape, the less aware is of the body and more
dominate the garment silhouette. The silhouette is dominant too when there are
few seams or details to distract the eye. Fabric choice also affects silhouette a

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crisp fabric moulds garment shape, a soft one tends to outline, and thus
emphasize body shape. Stiff fabrics like organdie and taffeta produce bouffant
effect, while clinging fabrics like full voile creates a clinging silhouettes.
Fashion has its influence on silhouette. Skirts can be straight and slim, flaring
and triangular, or rounded and full. Shoulder lines can be puffed, sloping or
squared. Waistlines can go up and down. Each time a major change takes place
in the basic silhouette a new style is born. Our choice for the silhouette should
be that it is beautiful, functional and that it enhances the figure.

COLOUR
Colour is the most exciting design element in
the garment that attracts our attention before
deciding the kind or quality of fabric. It is
important for a selected colour to not only
please the wearer but also to make the garments
suit the figure, hair and skin colour one
possesses. As colour creates the first impression,
it can glorify or destroy ones appearance
therefore it is an important design element
which no one can ignore.
Appreciation of colour is largely an emotional
process. It is a source of universal pleasure and
is used by everyone to delight them and also to
fortify their living environment by its
stimulating effect as whatever we see will not evoke any emotions in the
absence of colour. It is a very effective and powerful tool for visual
communication. Shape or form and colour are the two basic components in
visual communication. Shape or Form affects the intellect while the colour
evokes emotions.
PSYCHOLOGICAL EFFECT OF COLOUR/POWER OF COLOUR
Colour is a means of instant communication.
 Colour can make us cheerful or depressed. Each colour is associated with
some emotion. It sends messages and expresses feelings.

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VIOLET: lighter tints symbolize aging and femininity while the darker
shades symbolize royalty and exclusivity, associated with wisdom, dignity,
independence, creativity, mystery and magic.

BLUE: symbolizes royalty and grandeur, lighter tints of blue symbolize

softness sensitive emotions, hope and peace while the dark blues are associated
with depth, authority, strength and reliability, masculine colour

GREEN: most soothing colour to the eye, The fresh green of leaves, tender
shoots and grass symbolize new, refreshing, growth, organic, youth, health,
relaxing, stress-free. The dark green of the forest symbolizes strength,
trustworthy, determination and prosperity. The olive green and the mossy green
symbolize military, safari and camouflage

YELLOW: sparkling, warm and energy, an extrovert colour, hope,

happiness and optimism

GOLDEN YELLOW: symbolizes opulence, luxury and divinity

ORANGE: optimistic, joyful and lively, Excitement and youthfulness,
adventure, fun-loving and outdoor-sports, auspicious colour for people
following Buddhism as it symbolizes success and long life

BRICK ORANGE: symbolizes warmth, down-to-earth,

RED: makes a person act and react, most passionate, provocative and
romantic colour, colour of festivity, celebration, adventure and youth,
auspicious in India hence used in Indian bridal wear and wedding decorations.

PINK: tenderness, romance, love and friendship, feminine qualities

BLACK: elegance, glamour, modern yet classic and sophisticated, black is
strongly associated with fear, death, hopelessness, gloom, mourning and
sadness.

WHITE: Peace, purity, clarity, simplicity, innocence and delicacy, also

mourning in the Indian context

BROWNS: Stability, masculine qualities


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 Colour can create a feeling of warmth or coolness.

Warm colours are those seen in fire. They are red, yellow and orange,
cool colours are those found in water and sky, they are green, blue and
violet. The warmth or coolness of a colour carries with it an illusion of
visual height. The warm colours yellow, orange and red are known as
advancing colours because they create an illusion of moving forward.
Warm colours make objects, shapes or areas appear larger, more
important and closer than other colors. Warm colours emphasize the body
size and contours. Cool colours make objects, shapes or areas appear
smaller less important and further away than other colors. Cool colors
minimize body size and shape.

Warm colours are more

prominent than cool
colours which appear to
recede.

 Colour plays tricks with size and distance. It can

create a variety of illusions.
Colour can be helpful in providing an illusion of height
when garments are made with a single colour or tones
of the colour. The illusion is further enhanced if it is a
floor-length garment. Light coloured upper should be
teamed with dark-coloured lowers to give an illusion of
tallness. Dark colours recede visually and can be used
to give an illusion of slimness. Light colours are
suitable for skinny people, as they provide an illusion
of widened area.

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Bright colours should be used to highlight the beautiful and appealing parts of a
body type. Light values and warm bright colours tend to enlarge figure and,
therefore, should be avoided by heavy people. They are the right colours for
skinny figure types. Dark colours make the figure appear slimmer and are
therefore the right choice for a heavy person. Light colours and shiny surfaces,
which reflect light, increase the apparent size of the place where they are used.
Therefore, they should not be selected for problem areas, such as large busts,
broad hips, and heavy arms. Dark a very low values outline the silhouette and
light or high values reflect the light falling on them,
emphasizing the body appearance in both the cases.
On the other hand, middle or grayed values
camouflage the body shape. Values contrast should
be placed on the area of the body that needs to be
highlighted, such as neck, waist, and bust.

Dark colour reduces

apparent figure size, a light
colour increases it.

COLOUR FOR OCCASION

Festive occasions and functions in a family call for
bright, lively colours. For funerals the need is to
wear mourning colours like white, black or blue,
never bright colours. Sober and light shades should
be worn to the office. Brighter hues for casual
outings. For formal occasion deeper, darker or
stronger colours are better. In the world of fashion,
black is a colour most worn in cocktail parties and
fashion shows as it makes a statement of style,
elegance, glamour, and sophistication. Red is bold
and an attention-getter, vibrant, auspicious and
festive. Doctors, nurses and hospitals use light,

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fresh and calming blues while dark blue is used in uniforms and banks
conveying dependability and authority. Being soft and feminine lavenders and
mauves are extensively used in ladies nightwear while purple represents royalty.

COLOUR FOR SEASON

Colour choice also depends on the
season, summer colours are often
pastels, cool colours and white. Never
wear metallic tones of gold, silver,
copper or dark shades of grey, navy
blue and black in the peak of summer or
on a hot sweaty day. Winter colours are
dark, rich and mature like rust, brown.
Yellow, red and orange the warm
colours are best for winter. Wear matt
tones in summer or during the day and colours with an added
shine or gloss during winter or at night.

COLOURS FOR AGE

The colour of skin and hair change as one ages and this
should be kept in mind while selecting the colours for
clothes. Bright colours may be the choice of the young girl
provide her type or the colouring allow her to wear them.
For an old person: Avoid harsh and bright colours. Cool
colours are a good choice, as they convey a feeling of
restfulness and do not present a harsh contrast to a person’s
hair and skin colour. Subtle colours, such as neutrals and
dull intensities, are a better choice of colour in an older
person’s wardrobe.

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COLOUR FOR COMPLEXION

White and light colours add radiance to most complexions as they reflect light,
lighten the skin add vitality to the face. Colours on clothing should be in
harmony with the complexion of the person. For example:
Soft colours and clear tints are best for people with light skin colour
Dark values drain colour from the skin and make a fair skin person look pale,
while light values add colour to the skin.
Warm or contrasting colours look flattering o people with dark skin.
Bright colours bring out their complementary colours, such as a green dress
would make a blushing face look deep red
Undesirable tones in the skin can be subdued by using analogous colour
schemes in garments.

COLOUR FOR PERSONALITY

Flamboyant and extrovert men and women can wear
bright vivid colours of red, yellow and strong hues of
orange, pink, blue and green while introverts can
wear pastels like pale pink, sky blue, mint green,
lavender, peach, saffron or neutral tones like ivory,
beige, black, white and all shades of brown.

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TEXTURE
Texture is the element of design that describes surface appearance and feel of
the apparel. A consumer is first attracted by the colour and then by the texture.
All fabrics have a surface texture and varied textures are seen on the surface of
the fabric and trimmings. Some adjectives used to describe textures are smooth,
heavy, thin, crisp, glossy, voluminous, flat, pebbly, soft, uneven and rough.
The most important aspect of designing is selecting the right textures and
combination of textures, as textures create interest in a garment. The texture
depends on the arrangement of the component parts of a fabric. These are the
fiber, the yarn, the fabric construction and the finish that make up a fabric.
Components of Texture

Fibre

Yarn

Fabric Construction

Fabric Finish

FIBER: Refers to the raw materials that are spun into yarns and then woven,
knitted or felted into fabric/cloth.
YARN: refers to the distinctive textures that emerge as a result of different
techniques used in creating yarns from fibers.
FABRIC CONSTRUCTION: refers to yarns that are woven, knitted or felted
to form fabrics.
FINISH: Refers to fabric finish that vary the texture of the fabric by using
various chemicals.
A fabric is usually touched to see the feel of the fabric, but it is not always
necessary to feel an object to understand its textile qualities. Textures are two
types: tactile and visual.

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Tactile textures can be felt with a touch. We feel

differently when we touch a sandpaper and quite
differently when we touch a smooth marble. Changes
in fabric surface due to weaving and knitting of the
yarns of different thickness cause tactile textures on
cloth.
The visual aspect of texture
is perceived by the eye
because of the degree of
light absorption and
reflection on the surface of the material. Visual
textures are seen due to surface ornamentation like
printing, embroidery, smocking etc. Textures also has
the definite dimensions of weight, size, bulk and
shape. These physical dimensions are also visually
perceived.

Each fabric has textural characteristics that can be

described by feeling, seeing or feeling and seeing.
Feel: Soft – Crisp, smooth – rough
See: Shiny – dull, opaque – transparent
Feel and see: thick – thin, clingy – rigid

Texture can be used all over the garment or for

embellishment. All-over texture refers to the
weave of the garment’s main fabric. For
example, a sweater made with thick, heavy yarn
has a chunky, bulky texture. Embellishments can
create texture for garments too. For example a
top may have a sequined, sparkly area that looks
different from the rest of the garment.
When coming up with outfits, people often mix
textures. For example, a tweed jacket could be
paired with a skinny jean, or textured pants might
be paired with a crisp shirt. Avoid using too many
kinds of fabrics in one apparel e.g. velvet, taffeta,
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cotton, the textures in any apparel should express the same idea or theme. If too
many textures are mixed the costume looks confused and unrelated.
Wise selection of textures can flatter the wearer’s appearance. Some textures
create the illusion of added weight, such as bulky or shiny fabrics. Coarse
fabrics like jute and furs give an enlarging effect to the wearer.

