This subject address the learners to find

solution based of problem setting activities.

Equal weightage is given to investigate in order
to set up a context, and to innovate in order to
present a variety of possible solution. Main
focus of the subject is to allow us to identify
area of interest, within the selected area of
interest. We would be provided to show evidence
of working/participating in the design
development and manufacturing process with a
given brief from clients, exhibit a clear
understanding of design process reflecting the
translation of concept to final range plan, to
appropriately use technical skills for chosen
categories of fabric/garments and its design
translation into a finished garment, while also
exhibiting appropriate judgment in planning,
organizing, evaluating resources and processes
to organize work.
The concept of this collection is to re-imagine
and redefine the classic little black dress in
the ways that it carries the same essence as the
brands Coach, Michael Kors and DKNY have and to
showcase a sense of luxury while also being
relatable and yet experimental.
The collection will have a few variations and a
new interpretation of LBD in the sense that it
is for a woman who wears it to a business
meeting but then wears the same to a party later
in the day. The dresses are meant to represent
versatility , fashion forwardness , luxury and
yet be easy to wear.
The concept focus on mainly to come up with
designs for LBD that are best suitable for women
from the upper middle earnings who are always on
the run with their lives and still want to be
fashionable.
The idea is to explore with materials,
necklines, sleeves and techniques while sticking
mainly to the A-line and fitted silhouettes. The
colour of collection is going to be comprising
of different shades and variants of the colour
black.
The collection’s name is directly inspired from
these women as it is combining two most iconic
things together – a powerful busy woman with the
famous Little black dress. The 2020 in the name
represents the time the idea was conceived and
also acts as an easter egg as 2020 itself is a
dark year that just paced by too fast, thus it
acting as a pun as well.
• AIM : The aim of this project is to create
a collection of ready-to-wear ensembles,
that are a perfect little black dress which
are reimagined and redefined for women with
fast lives.

• OBJECTIVES :
1. To study the brands like MK, DKNY and
Coach and try to bring their aesthetic and
essence in a collection while also
representing what the creator’s zeal is.

2. To design and create garments that are

perfect for fast paced women who are always
on the go but also like to squeeze in a bit
of time to have fun and party.
A) The exploration of fabrics used is one of
the focal points .
B) Exploration of neckline , sleeves, style
lines and positioning of gathers.
C) sticking to A-line and fitted Silhouettes
only.

3. To create garments that are self –

explanatory and portray a level of luxury and
confidence.
a) Showcased through the materials and look of
the garment.
b) Usage of single colour and it’s variant
shades to give a sense of seriousness and
luxury.
• Abstract :

The project is an attempt to create garments

for the upper middle strata clients. They
believe in achieving luxury but also like to
stick to a particular budget to expense, thus
, making them a regular shopper of accessible
luxury. It aims to represent the currently
rising demography of women who are more about
stepping out of their houses, into the fast
paced world with their strongly confident
minds. This concept aims to make them feel
like the best versions of themselves, fashion
forward, professional and sophisticated while
also making their fun, experimental and
raunchy side come out all while feeling
comfortable in their dress.

The project is expected to follow the way of

research, note making followed by
observations, visual boards and visual
analysis. An analysis of the market segment
chosen as well as detailed research on the
brands would help get an essential insight of
the consumer and the working of the concerned
market. This research would then be manifested
and worked upon into practicality by using
digital media, hand drawings, doodles,
explorations and patterns pertaining to the
construction of garments, keeping in mind the
style of the brands and needs of the consumer.
Since , all the studied brands had same
silhouettes and dominated by the colour black,
while exploring different fabrics and
materials used, it is only fair to do the same
so as to communicate their essence correctly
while also showcasing the originality and
creativity of the creator. The garments as a
result would be thigh length dresses in
variant shades of black with exaggerated
necklines, sleeves and a few variations and
explorations of different style lines.