Texture Description Examples

Coarse Loose, rough or coarse Burlap, Sail cloth

Smooth Free from obstruction Batiste, Voile

Crisp Having the surface roughened Linen, Crepe

into small folds or cuationrling
wrinkles

Nubby Having small knobs or lumps Tweed, Shantung

Fine Very thin in gauge or texture Fine Pina, Fine Cotton,

Organza
Clingy To adhere Tricot, Plain Jersey
Knit

Glossy Having a surface luster or Smooth Plastics,

Polished
Brightness
Cotton

Shiny Bright in appearance Satin, Vinyl

Dull Lacking brilliance or luster Cotton Denim, Medium

Heavy Having great weight in Quilted Fabric,

Tapestry
proportion to bulk
Cloth, specially wool
such as
Camel, Boiled wool

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When using fabrics like brocades, moire and heavily embroidered fabrics, its
best to keep the design simple. While plain fabrics often require a little dressing
up.
Fabrics should also be selected keeping the weather in mind, thick, bulky
fabrics are appropriate for the winter, while in the summer light weight, soft and
fine fabrics are more appropriate.

Textures for occasion:

Casual wear: cotton, calico, chicken cloth, jersey, casement, denim, leather,
nylon & lycra [for sportswear]
Formal wear: velvet, silk, chiffon, satin, brocades, moiré, corduroy,
Evening wear: lace, voile, crepe, georgette, chiffon, velvet, gabardine and other
suiting.
Office wear: cotton, drill, linen, terry cot, twill, tweeds, suiting

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PRINCIPLES OF DESIGN
Principles of design are guidelines for the use of elements of design to create
attractive garments. The elements and principles form the basis for any design.
The elements act as tools and principles act as guidelines as how to use the
elements. Fashion style has to be adapted by the designer to suit both figure and
personality. Since most individuals do not have well-proportioned figures, it
becomes important to understand design principles. The principles of design
also help when coordinating several garments and accessories into a complete
outfit. The principles of design are useful in creating different forms of
expression in our artistic manner, which are pleasing and attractive to the eye.
The principles of design are:
Balance
Proportion & Scale
Rhythm
Emphasis
Harmony & Unity

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Principles
of Design

Proportion Harmony
Balance Rhythm Emphasis
& Scale & Unity

BALANCE
Balance is defined as the equal distribution of weight from a central point or
area. Balance refers to the restful effect achieved through grouping design
details to maintain a feeling of equal weight or attraction from side to side, front
to back or top to bottom. Pleasing balance brings about a satisfying relationship
among all design parts to produce visual harmony. When the design elements of
line, form, shape, space, color and texture are in balance, a pleasing harmony is
established in clothing designs. A garment must be balanced to be visually
pleasing. There are three types of balance:
a) Formal balance, also called symmetrical balance or bilateral symmetry.
b) Informal balance, also called asymmetrical or occult balance.
c) Radial balance

Balance

Informal
Formal Balance Radial balance
Balance

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Formal Balance
Occurs when identical objects are equidistant from a
center point. Formal balance in an apparel can be
achieved by evenly spaced rows of tucks, lace etc. on
either side of the garment. Formal balanced designs
often give an impression of stability due to the equal
or balanced placement of the parts that compose the
design. In apparel formal balance may emphasize
body irregularities. Formal balance is also known as
symmetrical balance.

Informal Balance
Occurs when objects not similar in size or shape but
nevertheless appear to equalize each other but not through
repetition and the arrangement is in a haphazard manner.
Informal balance is more a matter of visual impact, than
exact physical weight distribution. A shirt may appear
balanced even though it has one fabricated pocket on one
side of the center. Informal balance is used to correct body
irregularities. Informal balance is also known as
asymmetrical balance.

Radial Balance
Occurs when major part of the design radiates from a central
point. Radial balance uses a central point as the focal point,
for e.g. pleats, seams, gathers, darts, motifs, radiate from the
focal point creating a sunburst effect in garments.

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PROPORTION and SCALE

Proportion can be defined as the pleasing relationship between parts
of a whole (the sizes of various design details in a dress) and to
each other (between the garment itself and the design details). The
shoulder line, waistline and the hemline compose the main
horizontal dividing lines of garment. The placement of these lines is
therefore of the utmost importance as it determines, whether the
garment is proportionate. The waistline should never divide the dress length
exactly into equal halves but should be so placed that it divides approximately.
As per the Greek law of space division, a space divided in the proportion of 2:3
is very pleasing to the eye. E.g. In a garment, proportion of the bodice length to
the skirt length must be 2:3 and the yoke length also bears the same proportion
to the bodice length. Pockets on the bodice and the skirt must also have the
same proportion. The relationship between the garment and its design details
e.g. The size of the collar, buttons and pockets as also the width of the belt and
cuff, can affect the appearance, as well as between the wearer and the garment.
E.g. large appliqué motifs attached on a small dress violate the principle of
proportion and scale, and therefore should be proportionate to the size of the
wearer. Clothing proportions also can create an illusionary effect to the wearer.
A person looks tall and slim when the size of the skirt is 4 to 6 times the size of
the bodice, as the eye measures the length of the skirt and relates it to the height
of the wearer. Miniskirts also tends to increase the height of the wearer. If the
body is divided in equal proportion by the apparel it gives a square look and
makes the wearer appear wider and shorter.
RHYTHM
Refers to the smooth movement of the eye from one part of a
design to another. Rhythm can be obtained through
repetition of lines, shapes, colours or textures that give
direction to be followed by the eye. Rhythm is necessary to
create interest in a design, convey the theme of the design
and give the apparel unity.
Rhythm can be achieved through the
combination of lines, shape, colour and
texture by the following aspects in
designing.
• By regular repeats of trims, texture and
fabric design and prints.

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• Progression or gradation in sizes of trims, colours, textures and fabric designs.

• Radiation or movement from the central point occurring within structural

details such as gathers, folds, tucks, darts etc.

• Continuous flowing lines such as those in bands of colours, textures and fabric
designs.

Printed salwar suit fabrics are a wonderful example of rhythm as the fabric for
the lower garment such as ‘Salwar’ or ‘Churidar’ is filled with small motifs, the

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fabric for ’Kameez’ has a similar motif in an enlarged form, keeping the colour
palette same or contrasting the ‘Dupatta’ is a mix of small motifs on the border
and larger ones at the center of the dupatta or the other way round in this way
the fabric has a continuity of pattern and with small variations, adding more
interest to the outfit.

EMPHASIS
Refers to the dominance of one part with
subordination of others. It is defined as the center
of interest, which draws and holds more attention
than any other part. A good design should have a
design feature which is the centre of interest,
while other features support it.
Emphasis can be achieved by contrasting colours,
bold and unusual shapes, eye catching patterns,
complex textures, attractive design details,
interesting trims etc.

HARMONY
Harmony is created when all parts of the design are related,
consistent and in order. Refers to unity of design with slight
contrast or variety to prevent monotony. If the principle of
proportion, balance, rhythm and emphasis are applied
creatively, the resultant design is said to have harmony
A design has harmony and unity when, it gives an overall
impression, a feeling of belongingness to the composition
that attracts and holds the attention of the observer and gives a balanced look to
the design. When design elements and principles work together successfully
they create harmony.

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One of the most common problems is the choice of silhouette, it should be

pleasing in relation to the wearers figure and age.
Patterns on the fabric should be placed so that they
match on the garment parts. Unity in colour
combination and prints should be there. When
dressing the unity of all elements in the outfit
including garment accessories, jewelry, and facial
ornamentation should be in unity and harmony.
Sometimes garments are combined with
accessories that are quite inappropriate e.g. tennis
shoes with tailored suits or party dresses.

REVIEW QUESTIONS
1) What is design? Give examples
2) List the elements of design
3) Differentiate between structural design and decoration design with an
example.
4) Why does a figure wearing a vertical striped garment look taller?
5) Silhouette in fashion is important. Why?
6) Name and explain the different type of silhouettes.
7) Enlist the principal of design
8) Write the importance of colour in designing
9) Design an evening gown using the principle Radial balance.
10) Design a wedding gown using a bouffant silhouette.

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5. Designing & Presentation of

Apparel
Ever wondered why a blouse bought from a boutique looks classier than its twin
bought along the footpath? Why does the same ‘pav bhaji ‘sold on the roadside
look more appetising in a posh restaurant? It’s because the boutique and the
restaurant have a better appealing ambience and is presented with a flair.
Same goes with designing and presenting an outfit. The perfect design looks so
only when it is tastefully presented.

SOCIAL ASPECTS OF CLOTHING

“Clothes make the man” is an old saying, which we accept without giving it
much thought. Clothes not only “make the man”, but also affect the facial
features and the body. Clothing takes the form of symbols used by individuals
as a tool for social interaction. This forms non-verbal communication. Clothing
does for a person what a gift wrapper does for a gift. They both attract the
attention of the onlooker and create a visual impact known as the first
impression.

Clothing Is Classified Into Two Classes:

• The fixed: are substantially permanent and are not subject to fashion
changes but vary with each locality.
• The modish: type predominates in the western countries and changes
rapidly in point of time over all parts of the world, which are subject to
fashion changes.

Functions of Clothing
• Clothing is useful in protecting the body and providing comfort.
• Clothing itself is a self-expression.
• Clothing indicates prestige.
• Clothing is ornamental or possesses aesthetic qualities.
• Clothing has qualities, which tend to attract the opposite sex.

Theories of Clothing Origin

Four theories have been developed and they provide some “food for thought”
and the opportunity to think critically about clothing.
• Modesty Theory: It suggests that people first wore clothing to cover or
conceal the ‘private’ parts of the human body. The modesty theory is based
on the idea that morality is dependent upon modesty, as expressed through
the concealment of the human body. It is a universal phenomenon. It can be

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defined as a proper behaviour, acceptable to society, in terms of dressing,

speaking and etiquettes. Failure to follow these norms is considered a
shameful behaviour. Different people and cultures have different standards
of modesty and this is reflected in the way they dress themselves.
Different cultures lay down different rules for modesty, which keep
changing from time to time. For example the Indian style of apparel
sharply deviates from the western fashion where the shoulders and
legs, not the stomach fall within the zone of permissible exposure.
Similarly the custom of wearing large circular lip plates by the Kichepo
women in Sudan is yet another example the women would consider
themselves undressed without their lip plates and would never be seen in
public without them. In today’s world it is considered immodest for Muslim
women to go out without burqas or for any women to wear swimwear on
streets.

• Immodesty Theory: Immodesty theory or sexual attraction explain that

individuals may have first worn clothing in order to attract attention to,
rather than to conceal, the sexual organs.

• Adornment Theory: This theory refers to the decorative nature of clothes

and other forms of appearances; modifications for purposes of display,
attraction or aesthetic expression. Before the invention of clothes, humans
used to adorn their bodies by various means such as body painting, tattooing,
scarification, piercing and hair styling. In primitive and tribal societies,
people used easily available indigenous and natural materials like flowers,
seeds, sea shells, wood, precious stones, animal parts like teeth, bone, fur,
feathers etc. selected on the basis of colour, texture and shape. They also
discovered methods of crafting the materials like tanning of hides, weaving,
dyeing, and printing of fabrics for decoration in clothing. This was done to
enhance ones self-image through the beautification, improving sexual
attractiveness and establishing social status. Other motives behind
adornment include frightening the enemy, repelling evil spirits, showing
economic position and expressing oneself.

• Protection Theory: This theory suggests that clothes protect humans from
the elements, animals or even supernatural forces. Several scholars say that
the need for clothing was born out of physical necessity. Men required
clothing in response to the need for protection and for shelter against
extreme variations of temperature, rain, dust, thorns, wild animals and
insects. For activities like warfare and hunting, extra protection was needed
for the body. In today’s world, there are specialised forms of protective
clothing like diving suits, space suits, fire fighters attire, bullet proof jackets,
facial masks and gloves worn by medical workers. These types of clothes

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protect the wearer from occupational hazards. Protective gears such as

helmets, gloves, diving suits, life-vests and water googles have been
designed to enjoy different sports without hurting oneself. Raincoats, gloves,
and thermal suits are made and worn for the sake of protecting our body
from the weather.

Selection of Clothing
People select certain clothes to wear because of their values and attitudes, their
tendencies toward conformity or individuality, and their personalities. Values
are the basis of people’s decisions, lifestyles and codes of ethics. Attitudes
affect people’s feelings or reactions to other people, things or ideas. Conformity
and individuality are usually balanced in peoples clothing choices. Clothing
choices can also give clues about personality traits.
Fashion is a mirror of the times. It reflects the culture at a given time. Historic
clothing has revealed many details about the lifestyles of those from various
past cultures. Clothes tell others a lot about who people are and how they lived.

Values and Attitudes

Values are the ideals and beliefs important to individuals. They are the
underlying motivations for a person’s actions. They are the basis of a person’s
decisions, lifestyle, and personal code of ethics.
Attitudes are formed from values. They are an individual’s feelings about, or
reactions to, other people, things, or ideas.
Values and attitudes are learned over a lifetime. They are influenced by cultural
customs and traditions. Economic and social conditions of the time also affect
them. Values and attitudes can be passed from one generation to another.
Family members, friends, and the community are important in forming them.
Some people select comfortable clothing because they value their own comfort,
others always choose bargains because they value economy. Some people value
easy care. Others must have the latest fashions in clothes, or expensive items,
because they value prestige and want to be noticed. People who are in the
businesses of making or selling clothing items try to identify the values and
attitudes of their customers. Then they can provide the items that will be
preferred, and ultimately bought, by that group of consumers. What people do
with their money shows their personal values. Some like to spend money on
many clothes and accessories. Others have few clothes, preferring to spend their
money on concerts, movies, or other forms of recreation. Still others save their
money for a car or other large purchases in the future. Advertising can influence
people’s values, attitudes, and purchase decisions. Television commercials try
to create a stronger desire for particular products. Fashion ads in newspapers
and magazines play to desires for economy, status, easy care, adventure, and
comfort. Shopping malls attract many customers who value convenience.

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A gown with decorative beading, such as this one, gives

much more status than a plain long dress made of
inexpensive fabric.
Age influences people’s clothing selections, too. As people
go through life, their values and attitudes change. Students
in their middle school years may consider conformity to be
important. High school and college students may have to
be budget conscious, but they still want the current
fashions. Business attire, is selected by someone who has a
professional career. Prestige and status may be desired
during middle age. Comfort becomes more important as
people age.

Individuality versus conformity

Pressure from other people has a great influence on how people dress.
Conformity means obeying, or agreeing with, some given standard or authority.
Humans learn early in life what others expect them to wear. Parents, teachers
and other authority figure set some of the rules of dress. Peer pressure, which is
influence exerted to be accepted by a peer group, also contributes to conformity.
To be accepted by a peer group, people must often conform to group standards
of dress and behaviour. Those who do not conform, risk rejection by the group.
Conformity can satisfy the needs for identification. By doing this, a safe feeling
of belonging is achieved through approval. However, too much conformity can
mean a loss of personal individuality.
Individuality is self-expression. It is the quality that distinguishes one person
from another. It is the characteristic of being unique. When people choose styles
and colours of their friends, they are communicating their individuality. They
are satisfying their need for adornment while rejecting peer pressure and
conformity.
Most people balance the influence of conformity and individuality in their
clothing. Their clothing choice depend on their moods as well as different
settings and situations.
Personality
Personality can be defined s total unique characteristic that distinguish an
individual, especially his behavioural and emotional tendencies. A person’s
basic personality might be happy or sad, shy or outgoing, warm or aloof, kind or
mean, relaxed or stiff, or something else. Personalities are influenced by in-born
characteristics as well as people’s experiences. Studies have found that certain
ways of dressing give clues about specific personality traits. For example, tests
have shown that people who desire very decorative wearing apparel tend to be

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very sociable. People who mainly like comfort from their clothes tend to have
self-control and confidence. They are often outgoing and secure. People who
are shown in the personality tests to prefer economy, rather than spending lots
of money on their wardrobes are usually responsible, alert, efficient and precise.

SOURCES OF INSPIRATION FOR DESIGNING

Creativity is an enigmatic aspect of human experience; it is often difficult to
identify what it is that drives this impulse and the elements that inspire an
artist’s work. Inspiration can be a fickle thing. Most designers, when lacking
ideas, turn to design galleries to find ideas. But there are a few problems with
that approach. The most obvious is that when taking inspiration from similar
mediums, there’s a fine line between “inspired by” and “copied”. So when a
career depends on a constant supply of creativity, it is important to know what
inspires the work, and how to stimulate one’s imagination. There are so many
sources that a designer could turn to for inspiration.
The following are some sources of inspiration:
• Nature: The inspirational opportunities present in the natural world around
us are literally thousands, if not millions, of things. Birds, trees, animals,
bugs, the sky, mountains, valleys, deserts, rivers, lakes, the list could go on
forever. When you’re lacking inspiration take a break and get outside in the
fresh air, have
a stroll or take
a bicycle ride.
Parks and
countryside,
city streets
and urban
environments
can all enliven
the senses and
invigorate
creativity.
Look around
at the shape
and texture of
things, the
colours, the
patterns, and anything else that catches your eye. You’re almost sure to find
something you can apply to your design if you take the time to look.

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• Movies & television (Media): Many critics and historians consider film to
be the quintessential art form of the twentieth century. Title sequences in
movies and television are the most obvious places to look for inspiration, but
set and costume design can also be useful in finding solutions to design
problems. Historical films often have fantastic settings and costumes, as do
science fiction and fantasy. Contemporary films can also have a wealth of
potential design inspirations. Pay attention to the visual aspects of the next
movie or television show you watch and try to think of ways they could be
applied to your design projects. Also pay attention to secondary products
associated with
television and
movies, such as
commercials and
promotional
posters. These can
be a huge source of
inspiration as well.

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• Magazines, Newspapers & Illustrated Picture Books (Print Media):

Children’s picture books are often filled with wonderful graphics. The
illustrations themselves are one source of inspiration, but also the
typography and the page layouts beyond the illustrations can be just as
valuable. Look at the colours, the fonts used (and their sizes) and how the
type is positioned on the page. Also check out how the text is balanced with
the graphic elements, and how the amount of information on each page is
limited. All of these are valuable lessons that you can apply to your own
designs.

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• Internet: It’s easy to take the Internet for granted, but it was only a few
years ago that researching designers and creative techniques would involve
trawling through libraries, searching for periodicals. Today all this can be
found with simple
searches, reading
Wikipedia pages or
watching YouTube
clips. The Internet has
revolutionized many
aspects of our daily
lives; for designers it is
an invaluable source of
information and
inspiration.

• Architecture and Interior Design: The world of architecture and interior

design holds a huge variety of potential sources of inspiration, and there’s
likely an aesthetic style out there for every taste and every project. From
vernacular architecture to modern minimalism to art deco and everything in
between, there’s almost certainly an architectural style out there that can be
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adapted to be your source of inspiration. There are likely a number of

architectural gems not too far from where you currently live or study. Look
up at the buildings that surround you on a daily basis and take in their forms,
shapes, details, and other defining characteristics.
•

• Photography: There are billions of photos online you can peruse whenever
you need a bit of inspiration. Look at composition, colour, and balance
within an image to get ideas. Also keep in mind what the story behind the
image is, and think about how something similar could be applied to your
design.

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• Galleries and Museums: The best way to experience art is in the flesh
and fortunately most galleries and museums are bursting with great works
and fascinating relics. There is a mass of inspirational art to explore, from
the riches held by the galleries and museums.

• Historic Costumes: to omit the sergeant of historic costumes as a source of

inspiration would be to omit the richest available treasury of costume ideas.
And without knowledge of the past, how can you know that what you design
is original. A thoughtful study of historic dress reveals that most of our
apparel silhouettes and line arrangements have been tried before.

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 National or Peasant Costume: often the contemporary costumes of

people living in distant lands can be adapted to our specific needs. It
can be an idea for an apparel, an
inspiration for headgear or other
accessories or it may be some decorative
detail or fabric design.

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 Crafts: The world of artisan crafts is filled with some incredibly talented
people. The world of crafts is no longer just populated with tea cozies and
crocheted covers. Unique designs abound and are an excellent source of
creative inspiration and there’s very little chance of being accused of
copying someone else’s creation. There’s plenty of room for your own
interpretation with the shapes, textures, and patterns as sources of
inspiration. Colour is also easily adapted.

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 Food: The sensations that go along with eating can be a fantastic way to
unleash your creativity. If you’re feeling uninspired,
try and go beyond just eating and really think about
the food. Consider the ingredients
that are put into the meal and what
each one adds to the finished result,
think about the different flavours
and how they
complement or
compete with each
other in the finished
dish. Don’t overlook
the presentation of
the food, either.
Look at the way the
food is placed on the
plate, whether there
is any garnish, how
much empty space

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there is around the food, etc. All of these things add to the inspiration.