• CLIENT :

The clientele being focused on would be women

aged from 22 – 40, belonging to upper middle
strata of earning. These women are always on a
fast track, living on the go and always
running multiple plans with little to no time
to stop and have a change of clothing. They
require a dress which is versatile, not-so-
boring which is comfortable as well. They want
to attain a certain mark or luxury and a sense
of authority in themselves while also being
stylish. They love in making a statement while
not being too loud, with an appreciation for
the colour black and aren’t afraid to
experiment a bit with risqué and exaggerated
sleeves, necklines and styles.
 The Evolution and Significance of the Little
Black dress :

The little black dress is iconic. When it first

entered the style consciousness in 1926 it
democratized fashion. It’s short length and
simplicity meant that any woman could afford to
be chic. In fact, when they published an
illustration of Coco Chanel’s short black dress
in 1926, American Vogue called it “Chanel’s
Ford” and with impressive accuracy, foretold
that it would become “a sort of uniform for all
women of taste”. Before this, black was
generally reserved for funerals and mourning and
it was considered seriously indecent to wear the
color outside of these occasions. By the 1930s,
the LBD had been accepted into mainstream
fashion. The little black flapper dress, which
was straight and loose, was often decorated with
tassels and has now become an icon in its own
right. For these women, the LBD marked a
significant moment of liberation: they were free
from the restrictive, traditional clothing of
the century before.
“When a little black dress is right, there is
nothing else to wear in its place.” (1) - Wallis
Simpson

(1) – Wallis Simpson :

https://www.readersdigest.co.uk/lifestyle/fashio
n-beauty/the-evolution-of-the-little-black-dress
Due to its combination of both elegance and
economy, the LBD’s popularity continued
throughout the Great Depression. The influence
of Hollywood perpetuated this even further as
the new Technicolor filming methods often relied
on using black dresses, as colored ones could
appear distorted on camera. The increased
availability of synthetic fabrics such as rayon
and nylon in the 1940s broadened the
affordability of the LBD.
With the rise of Dior’s ‘New Look’, which
emphasized small waists with soft shoulders and
long poufy skirts, and 1950s conservatism, the
LBD took a back seat for the fifties and its
role as a symbol of a dangerous woman only grew
stronger. Hollywood again played a role in this
as it began to dress its femme fatales all in
black. And as Dior said - “One is never under
dressed or over dressed with a little black
dress”.
In the 1960s, the young mod generation wore
their LBDs super short while other women turned
to longer incarnations of the dress, in the
style of Audrey Hepburn’s Givenchy dress in
Breakfast at Tiffany’s. When the famous garment
was auctioned in 2006, it sold for an impressive
£410,000.
The LBD became more casual in the 1980s with the
popularity of everyday fabrics and knitwear,
while broad power-dressing shoulders and peplums
also infiltrated the style. Nineties grunge
culture combined a simple cut LBD with statement
Doc Marten boots. Today, the dress can be worn
in almost any style and is universally regarded
a staple of any fashionable wardrobe.
 What it takes to be an authentic woman in fast
paced world:

The desire to fit-in, gain more respect, avoid

rejection, appear more successful, more fit or
more stylish has multitudes of women struggling
to find, live or maintain their authentic
identity. Indeed, not all women conform to this.
Some have found their inner Zen and taken charge
of the direction of their destiny; an almost
mean feat in today’s high-pressure society. But
there are still a huge number of women on a
quest for freedom from the constraints of
personal perceptions and past experience, and
being buried under the different masks of ‘miss
independent.’
To be a modern woman, it means that with the
growing demands women place upon themselves
based on self-imposed standards or those
projected upon them by the media and society as
a whole, many wear masks to suit those different
roles they play; daughter, sister, friend, wife,
mother, grandmother, business woman, CEO,
Minister, etc.
The end result over time is this –
personalities, attitudes, habits and expressions
they feel do not give a true representation of
what they feel, what they want or who they are.
And fatigue born of the strain of life’s
demands.
Needless to say, under oppressive regimes in
parts of the world where women are deemed
second-class, masks offer protection and are an
almost necessary survival tool. Standing up for
their truth, many, both young and old, have
suffered heart-wrenching persecution or death at
the hands of their oppressors.
Many undertake this journey on their own
successfully and end up living the lives of
their dreams. But sometimes a woman needs a
helping hand, a non-judgmental listening ear and
strategic direction in her search for answers,
guidance, direction and inspiration. Sometimes,
a woman needs a good friend with chocolate cake,
a prayer partner, a friend that makes them
laugh, a mentor to give sage advice or a life
success coach to help her achieve her dreams in
a savvy, strategic and smart way.
With these points in mind one needs to keep in
mind the needs that changed along with the roles
of a modern woman in a contemporary world.
While women still want to look their best, feel
confident and graceful, they are not afraid to
experiment and embrace themselves like never
before. They want a fashionable garment while
also being very concerned about the practicality
if it and not just how it looks.