 Draping: designers love the art of draping because their designs come to
life as they manipulate the fabric on the dress form
and during the draping process new and more
interesting designs usually take place. Draping also
helps in developing unusual ideas which are not
possible and difficult to contrive by sketching.
Draping also crystallize half formed ideas which
cannot be visualized clearly enough to sketch.

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Taking inspiration from these various sources can be a great way to infuse
something new and fresh in your designs. Design themes/inspiration make it
easy to coordinate the presentations with colour, styles and patterns that all
work together to create a mood for your designs. Even though different types of
themes are used for different occasions, the whole presentation works together
as an attractive package. While designing on any theme various factors have to
be considered. Factors to be considered are age, sex, fabric, and also occasion.
A few ideas on how to adapt fashion themes in the designs:
 Look at the overall scale and mimic it for the silhouette.
 Colour schemes are one of the easiest areas to adapt.
 Look at the lines of a garment and emulate them in your designs.
 Fabric textures and patterns are another easy-to-mimic area.
 Surface ornamentation of the apparel can also be copied.
Remember the apparel should look like an apparel and not the theme.

TYPES OF FASHION DRAWINGS

There are three main types of fashion drawings used in the fashion industry:

Fashion flats (garment spec

drawing, fashion technical
drawing, working drawing)
is a drawing of garment for
spec sheets. It isan accurate
record having every item
clearly marked for example
the zip, pockets, flaps. A
front and back view is
important, at times a side
view is aso essential.

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Fashion illustration is a drawing of garment

on a figure for line sheet, catalogue or for
general look of a fashion design project. It is
the designers impression or idea of a garment
which is attractive enough to encourage
people to choose the garment. It conveys
message without saying much.

Fashion float is a form of a fashion illustration

without depicted figure, could be used for fashion
presentation boards or apparel line sheets but not for
garment spec sheets. Simply speaking, a float is the
drawing of a garment without a croquis, yet the
garment follows the curves of an imaginary figure.

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FASHION ILLUSTRATION
When fashion illustrating/designing an apparel it is important to know the
theme or concept on which to stylise it, should it be traditional, ethnic, modern,
western, Indian or a fusion.
Before one sits down to design, one should understand the basic of the fabric, its
weave, its length and width, its uniqueness, texture and colour. Picking out its
most unique point, one should take off from there for designing.
The designer creates outfits to enhance the figure and to deglamourize the flaws
of the human body. Certain basics like the understanding of the shape of the
human figure, the fabric, its texture and colour and pattern, the proportion of the
garments with the figure, should be essentially considered before designing the
outfit. A lot of excitement could be created in the garment with the help of
embellishments, but no matter how expensive the fabric, how costly the
embellishments, the apparel will still fail to attract the attention if the style does
not suit the figure wearing it or the cut and the finish of the garment is not up to
the mark or if there is no unity and rhythm in the design.
Every designer has their own style of going about this task but a few steps may
help the beginner in setting their pace.
 TRACING THE OUTLINE: Lay a piece of paper over the croquis and fasten
securely with thumb tacks or pins or clips. Then trace lightly the outline of
the figure, including the head, neck, shoulders, arms, side lines and hem
edge. Use the dotted lines on the croquis only as guidelines for the centre
front, neck waist etc.
 DECIDING ON THE DESIGN: Before you go any further, you must decide
the basic silhouette of the garment, whether it is going to be flair, or A-line
or straight etc. Try and keep the basic silhouette simple in the beginning and
take on more complicated ones as you practice further.
 SHAPING THE DESIGN: With the outline traced and the design decided
upon, indicate the position of the waistline using the dotted foundation line
as a guide, and sketch the neckline letting the centre match with the dotted
central line.
 PLACING THE CONSTRUCTION AND TRIMMING LINES: After the
silhouette of outline of the design is secured, the position of construction and
trimming lines is determined. The design lines should be kept as simple as
possible and see that every line is terminated well to avoid confusion while
cutting along these lines. Aim for a well finished drawing that does justice to
your design ideas.
 COMPLETING THE DESIGN: With all features of the design decided on
and indicated, you are ready to add the finishing touches. Show clearly the
collar, the pockets, the trimmings, the darts etc, so that your design appears
to be complete and precise.
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 FINISHING THE SKETCH: To give your sketch the form of a fashion

illustration, indicate the texture and colour by means of coloured crayons.
Use slanting lines to indicate a diagonal or flat surface, crossed lines for
plaid collar, tie, cuffs, and solid colour for tie ends and belts. It is wise to
attach a piece of the actual fabric to enhance imagination of finished product.

Points To Be Kept In Mind For An Accurate Fashion Illustration:

 UNDERSTAND ANATOMY Understanding the human body and how it
moves at the joints is very necessary as on can effortlessly change the
pose of the figure as per the requirements of the client.
 STYLIZE TO OPTIMIZE: A fashion figure is taller than a normal figure.
For e.g. the legs are elongated and this gives more space to the designer
to show clearly the minute detailing in the pattern.
 MOVE WITH PURPOSE: In order to elaborate on the fall and texture of
the garment used, it is effective to show the figure in movement. Let your
fashion illustration tell a story through your imagination as this will make
the garment easier to imagine in a completed form.
 USE YOUR COMPOSITION TO TELL YOUR STORY: Supporting the
pose of your composition {fashion illustration}, with a background to
match is a very good idea as it makes the illustration more realistic. e.g., a
bridal dress against a church in the background and a groom will make
the picture more complete and pleasing.
 DIFFERENTIATE BETWEEN FABRIC WITH TEXTURE: It is very
desirable when the designer is able to depict the ‘’feel’’ of the fabric,
whether it is smooth or stiff. E.g. a smooth fabric is depicted by soft lines,
a stiff fabric by shorter, rigid lines, and a knitted fabric by knit texture.
 MAKE PATTERNS a PLENTY: Try and coordinate various patterns in
the same outfit in a way that they don’t seem crowded but rather stand out
and add that element of uniqueness to the garment. E.g. a polka dotted
print paired with similar coloured stripes and a floral print, all
harmonising with each other.
 GET YOUR HAIR DONE: Use hairstyles that match the story of your
illustration .e.g. a flowing dress will require a flowing hairstyle where as
a formal suit will do well with a rigid formal hairstyle such as a bun.
 FOCUS ON ACCESSORIES: Accessories play a very important role in
supporting the garment. A well accessorised person will look good and
‘’put together’’. E.g. a formal gown with a formal regal look will tell the
‘’story ‘’of a queen and therefore will do well with a tiara and traditional
jewellery, on the other hand, a college student will complete the picture
with sneakers and a backpack.
 UNDERSTAND PRESPECTIVE: The accessories used should be drawn
in a 3D picture in order to appear real .e.g. long earrings on a figure that
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is shown in motion, should be shown in movement too and not stiff and
unmoving.
 RENDER NON-TEXTILE SURFACES DIFFERENTLY: All non-
fabrics such as metal earrings should be shown as gold or silver with
metallic colours and with a shiny reflective surface. Likewise, a wooden
handle on a bag or bangle should have a wood colour with natural grain
and matt finish.

WORKING DRAWING

Working drawings, also called flat drawings, technical flats, flat sketches or just
“flats” in the fashion industry, are black and white drawings that shows a
garment as if it were laid flat to display all seams, topstitching, hardware, and
any other design details. A front and back view is essential, but additional
sketches to show the inside of the garment and/or how parts of the garment
function may be added.
Working drawings are used in the Industry throughout the design and
manufacture process and are essential for any one working in the fashion
industry. The working drawing is used to communicate ideas from the
designer’s first sketches through to the designs to be made by the pattern maker,
sample machinist and through each step of the production process. Today, many

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fashion houses use contractors to manufacture the garments both locally and
overseas, therefore the technical working drawing is imperative to ensure the
end product matches the original design in style, finishing and proportion.
Working drawings are also used as a selling tool and feature in order guides,
mail order catalogues, internet sites and by wholesalers selling to the retail
markets.
Since it is used to convey design idea and garment details to pattern cutters and
machinists, it is essential that they are drawn accurately to avoid
misunderstanding and costly mistakes in sampling and production.
Be through and don’t skimp on details. Omitting parts of sketch will only make
the job harder when it is time to explain the design to the factory. This means
every seam, dart, stitch and button must be in place. A solid line on a garment
represents a seam line and a dashed line represents stitching.
Every detail must be drawn, detail templates can also be done. (i.e. the inside
lining or label placement on the garment)
A flat sketch is very different from the type of sketch needed for a presentation.
Flats do not need much movement or shading as it is very distracting. A neatly
detailed sketch of a design can do all the explanation and it’s easier for people
to follow visual guidelines.

Purpose of working drawings

The purpose of a working drawing is to form a basis for further product
development process. The objective of working drawing is to produce
functional, result-oriented depiction of the actual garment, as opposed to artistic
and expressive illustration of the garment.
Working drawings is used in:
 Specification sheet, cost sheets
 Pattern cards and pattern making documentation
 Line sheets and production-related presentations.
With the help of working drawing fashion design concepts are translated into
specification packages.

The Five Fundamental Principles of Working Drawing:

1. TRUE TO PATTERNMAKING: patternmaking is the foundation of apparel
design and defines structure of a garment. So a proper reflection of
patternmaking aspects of a garment is important.
2. TRUE TO SEWING/CONSTRUCTION LINES: all construction lines must
be accurately and clearly shown on the drawing so that it clearly communicates
how a garment is to be constructed.
3. TRUE TO GRAPHIC DESIGN BASICS: working drawing for fashion is a
form of drafting for fashion design. It is not form of visual art. Each line,
balance, proportion, scale and other graphic design concepts (design rules and
laws) must be implemented properly in the working drawing.
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4. TRUE TO ANATOMY: The working drawing must be proportional to the

human body.
5. TRUE TO COMMON SENSE: working drawing for fashion is about the
actual garment and not your vision of the garment. The design details put in
should be wearable and producible and not just a picture of one’s imagination.
 No assumptions: do not assume that anything is self-explanatory.
 Depict all details and elements of a garment even if they seem to be
apparent.
 Always show front and back of the garment. Front and back of the same
garment are always the same size, i.e.) the front and back views of a garment
must be identical in dimensions, one cannot be wider and longer than the
other.
 Use written captions when necessary to explain/reinforce the meaning of the
working drawings. Keep the captions pointed, concise and relevant. Do not
overdo writing, do not turn the working drawing into a book for reading.

DESIGNING AN APPAREL LINE AND PRESENTATION

Apparel line designing involves similar elements that a designer uses, in all the
garments. The elements could vary from the fabric to the silhouette to the
surface texture to the fashion details or the accessories. Apparel lines are
usually created during a fashion show or when a line of garments is to be
released by a company for mass production. Whether working on haute couture
or mass production, a designer always has a certain theme/inspiration in mind.
Every Designer works on a collection. A collection can consist of minimum 6
dresses to maximum 20 or more dresses. All designs created have a similar
theme. The dresses can be different but should look like as if they belong to the
same theme or family.
DESIGN BOARDS
For any designer to design a line in a systematic manner, it’s important to take
into considerations all the aspects by preparing different design boards. The
various design boards are:
 Theme board
 Mood board
 Survey board
 Client board
 Colour board
 Swatch board

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Theme board: conveys the theme or the inspiration the designer is going to use
to work on the apparel. For example a floral theme is chosen, which conveys the
hues of pink.
A theme board is made by pasting a picture which conveys the message of the
theme chosen.

Mood board: follows the theme board, here the designer collects pictures of
objects, articles, places which build the mood of the theme chosen. The pictures
are then placed into a collage. Be careful in selecting the best pictures with good
aesthetic since these pictures will the base and inspire the designer to design the
collection. Silhouettes, prints, surface ornamentation of fabric of the collection
will be inspired from the pictures.
If you do not want to make too many boards then you can stick the colour
stickers and fabric swatches on the mood board. This avoids the designer from
having to make a colour board and a swatch board.

Survey board: is made after the mood is set. The designer will put together
images of articles associated with the mood that will be used as fabric, in
surface ornamentation, or as accessories.

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Client board: to have a clear idea of what you are designing and for whom,
there is a need to have a client board. The client board should have the age
group, season or occasion, demography or geography and character or
personality. Social status, income, interests and hobbies, marital status, attitude,
motto in life, role model, etc. can also be added on the client board. Following
are some examples of client boards

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Colour Board: the colour board is made after picking the colours that dominate
visibly in the mood board.

Swatch Board: is made using fabric swatches which will make the final dress.
Swatch board also has samples of lace, buttons, accessories which will be used
in the final design.

After all the boards are ready the fashion illustrations and the working drawings
are done. These are then presented.

PRESENTATION BOARDS
Every fashion designer knows how important the
presentation is. Whether it is a class room
presentation, or any jury in a contest, or showing to
the clients your designs presentation is very
important.

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Guidelines for Fashion Presentation boards:

 Captions
 Keep your fashion boards informative. It must be clear what your board
represents. Fashion trend related and /or seasonal information should be
on the presentation board.

 Readable font: readability first!!! Font size: big enough to be read easily
but not too big.

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 Technical perfection: Check quality of your working drawings (flats),

textile designs, fashion illustrations and photos before you compile your
board.
 Layout: Lay out is very crucial. Every designer has different way of
presenting their boards. Just remember that your arrangement should be both
logical and aesthetical. Ideally it is advisable to first create a board by
loosely placing the visual materials on the back ground. Once you see it
balances well and aesthetically looks good then finalize by pasting them
permanently.
 Always preserve some space as a visual frame for your fashion board.
 Use the space of the board efficiently without wasted space.
 Economize the space on the fashion board by overlapping your working
drawings (flats) and other visuals ( for example textile swatches)
 Use either perfect symmetry or absolute asymmetry as a principle of
layout for Fashion Presentation boards.

 All elements in your Fashion Presentation must be aligned.

 Composition of the page must include all design basics requirements, and
first of all, Balance and Unity

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 Implementation
 Background: curb your enthusiasm. Keep it simple, no pictures on the
background unless it is a necessity.

 Minimum embellishments. Focus on the layout not on decoration.

 Limit yourself in colour: keep a minimum of colours on your board.

 Keep your colours in harmony: if you have to use more than one/two
colours for your board, arrange your colours in harmony. Analogous
colour scheme or
monochromatic colour scheme
usually are perfect solutions for
colouring boards without taking
too much attention from content.
 Outline swatch including it
in a visual box frame.
 Use 3D effects.
 Make colour of background
more de-saturated and more
neutral than the colours of
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your designs. Consider a different value for colour of a background

(lighter or darker) than your images on a board.
 Style:
 Contrast of proportions (big and small) Include close-ups as a
reinforcement to general image.

 Originality of imagery: If your image is not created by you it must be

either copyright free, or you have to obtain a written permission from the
copyright owner allowing you to use the image. It is unprofessional and
in some cases illegal to use other people's creations without their
permission.

Remember, that you are not selling your boards, you are selling the collections
of garment with the help of your boards, therefore, visual and written data must
be the logical focus of your presentation. This is not Fine Art where you are
expressing yourself for the sake of Art, this is Design, therefore think of
function of your presentation first. Follow the logic of data-driven, content-
oriented board and make the content of your board the paramount. Do not
disrupt viewer's attention from content of your board by over-decorating your
board.

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REVIEW QUESTIONS
1) Explain briefly the classification of clothing.
2) State any three functions of clothing.
3) Explain in your own words the ‘theory of adornment’.
4) Design a dress for a teenager using ‘food’ as a source of inspiration.
5) Discuss the three main types of ‘fashion drawings’.
6) State and explain briefly the 6 steps in designing.
7) Discuss any three points that aid an accurate fashion illustration.
8) What is a working drawing?
9) Write a short note on ‘mood board’
10) What is the importance of a client board?

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APPAREL DESIGNING & DECORATION

(PRACTICALS)
XI CGDM
100 marks
Instructions:
 Units 1 & 2 have to be completed in the 1st term.
 Units 3 & 4 have to be completed in the 2nd term.
 Marks to be given as per the Checklist & Performa (CCE)
 All the projects/assignments have to be done individually by each student
during school hours.
 A record of the practical marks obtained by each student should be
maintained. This record should be presented to the auditor/examiner at the
time of the audit/inspection.
 Maintain separate journals for Designing practical’s & Decoration practical’s
which should be continued in the STD XII

DESIGNING
 Strokes with different pencils. B & H range, done on shapes

e.g.

 Different mediums of colour for illustration, done on shapes

e.g.

 Prepare different skin tones and uses them to colour the croquis.
 Drawing a nude figure & Design a garment with Silhouettes (any 4)
 Colour impression

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Collect pieces of self-coloured fabric, cut to any shape, write the effect of the
colour.
 Collecting different types of fabric textures. (any 9)
Collect fabric pieces of different textures, cut to any shape, minimum size
2ʺX2ʺ

 Illustrations of (any 6) different types of textures

Can be done in shapes of 2ʺX2ʺ or on garments.
 Collect 2 pictures of garments for each principle of design and write the
descriptions (Evaluations) (10 pictures)
 Using the sources of inspiration fashion illustrate and working drawing of
formal western, casual western & ethnic wear. Write the fashion features (10
garments)
e.g.

Fashion Features: A dress shirt in a printed cotton fabric with a self-colour

camp collar, a full length opening at the front with buttons and short shirt
sleeves with a self-coloured band, gathered at the waist with a self-tie belt in an
elasticated casing. Full length straight brown twill fabric trousers with a front
zipper closing and an elasticated back waistband.

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Below Illustrations for Teachers reference only

Illustration of Tucks

Illustration of folds

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Illustration of Gathers

Illustration of Pleats

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Illustration of Seams

Illustration of Elastic

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DECORATION
Embroidery Stitches
Fabric sample size 6” X 6”
E.g. embroidery stitch worked on a motif
Working of the stitch on the journal

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English Smocking

Fabric sample size:

10” X 18”, finished sample size 10” X 6”, if all the stitches are done on one
fabric sample, approx. 3 - 4 rows of each stitch, the working of the stitches are
shown on the following pages of the journal.
OR
6” X 18”, finished sample size 6” X 6”, if the stitches are done individually.

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Canadian Smocking
Fabric sample size to start the design 9” X 9”, finished sample size depends on
the effect

Faggoting

Looped Edge Insertion Stitch

Fabric sample size: 3” X 6” – 2 pieces

Drawn Thread Work

Fabric sample size 10” X 7” if all the stitches are done on one fabric sample, the
working of the stitches are shown on the following pages of the journal.

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OR
6” X 6”, if the stitches are done individually.

Tatting
e.g. Flower

Instructions:
Center inner circle
[Ring (ic) 5, p, 5, p, 5, p, 5 close]
Outer chain and rings
[Ring 1: 3, (p), 3, p, 3, (p), 3 close]
Chain 1: 3 double stitches join the picot (loop) with the third picot loop from the first ring, 3
double stitches, picot (loop), 3 double stitches, picot (loop), 3 double stitches, close with a
knot made with the picot loop on the inner circle.
[Ring 2: 3, (p), 3, p, 3, (p), 3 close]
Chain 2: 3 double stitches join the picot (loop) with the third picot loop from the second ring,
3 double stitches, picot (loop), 3 double stitches, picot (loop), 3 double stitches, close with a
knot made with the picot loop on the inner circle.
Repeat the steps of the outer chains and rings until there are 4 rings and 4 chains.
On the 4th chain the last picot will join into last picot of the ring
3, p, 3, (p), 3 close.

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Embroidery Stitches
Fabric sample size 6” X 6”

Running Stitch

Interlaced Running Stitch

Back Stitch

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Stem Stitch

Split Stitch

Chain Stitch

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Lazy Daisy Stitch

Blanket Stitch

Variations of Blanket stitch

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Buttonhole Stitch

Closed Herringbone Stitch

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Flat Stitch

Couching

Feather Stitch

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French Knots

Bullion Knots

Double Knot Stitch

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Seed Stitch

Satin Stitch

Long & Short Stitch

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Cross Stitch

English Smocking
Fabric sample size 10” X 18”, finished sample size 10” X 6”, if all the stitches
are done on one fabric sample, approx. 3 - 4 rows of each stitch
Cable Stitch

Outline Stitch

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[Double outline stitch ]

Chevron Stitch

Vandyke Stitch

Honeycomb Stitch

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Surface Honeycomb Stitch

Trellis Stitch

Canadian Smocking
Fabric sample size to start the design 9” X 9”, finished sample size depends on
the effect
Grid used
Most of the patterns use a square grid, grid size can vary from 1 cm by 1 cm, to
1” by 1” or a graph can be used

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Leaf design
Draw pattern on the backside of the fabric

The two ends of the red lines are tied together.

Pick up a few strands at A, do the same at B and back to A, pull tight and make
a knot.
Proceed to the next diagonal line.

Pineapple design
Draw pattern on the backside of the fabric.

In this design 3 points are tied together.

Start at A, to B, to C and back to A, pull tight and make a knot.