In accordance to all these points my opinion is

that being a part of the same demographic, I
want a dress that is very much easy to style as
a formal as well as , as a night out with girls
kind of outfit. The little black dress is
something which is a basic and an essential in
every girl’s wardrobe, thus making an already
versatile garment even more versatile and yet
bring something fresh to it is something to look
up to.
The market segment that I have chosen is
accessible luxury as it best represents the
demographic I am aiming at with this
collection idea. This market segment enables
me to provide luxury and personal creativity
while also being reachable and relatable.

The people of this segment have an eye for

new and experimental things and also want to
look fashionable and their best versions
always, all while being in their respective
comfort zones. They have an appreciation for
classic pieces and an amalgamation that
unifies a classic such as the LBD with a
fresh idea, that of how it can be reimagined
in accordance to the needs and aspirations
of a modern woman in today’s fast moving
contemporary world.

The chosen market segment is also inclined

towards creating something new with already
existing idea. It likes to come up with
different things while sticking to it’s
roots and origins which is best suitable for
the conceived concept for the collection
namely, ‘Dark pace 2020’.

All these pointers combined make accessible

luxury a suitable market to be targeted for
the garments.
• TREND REVIEW :

The trend selected is a classic and not a fad

or fast fashion product as it is something very
versatile and timeless. The LBD is an
exceptional canvas for showcasing creativity in
the sense that it is a characteristic and
special in it’s own unique way, which makes it
a great base to experiment with.
The aimed trend is to have a collection of LBDs
that are easy wear, comfortable and yet have a
wow and fresh factor about them. The length and
colour does not change in order to keep the
originality of it intact. However, the
explorations are not limited to just necklines
and sleeves, but is extended to the materials
and fabrics used as well.

• MATERIALS & METHODOLOGY :

Materials being used would pertain to various

types of cotton blends, faux leather, satins,
polyester blends and elastane etc. the main
focal point in terms of materials is on the
various types of fabrics being used in order to
achieve particular effects.
The garments would be constructed with a basic
torso block, combined with draping, style
lines, necklines, cuts, sleeves and pattern
making.
• BUDGET & EXPENDITURE :

Categories Cost
Stationary 1000
Materials & Fabrics 4000
Design & construction 1000
Overhead 2000
Total 8000

• EXPECTED RESULT :

The expected result of this project is to

create a garment which is a blend of a classic
trend and the modern elements. It should be
open for further interpretations, perceptions
and occasions likewise.
The previous illustration was taken
and then devised into a more
realistic approach to see the look
of the whole garment before it is
worked on.
Gathers were added at top and
bottom of the sleeves and darts are
also added in both front and back
to give it a more fitted look.
The same illustration was used to
make a flat sketch as well.
 To make the bodice
and skirt pattern,
muslin was draped
and cut using basic
fabric pattern
technique . Darts
were also put to
make the whole
garment well fitted.

The basic bodice

block was then
marked with the
desired neckline in
both front and back
taking the
measurements in
mind.
The skirt block was
not altered or
changed.
 The marked lines
were cut on the
pattern directly and
again draped to see
any if any changes
needed.

The back was done

the same way. The
necklines were cut
with darts still
pinned in to avoid
any removal of
required fabric that
could change the fit
or style of the
pattern later.
The marked fabric
patterns were taken off
from the dress form,
opened and then traced
on the paper to form
production patterns.
The same was done for
skirt patterns.

The basic sleeve

pattern was made using
the instructions given
in the Helen Joseph and
the measurements
required. The slopper
was then traced to make
a final production base
pattern.
The basic sleeve
pattern was then
traced again and four
sections equally
divided were cut to
further make the puff
sleeve pattern.