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Flower design
Draw pattern on the right side of the fabric.

Use threads that match the fabric closely.

The four corners of the square that are marked with an X are tied together.
Come up at A, to B, to C, to D and back to A, pull tight.
Place two diagonal stitches to hold the folds in place. A bead/ button can be
used to hide the knot.
Take the needle to the back side, place another knot there, go to the next square
and repeat the steps.

Basket weave or Mat Design

Use on a half inch grid for cuffs on a blouse or detail on a child’s dress.
Draw pattern on the backside of the fabric.

The two ends of the red diagonal lines are tied together.
Pick up a few strands at A, do the same at B and back to A, pull tight and make
a knot.
Proceed to the next diagonal line.

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Hearts design
Draw pattern on the backside of the fabric.

Pick up a few strands at A, do the same at B and back to A, pull tight and make
a knot.
Proceed to the next diagonal line and repeat.

Waves design
Draw pattern on the backside of the fabric.

The two ends of the red lines are tied together.

Come up at A, to B and back to A, pull tight and make a knot. Repeat for all
diagonal lines.

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Shells design
Draw pattern on the backside of the fabric

The two ends of the diagonal lines are tied together.

Come up at A, to B and back to A, pull tight and make a knot.

Faggoting

Looped Edge Insertion Stitch

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Twisted Insertion Stitch

Interlaced Insertion Stitch

Knotted Insertion Stitch

Maltese Cross Insertion Stitch

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Coral insertion stitch

Knotted Insertion Stitch

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APPAREL DESIGNING & DECORATION (PRACTICALS)

XI CGDM

UNIT 1
Note: use the following quality rating scale & submission rating scale for
your evaluations.
(RATING SCALE: Poor----1mk, Average----2mks, Good----3mks, V. Good--
--4mks, Excellent----5mks
SUBMISSION RATING SCALE: On time----5mks, 2 days late----4mks,
4days late----3mks, week late------2mks, 2 weeks late-----1mk)

DESIGNING------10mks
* Strokes with different pencils. B & H range
 Strokes of pencils……….5mks
 Neatness & presentation on the journal……5mks
 Submission………5mks
Roll no Drawing Presentation Submission Total i
(5) (5) (5) (15)

*Different mediums of colour for illustration

 Neatness……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total ii
(5) (5) (5) (15)

*Tracing the child’s croquis – 1 - 4 years

 Neatness in tracing……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total iii
(5) (5) (5) (15)

*Tracing the child’s croquis – 6 - 10 years

 Neatness in tracing……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total iv
(5) (5) (5) (15)

*Tracing the teen years croquis

 Neatness in tracing……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total v
(5) (5) (5) (15)

*Tracing the eight-head theory—front, side, back

 Neatness in tracing……5mks
 Presentation on the journal……5mks

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 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total vi
(5) (5) (5) (15)

*Drawing a fashion figure – block figure – front view

 Neatness……5mks
 Accuracy in drawing……5mks
 Submission……..5mks
Roll No. Neatness Accuracy in drawing Submission Total vii
(5) (5) (5) (15)

*Drawing a fashion figure – fleshing figure – front view

 Neatness……5mks
 Accuracy in drawing……5mks
 Submission……..5mks
Roll No. Neatness Accuracy in drawing (5) Submission Total viii
(5) (5) (15)

*Drawing different poses of the fashion figure

 Accuracy in drawing……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Accuracy in drawing Presentation on the journal Submission Total ix
(5) (5) (5) (15)

*Prepare different skin tones

 Preparing the different skin tones…….5mks
 Application on the croquis…..5mks
 Neatness……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Preparing the Application on the Neatness Presentation on Submission Total x
different skin tones croqui (5) the journal (5) (25)
(5) (5) (5)

CONTINUOUS EVALUATION OF UNIT 1 ……DESIGNING

Roll i ii iii iv v vi vii viii ix x Total Average
no. (15) (15) (15) (15) (15) (15) (15) (15) (15) (25) (160) (10)

To find the average for designing add all the totals of the designed sketches and then divide it by
16.
Ex. Average = total * 10/ 160

DECORATION-------10mks
Embroidery stitches
*Running Stitch
Product
 Choice of design yes/no
 Correct placement of the design on the fabric yes/no
 Design proportionate to the sample yes/no
 Accuracy of the stitch yes/no

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 Colour combination yes/no

 Neatness yes/no
 Presentation (whether the edges were pinked/finished, sample was ironed) yes/no
 Care of the threads yes/no
 Thimble/ embroidery ring was used while working yes/no
 Showed eagerness to learn yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted 2 days later…..4mks
 Completed and submitted a week later…..3mks
 Completed and submitted after a week…..2mks
Every YES carries 1mark Every NO carries 0marks
Roll No. Product Submission Total A
(10) (5) (15)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each embroidery
stitch)

CONTINUOUS EVALUATION OF UNIT 1 ……DECORATION

Roll A B C D E F G TOTAL Average
no (15) (15) (15) (15) (15) (15) (15) (105) (10)

To find the average for decoration add all the totals of the practical sample and then divide it by
10.5.
Ex. Average = total * 10/ 105

PROJECT -------5mks
Design & prepare 1 item using any of the embroidery stitches done in this unit.
(E.g. baby layette set, 6 handkerchiefs, blouse, skirt, kameez, etc)
Report should be written in the journal.
a) Planning
 Sketched the article with the decoration yes/no
 Listed the decoration technique to be used yes/no
 Choice of design was appropriate yes/no
 Quantity of fabric & threads was estimated yes/no
b) Process
 Accuracy of transferring the design yes/no
 Placement of the design is appropriate yes/no
 Use of the appropriate stitch for doing the decoration yes/no
 Size of the design is appropriate yes/no
c) Product
 Creativity of the article yes/no
 Color combination yes/no
 Neatness yes/no
 Accuracy of the decoration yes/no
d) Attitude & Precautions
 Presented the completed article in an artistic manner yes/no
 Cleared the place on completion yes/no

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 Thimble/ embroidery ring was used while working yes/no

 Utility of the article yes/no
e) Submission
 Completed and submitted in the stipulated time….4mks
 Completed and submitted 2 days later…..3mks
 Completed and submitted a week later…..2mks
 Completed and submitted after a week…..1mks
Every YES carries 1mark Every NO carries 0marks
Roll Planning Process Product Attitude & Submission Total Average
No. Precautions
(4) (4) (4) (4) (4) (20) (5)

To find the average for the project divide it by 4.

Ex. Average = total * 5/ 20

Statement of marks of Continuous Evaluation in Practical of

APPAREL DESIGNING & DECORATION
UNIT 1

Sr. No. Roll No. Name of the student Designing Decoration Project Total
(10) (10) (5) (25)

Subject in charge
Date:

UNIT 2
DESIGNING --------10mks
 Structural parts of apparel
a) Bodice & Skirt
 Designed the bodice & skirt according to the required style yes/no
 Emphasis on them yes/no
 Color combination & neatness of the designed apparel yes/no
 Presentation on the journal was neat yes/no
 Designed the apparel yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted 2 days later…..4mks
 Completed and submitted a week later…..3mks
 Completed and submitted after a week…..2mks
 Completed and submitted after 2 weeks…..1mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Design Submission Total i
(5) (5) (10)

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b) Necklines
 Designed the necklines according to the required style yes/no
 Emphasis on the different necklines yes/no
 Color combination & neatness of the designed apparel yes/no
 Presentation on the journal was neat yes/no
 Designed all the different styles yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted 2 days later…..4mks
 Completed and submitted a week later…..3mks
 Completed and submitted after a week…..2mks
 Completed and submitted after 2 weeks…..1mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Design Submission Total ii
(5) (5) (10)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each Structural
parts of apparel)

 Apparel classification & categories

a) Dresses
 Designed the dresses according to the required style yes/no
 Emphasis on the different horizontal division yes/no
 Colour combination & neatness of the designed apparel yes/no
 Presentation on the journal was neat yes/no
 Designed all the different styles yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted 2 days later…..4mks
 Completed and submitted a week later…..3mks
 Completed and submitted after a week…..2mks
 Completed and submitted after 2 weeks…..1mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Design Submission Total i
(5) (5) (10)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each Apparel
Classification & Categories)

*Collect pictures of children’s wear

 Collected the pictures yes/no
 Evaluated the apparel appropriate to the principle of design yes/no
 Evaluations (descriptions) were written yes/no
 Presentation on the journal was neat yes/no
Submission
 Completed and submitted in the stipulated time….1mks
 Completed and submitted after the stipulated time….0mks
Every YES carries 1 mark Every NO carries 0 marks

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Roll No. Design Submission Total…

(4) (1) (5)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for men’s wear)

CONTINUOUS EVALUATION OF UNIT 2 ……DESIGNING

Roll i ii iii iv v vi vii … … xx Total Average
no. (10) (10) (10) (10) (10) (10) (10) (10) (10) (10) (200) (10)

To find the average for designing add all the totals of the designed sketches and then divide it by
20.
Ex. Average = total * 10/ 200

DECORATION -------10mks
Embroidery stitches
* Blanket Stitch
Product
 Choice of design yes/no
 Correct placement of the design on the fabric yes/no
 Design proportionate to the sample yes/no
 Accuracy of the stitch yes/no
 Color combination yes/no
 Neatness yes/no
 Presentation (whether the edges were pinked/finished, sample was ironed) yes/no
 Care of the threads yes/no
 Thimble/ embroidery ring was used while working yes/no
 Showed eagerness to learn yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted 2 days later…..4mks
 Completed and submitted a week later…..3mks
 Completed and submitted after a week…..2mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Product Submission Total A
(10) (5) (15)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each embroidery
stitch)

CONTINUOUS EVALUATION OF UNIT 2 ……DECORATION

Roll A B C D E F G TOTAL Average
no (15) (15) (15) (15) (15) (15) (15) (1O5) (10)

To find the average for decoration add all the totals of the practical sample and then divide it by
10.5.
Ex. Average = total * 10/ 105

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PROJECT -------5mks
Design & prepare 1 item using embroidery stitches. (E.g. baby layette set, blouse, skirt, kameez,
etc)
Report should be written in the journal.
a) Planning
 Sketched the article with the decoration yes/no
 Listed the embroidery stitches to be used yes/no
 Choice of design was appropriate yes/no
 Quantity of fabric & threads was estimated yes/no
b) Process
 Accuracy of transferring the design yes/no
 Placement of the design is appropriate yes/no
 Use of the appropriate stitch for doing the decoration yes/no
 Size of the design is appropriate yes/no
c) Product
 Creativity of the article yes/no
 Colour combination yes/no
 Neatness yes/no
 Accuracy of the decoration yes/no
d) Attitude & Precautions
 Presented the completed article in an artistic manner yes/no
 Cleared the place on completion yes/no
 Thimble/ embroidery ring was used while working yes/no
 Utility of the article yes/no
e) Submission
 Completed and submitted in the stipulated time….4mks
 Completed and submitted 2 days later…..3mks
 Completed and submitted a week later…..2mks
 Completed and submitted after a week…..1mks
Every YES carries 1mark Every NO carries 0marks
Roll Planning Process Product Attitude & Submission Total Average
No. Precautions
(4) (4) (4) (4) (4) (20) (5)

To find the average for the project divide it by 4.

Ex. Average = total * 5/ 20

Statement of marks of Continuous Evaluation in Practical of

APPAREL DESIGNING & DECORATION

UNIT 2

Sr. No. Roll No. Name of the student Designing Decoration Project Total
(10) (10) (5) (25)

Subject in charge
Date:

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UNIT 3
DESIGNING ---------10mks
*Design an apparel with interior lines
 Drawn the appropriate nude figure yes/no
 Designed the apparel appropriate with interior lines yes/no
 Presentation on the journal was neat yes/no
Submission
 Completed and submitted in the stipulated time….2mks
 Completed and submitted after the stipulated time….1mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Design Submission Total i
(3) (2) (5)

(Note: Prepare similar Checklist & Performa for decorative lines)

*Design garments using the basic silhouettes.

 Designed the apparel appropriate to the silhouette yes/no
 Emphasis on the colour & texture yes/no
 Presentation on the journal was neat yes/no
Submission
 Completed and submitted in the stipulated time….2 mks
 Completed and submitted after the stipulated time….1 mk
Every YES carries 1mark Every NO carries 0 marks
Roll No. Design Submission Total ….
(3) (2) (05)

(Note: Prepare similar Checklist & Performa for each silhouette)

*Colour impression
 Neatness……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total …
(5) (5) (5) (15)

*Types of texture
 Collection of different types of textures…….5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Collection of different types of textures Presentation on the journal Submission Total …
(5) (5) (5) (15)

*Different types of textures for illustration

 Neatness……5mks
 Presentation on the journal……5mks
 Submission……..5mks
Roll No. Neatness Presentation on the journal Submission Total …
(5) (5) (5) (15)

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*Evaluate pictures of garments for each principle of design

 Collected the pictures for evaluation yes/no
 Evaluated the apparel appropriate to the principle of design yes/no
 Evaluations (descriptions) were written yes/no
 Presentation on the journal was neat yes/no
Submission
 Completed and submitted in the stipulated time….1mks
 Completed and submitted after the stipulated time….0mks
Every YES carries 1mark Every NO carries 0marks
Roll No. Design Submission Total…
(4) (1) (5)

(Note: Prepare similar Checklist & Performa for each principle of design)

CONTINUOUS EVALUATION OF UNIT 3 ……DESIGNING

Roll i …. ..... ….. …. ….. Total Average
no. (10) (10) (10) (5) (10)
To find the average for designing add all the totals of the designed sketches and then divide it by
-----.

DECORATION -------10mks
Embroidery stitches
* French Knots
Product
 Choice of design yes/no
 Correct placement of the design on the fabric yes/no
 Design proportionate to the sample yes/no
 Accuracy of the stitch yes/no
 Color combination yes/no
 Neatness yes/no
 Presentation (whether the edges were pinked/finished, sample was ironed) yes/no
 Care of the threads yes/no
 Thimble/ embroidery ring was used while working yes/no
 Showed eagerness to learn yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted 2 days later…..4mks
 Completed and submitted a week later…..3mks
 Completed and submitted after a week…..2mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Product Submission Total A
(10) (5) (15)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each embroidery
stitch)

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CONTINUOUS EVALUATION OF UNIT 3 ……DECORATION

Roll A B C D E F G TOTAL Average
no (15) (15) (15) (15) (15) (15) (15) (1O5) (10)

To find the average for decoration add all the totals of the practical sample and then divide it by
10.5.
Ex. Average = total * 10/ 105

PROJECT -------5mks
Design & prepare 1 item using any of the embroidery stitches. (E.g. baby layette set, blouse,
skirt, kameez, etc)
Report should be written in the journal.
a) Planning
 Sketched the article with the decoration yes/no
 Listed the embroidery stitches to be used yes/no
 Choice of design was appropriate yes/no
 Quantity of fabric & threads was estimated yes/no
b) Process
 Accuracy of transferring the design yes/no
 Placement of the design is appropriate yes/no
 Use of the appropriate stitch for doing the design yes/no
 Size of the design is appropriate yes/no
c) Product
 Creativity of the article yes/no
 Color combination yes/no
 Neatness yes/no
 Accuracy of the decoration yes/no
d) Attitude & Precautions
 Presented the completed article in an artistic manner yes/no
 Cleared the place on completion yes/no
 Thimble/ embroidery ring was used while working yes/no
 Utility of the article yes/no
e) Submission
 Completed and submitted in the stipulated time….4mks
 Completed and submitted 2 days later…..3mks
 Completed and submitted a week later…..2mks
 Completed and submitted after a week…..1mks
Every YES carries 1mark Every NO carries 0marks
Roll Planning Process Product Attitude & Submission Total Average
No. Precautions
(4) (4) (4) (4) (4) (20) (5)

To find the average for the project divide it by 4.

Ex. Average = total * 5/ 20

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Statement of marks of Continuous Evaluation in Practical of APPAREL DESIGNING &

DECORATION

UNIT 3
Sr. No. Roll No. Name of the student Designing Decoration Project Total
(10) (10) (5) (25)

Subject in charge
Date:

UNIT 4
DESIGNING ------10mks
*Using the sources of inspiration fashion illustrate and working drawing of formal western,
casual western, formal ethnic, casual ethnic, formal indo-western & casual indo western wear.
Write the fashion features (10 garments)
Fashion illustration
 Designed the apparel using a source of inspiration yes/no
 Neatness in the designed apparel yes/no
 Color combination of the designed apparel yes/no
 Fashion features were written yes/no
 Presentation on the journal was neat yes/no
Working drawing
 Neatness in the working drawing - front yes/no
 Neatness in the working drawing - back yes/no
 Proportionate placement of details in the working drawing yes/no
 Labeling of details in the working drawing yes/no
 Presentation on the journal was neat yes/no
Submission
 Completed and submitted in the stipulated time….5mks
 Completed and submitted after the stipulated time….2mks
Every YES carries 1mark Every NO carries 0marks
Roll No. Fashion illustration Working drawing Submission Total …
(5) (5) (5) (15)

(Note: Prepare similar Checklist & Performa for each source of inspiration)

CONTINUOUS EVALUATION OF UNIT 4 ……DESIGNING

Roll i …. ..... ….. …. ….. Total Average
no. (15) (15) (15) (15) (15) (10)
To find the average for designing add all the totals of the designed sketches and then divide it by
-----.

DECORATION -------10mks
Smocking
*Cable Stitch
Product
 Accuracy of gathering the fabric yes/no
 Accuracy of the stitch yes/no

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 Neatness yes/no
 Presentation (whether the edges were pinked/finished, sample was ironed) yes/no
 Care of the threads yes/no
 Showed eagerness to learn yes/no
Submission
 Completed and submitted in the stipulated time….4mks
 Completed and submitted 2 days later…..3mks
 Completed and submitted a week later…..2mks
 Completed and submitted after a week…..1mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Product Submission Total A
(6) (4) (10)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each smocking
stitch)

*Pineapple
Product
 Drawing the design on the graph paper was done accurately yes/no
 Accuracy of transferring the points yes/no
 Accuracy of gathering the fabric & the stitch yes/no
 Neatness yes/no
 Presentation (whether the edges were pinked/finished, sample was ironed) yes/no
 Showed eagerness to learn yes/no
Submission
 Completed and submitted in the stipulated time….4mks
 Completed and submitted 2 days later…..3mks
 Completed and submitted a week later…..2mks
 Completed and submitted after a week…..1mk
Every YES carries 1mark Every NO carries 0marks
Roll No. Product Submission Total ….
(6) (4) (10)

(Note: Similar Checklist & Performa has to be prepared by the subject teacher for each smocking
stitch)

CONTINUOUS EVALUATION OF UNIT 4 ……DECORATION

Roll A …… …… …… …… …… …… TOTAL Average
no (10) (10) (10) (10) (10) (10) (10) (…..) (10)

To find the average for decoration add all the totals of the practical sample and then divide it by …...
Ex. Average = total * 10/ …..

PROJECT -------5mks
Design & prepare 1 item with Smocking (E.g. baby layette set, blouse, skirt, kameez, etc)
Report should be written in the journal.
a) Planning
 Sketched the article with smocking yes/no
 Listed the smocking stitches to be used yes/no
 Choice of design was appropriate yes/no

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 Quantity of fabric & threads was estimated yes/no

b) Process
 Accuracy of transferring the dots yes/no
 Gathering is appropriate yes/no
 Use of the appropriate stitch for doing the smocking yes/no
 Size of the smocking stitch is appropriate yes/no
c) Product
 Creativity of the article yes/no
 Color combination yes/no
 Neatness yes/no
 Accuracy of the decoration yes/no
d) Attitude & Precautions
 Presented the completed article in an artistic manner yes/no
 Cleared the place on completion yes/no
 Thimble/ correct type of needle was used while working yes/no
 Utility of the article yes/no
e) Submission
 Completed and submitted in the stipulated time….4mks
 Completed and submitted 2 days later…..3mks
 Completed and submitted a week later…..2mks
 Completed and submitted after a week…..1mks
Every YES carries 1mark Every NO carries 0marks
Roll Planning Process Product Attitude & Submission Total Average
No. Precautions
(4) (4) (4) (4) (4) (20) (5)

To find the average for the project divide it by 4.