Each section was pinned

on the paper with the
equal distance of 6 cm
between them to make a
dramatic puffed sleeve
effect from both top
and bottom. These were
traced from just top
and bottom to make a
pattern.
The patterns were then
traced on the main
fabric. The bodice
front and back and
skirt front and back
was traced on fold and
on grain.

The sleeve pattern was

traced individually on
bias. The fluting
strips were also cut on
bias to add flexibility
to them. Overall there
were six pattern pieces
and 26 bias fluting
strips.
The front panels of
both skirt and bodice
darts and hems are
sewn and then the
pieces are sewn
together at waist to
form a front torso
panel. Same is done
for back.

Then the bias strips

are each pinned one
by one and sewn into
place till both
front and back are
ready. Both fluted
panels are stitched
together at side
seams.
 Then the invisible
zipper is attached
at one of the sides
to make it easy to
wear and remove. The
basic silhouette of
the garment is
ready.

The sleeves are

gathered at top and
bottom and then the
side seam is stitched .
Elastic bobbin is used
to give it a proper
shape. The ready
sleeves are then
attached to the dress.
The back neckline is
pinned and hemmed.
Final trims of seams is
done to give it a
finish. The garment is
now ready to wear.
 TECH PACK

Design Sheet
Garment Details Sheet
Measurement Sheet
Fabric Details
Trims Details
Art work sheet
Cost Sheet

NAME : AKANKSHA SOBTI PROGRAMME : UGFD

COHORT : 2018-2022 SEMESTER : 8th

MODULE : INVESTIGATE, INNOVATE

ROLL NO : 5000013037
& IMPLEMENT

MODULE TUTOR: DARSHAN

CHANDEKAR

1
DESIGN SHEET

SEASON : N.A STYLE : N.A

FABRIC : 100% Polyester & 100%

SIZES : UK SIZE 12
organza

DESCRIPTION : Little black dress RANGE : Women’s Wear

FRONT BACK

Fitted torso
Gathered
puff sleeves

Fluting on
front waist

Deep U back
Elasticated Front darts
wrist with
gathers
Invisible side
zipper
Fitted Bottom
with straight Waist stitch line
hem
Back darts

2
GARMENT DETAILS

SEASON : N.A STYLE : N.A

SIZES : UK SIZE 12 FABRIC : 100% Organic cotton

FABRIC : 100% Polyester & 100%
SIZES : UK SIZE 12
organza
RANGE : Women’s Wear
DESCRIPTION : Little black dress RANGE : Women’s Wear

Organza
Invisible side
Curved Fluting
zipper
on front torso

Organza Straight
Fluting on front
waist band

Organza Straight Fluting

on whole back

Organza
Gathered puff
sleeves

Elasticated
wrist with
gathers
MEASUREMENT SHEET

SEASON : N.A STYLE : N.A

SIZES : UK SIZE 12 FABRIC

FABRIC
: 100%
: 100%
Polyester
Organic
& cotton
100% organza

DESCRIPTION : Little black dress RANGE : Women’s Wear

1. Torso top length (CF) 11 cm

2. Skirt length with waist band 22.5 cm

3. Neck depth front 2.5 cm

4. Fluting bias width 1.5 cm

5. Across shoulder 12.5 cm

6. Across chest 17 cm

7. Centre front (whole dress) 33.5 cm

8. Wrist band circumference 8

40cmcm
9. Front shoulder to waist 20.5 cm

10. Sleeve length 26 cm

11. Zipper length 6 cm

12. Back width 17.5 cm

13. Back length 27 cm

14. Back depth 12 cm

15. Hem bottom 1 cm 4

FABRIC DETAILS

SEASON : N.A STYLE : N.A

SIZES : UK SIZE 12 FABRIC

FABRIC
: 100%
: 100%
Polyester
Organic&cotton
100% Organza

DESCRIPTION : Little black dress RANGE : Women’s Wear

1. Description Polyester and Organza

2. content/ composition 100 % Polyester and 100% Organza

3. Weight/ GSM Polyester - 150

Organza - 25

4. Colour Process Black C (black)

5. EPI x PPI -

6. Cost per meter Polyester – Rs. 250 /- meter

Organza – Rs. 250 /- meter

7. Name of the supplier Satnam Fabrics

8. Quantity used Polyester – 2 meter

Organza – 1 meter
ARTWORK

SEASON : N.A STYLE : N.A

FABRIC : 100%
FABRIC Polyester
: 100% Organic&cotton
100% Organza
SIZES : UK SIZE 12