Ex. Average = total * 5/ 20

Statement of marks of Continuous Evaluation in Practical of

APPAREL DESIGNING & DECORATION

UNIT 4
Sr. No. Roll No. Name of the student Designing Decoration Project Total
(10) (10) (5) (25)

Subject in charge
Date:
Statement of marks of Continuous Evaluation in Practical of APPAREL DESIGNING &
DECORATION
STD XI

Sr. No. Roll No. Name of the student Unit 1 Unit 2 Unit 3 Unit 4 Total
(25) (25) (25) (25) (100)

Subject In-charge School Seal Principal

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DESIGN OF THE QUESTION PAPER

Class: XI CGDM
Duration: 1 Hr Subject: Apparel Designing and Decoration Max. Marks: 20

The weightage or the distribution of marks over different dimensions of the question paper shall be
as follows:

1. Weightage to Learning Outcomes

Sr. No. Learning Outcomes Mark Percentage of Marks
1. Knowledge 03 15%
2. Understanding 05 25%
3. Application 04 20%
4. Skill 08 40%
Total 20 100%

2. Weightage to Content / Subject Units

Sr. No. Units Mark
1. Designing & Sketching 14
2. Structural parts of Apparel 06
Total 20

3. Weightage to Forms of Questions

Sr. No. Form of Questions Marks for each Number of Total
question questions Marks
1. Long Answer Type (LA) 5 1 05
2. Short Answer Type (SA-II) 3 2 06
3. Short Answer Type (SA-I) 2 3 06
4. Very Short Answer Type (VSA) 1 3 03
Total 20

4. The expected time for different types of questions would be as follows:

Sr. Form of Question Approx. time for Number of Approx. time for each
No. each Question in questions form of Questions in
minutes (t) (n) minutes (t X n )
1. Long Answer Type (LA) 20 1 20
2. Short Answer Type (SA-II) 08 2 16
3. Short Answer Type (SA-I) 06 3 18
4. Very Short Answer Type (VSA) 02 3 06
Total 60
As the total time is calculated on the basis of the number of questions required to be answered
and the length of their anticipated answers, it would, therefore, be advisable for the candidates
to budget their time properly by cutting out the superfluous words and be within the expected
time limits.

5. Scheme of Options
There will be no overall choice. However, there is an internal choice in 1.D sub questions of 05
marks category.

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6. Weightage to Difficulty level of questions:

Sr. No. Estimated difficulty level of questions Percentage

1. Easy 20%
2. Average 60%
3. Difficulty 20%

A question may vary in difficulty level from individual to individual. As such, the assessment in
respect of each question will be made by the paper setter on the basis of general anticipation
from the group as a whole taking the examination. This provision is only to make the paper
balanced in its weightage, rather than to determine the pattern of marking at any stage.

7. Number of Main questions:

There will be 2 main questions of 10 marks each.

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MODEL QUESTION PAPER

HOME SCIENCE BASED VOCATIONAL COURSE
MID TERM TEST

APPAREL DESIGNING & DECORATION.

XI CGDM
20 marks
1 hr

INSTRUCTIONS
(i) All questions are compulsory.
(ii) Figures to the right indicate full marks.
(iii) Draw and use colours wherever necessary.

1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)

B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)

C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)

D. Long Answer (LA) {Answer any ONE of the following } (05 marks)
{E.g. (i) i) Design a …….…., with …… collar, ……pocket and ……..sleeve.
(ii) Design a …….., having a ………waistline, ……….hemline and……..neckline.}

2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)

B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)

C. Short Answer I (SA I) {Give two reasons to the following questions.}

(02 marks)

D. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)

E. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)

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DESIGN OF THE QUESTION PAPER

Class: XI CGDM
Duration: 2 Hrs Subject: Apparel Designing and Decoration Max. Marks: 40

The weightage or the distribution of marks over different dimensions of the question paper shall be
as follows:

1. Weightage to Learning Outcomes

Sr. No. Learning Outcomes Mark Percentage of Marks
1. Knowledge 06 15%
2. Understanding 10 25%
3. Application 08 20%
4. Skill 16 40%
Total 40 100%

2. Weightage to Content / Subject Units

Sr. No. Units Mark
1. Designing & Sketching 12
2. Structural parts of Apparel 14
3. Apparel Classification & Categories 14
Total 40

3. Weightage to Forms of Questions

Sr. No. Form of Questions Marks for each Number of Total
question questions Marks
1. Long Answer Type (LA) 5 2 10
2. Short Answer Type (SA-II) 3 4 12
3. Short Answer Type (SA-I) 2 6 12
4. Very Short Answer Type (VSA) 1 6 06
Total 40

4. The expected time for different types of questions would be as follows:

Sr. Form of Question Approx. time for Number of Approx. time for each
No. each Question in questions form of Questions in
minutes (t) (n) minutes (t X n )
1. Long Answer Type (LA) 20 2 40
2. Short Answer Type (SA-II) 08 4 32
3. Short Answer Type (SA-I) 06 6 36
4. Very Short Answer Type (VSA) 02 6 12
Total 120
As the total time is calculated on the basis of the number of questions required to be answered
and the length of their anticipated answers, it would, therefore, be advisable for the candidates
to budget their time properly by cutting out the superfluous words and be within the expected
time limits.

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5. Scheme of Options
There will be no overall choice. However, there is an internal choice in D sub questions of 05
marks category.

6. Weightage to Difficulty level of questions:

Sr. No. Estimated difficulty level of questions Percentage

1. Easy 20%
2. Average 60%
3. Difficulty 20%

A question may vary in difficulty level from individual to individual. As such, the assessment in
respect of each question will be made by the paper setter on the basis of general anticipation
from the group as a whole taking the examination. This provision is only to make the paper
balanced in its weightage, rather than to determine the pattern of marking at any stage.

7. Number of Main questions:

There will be 4 main questions of 10 marks each.

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MODEL QUESTION PAPER

HOME SCIENCE BASED VOCATIONAL COURSE
FIRST TERM

APPAREL DESIGNING & DECORATION.

XI CGDM
40 marks
2 hrs

INSTRUCTIONS
(i) All questions are compulsory.
(ii) Answer each question on a fresh page.
(iii) Write the number of each question and sub-question clearly.
(iv) Figures to the right indicate full marks.
(v) Draw and use colours wherever necessary.
(vi) The question paper consists of 4 questions.
(vii) Use the given croquis wherever necessary.

1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Long Answer (LA) {Answer any ONE of the following} (05 marks)
{E.g. (i) Design a …….…., with …… collar, ……pocket and ……..sleeve.
(ii) Design a …….., having a ………waistline, ……….hemline and……..neckline.}

2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons to the following questions.}
(02 marks)
D. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)

3A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Long Answer (LA) {Answer any ONE of the following} (05 marks)
{E.g. (i) Design a ………., with emphasis on fullness, trimmings, collars, etc.

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(ii) Design a ……..blouse with a ………skirt. }

4A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons to the following questions.}
(02 marks)
D. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)

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DESIGN OF THE QUESTION PAPER

Class: XI CGDM
Duration: 2 Hrs Subject: Apparel Designing and Decoration Max. Marks: 50

The weightage or the distribution of marks over different dimensions of the question paper shall be
as follows:

1. Weightage to Learning Outcomes

Sr. No. Learning Outcomes Mark Percentage of Marks
1. Knowledge 09 18%
2. Understanding 15 30%
3. Application 08 16%
4. Skill 21 42%
Total 50 100%

2. Weightage to Content / Subject Units

Sr. No. Units Mark
1. Core content (Ch. 1 & Ch. 2) 10
2. Apparel Classification & Categories 10
3. Design Concepts 15
4. Designing & Presentation of Apparel 15
Total 50

3. Weightage to Forms of Questions

Sr. No. Form of Questions Marks for each Number of Total
question questions Marks
1. Long Answer Type (LA) 5 3 15
2. Short Answer Type (SA-II) 3 5 15
3. Short Answer Type (SA-I) 2 6 12
4. Very Short Answer Type (VSA) 1 8 08
Total 50

4. The expected time for different types of questions would be as follows:

Sr. Form of Question Approx. time for Number of Approx. time for each
No. each Question in questions form of Questions in
minutes (t) (n) minutes (t X n )
1. Long Answer Type (LA) 16.5 3 50
2. Short Answer Type (SA-II) 06 5 30
3. Short Answer Type (SA-I) 04 6 24
4. Very Short Answer Type (VSA) 02 8 16
Total 120
As the total time is calculated on the basis of the number of questions required to be answered
and the length of their anticipated answers, it would, therefore, be advisable for the candidates
to budget their time properly by cutting out the superfluous words and be within the expected
time limits.

5. Scheme of Options
There will be no overall choice. However, there is an internal choice in D sub questions of 05
marks category.

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6. Weightage to Difficulty level of questions:

Sr. No. Estimated difficulty level of questions Percentage

1. Easy 20%
2. Average 60%
3. Difficulty 20%

A question may vary in difficulty level from individual to individual. As such, the assessment in
respect of each question will be made by the paper setter on the basis of general anticipation
from the group as a whole taking the examination. This provision is only to make the paper
balanced in its weightage, rather than to determine the pattern of marking at any stage.

7. Number of Main questions:

There will be 5 main questions of 10 marks each.

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MODEL QUESTION PAPER

HOME SCIENCE BASED VOCATIONAL COURSE
FINAL EXAM

APPAREL DESIGNING & DECORATION.

XI CGDM
50 marks
2 hrs

INSTRUCTIONS
(i) All questions are compulsory.
(ii) Answer each question on a fresh page.
(iii) Write the number of questions and sub-questions clearly.
(iv) Figures to the right indicate full marks.
(v) Draw and use colours wherever necessary.
(vi) The question paper consists of 5 questions.
(vii) Use the given croquis wherever necessary.

1A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Long Answer (LA) {Answer any ONE of the following} (05 marks)
{E.g. (i) Design a …….…., with …… collar, ……pocket and ……..sleeve.
(ii) Design a …….., having a ………waistline, ……….hemline and……..neckline.}

2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons to the following questions.}
(02 marks)
D. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
E. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)

2A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)
C. Short Answer I (SA I) {Give two reasons to the following questions.}
(02 marks)
D. Short Answer I (SA I) {Answer the following in 2-3 sentences.} (02 marks)

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E. Short Answer II (SA II) {Answer the following.} (03 marks)

4A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Long Answer (LA) {Answer the following} (05 marks)
{E.g. (i) Design a …….. keeping in mind texture, color and line. Write the fashion
features}

5A. Very Short Answers (VSA) {Select and rewrite the correct alternative from
those given below. OR Answer in 1 or 2 words} (01 mark)
B. Short Answer I (SA I) {Answer the following in 1-2 sentences.} (01 mark)
C. Short Answer II (SA II) {Answer the following in 5-6 sentences.} (03 marks)
D. Long Answer (LA) {Answer any ONE of the following} (05 marks)
{E.g. (i) Prepare a fashion illustration and working drawing of a ……….
Fashion illustration ……2mks working drawing …….3 mks
(ii) Using ……as a source of inspiration, Design a ……..
Source of inspiration ……2mks Design …….3 mks}

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