DESCRIPTION : Little black dress RANGE : Women’s Wear

Fluting technique :

PLACEMENT: curved fluting

covers whole torso and straight
fluting on waist band and back

WIDTH : 1.5 cm
PATTERN DETAILS

LIST OF PATTERN PIECES

1. Front bodice (cut - 1) [on fold & grain]

2. Back bodice (cut -1 ) [on fold & grain]
3. Front skirt (cut – 1) [on fold & grain]
4. Back skirt (cut – 1) [on fold & grain]
5. Puffed sleeve (cut – 2) [reverse & bias]
6. Fluting strips ( cut – 26) [on bias]
ASSEMBLY SEQUENCE / FLOW CHART

SEASON : N.A STYLE : N.A

SIZES : UK SIZE 12 FABRIC

FABRIC
: 100%
: 100%
Polyester
Organic&cotton
100% Organza

DESCRIPTION : Little black dress RANGE : Women’s Wear

• Stitch both the darts on front bodice and front skirt along
with the bottom seam and top hem.
• Stitch the both pieces together from the middle seam
• Stitch both darts on both back bodice and skirt along with
the bottom seam.
• Stitch them together from middle as well.
• Take the front and start pinning the fluting strips on bodice.
• Pin and sew each strip one by one till waist line.
• Drape on dress form to see any alterations, make changes
if needed.
• Take the back panel and start pining the fluting strips and
stitching like the front.
• Cut the extra bit and fold the hem inside and hand sew it
(hem).
• Stitch the front and back panels together at one seam.
• Stitch the zipper at second side seam and sew it.
• The basic garment is ready for sleeve installation.
• Gather the sleeves from above and bottom using elastic
bobbin.
• Sew side seams of sleeves and attach the seams with the
bodice seams for sleeves.
• Stitch the sleeves onto it.
• Cut the inside extra seams to finish.
• The garment is ready to wear.

5
TRIMS DETAILS

SEASON : N.A STYLE : N.A

SIZES : UK SIZE 12 FABRIC

FABRIC
: 100%
: 100%
Polyester
Organic
& cotton
100% Organza

DESCRIPTION : Little Black dress RANGE : Women’s Wear

Seams Used Plain Seam

SPI -

Wash Care No washing , no bleach, Only dry clean

has a fluting technique used on torso

Additional Remarks/Comments
and has elasticated puff sleeves

Stitch Type straight stitch on seams and hems

COST SHEET

SEASON : N.A STYLE : N.A

SIZES : UK SIZE 12 FABRIC

FABRIC
: 100%
: 100%
Polyester
Organic&cotton
100% Organza

DESCRIPTION : Little black dress RANGE : Women’s Wear

COST SHEET
STYLE
NO: N.A SEASON N.A BUYER AKANKSHA
DESCRIPTION Little Black Dress for all seasons and styles
COMMENT

OUANTIT
MATERIAL RATE Y TOTAL

POLYESTER 250 2 mtr 500

ORGANZA 250 1 mtr 250

THREADS, CUTTER, PATTERN PAPER, ZIP 100 9 950

SWATCH 1 SWATCH 2
FABRIC PRICE

OUANTIT
TRIMS RATE Y TOTAL

FLUTING BIAS & SLEEVES (ORGANZA) 250 1 mtr 250 SWATCH 3 INTERLINING

CUFF TRIM (POLYESTER) 250 0.20 mtr - LABOUR COST RATE DAYS/ HRS TOTAL

MAIN BODICE BASE (POLYESTER) 250 1.80 mtr 500 STITCHING 250
TRIMS TOTAL TECHNIQUE 1000

R
AT
LABELS AND TAGS E OUANTITY TOTAL WASHING 250
NA PATTERN MAKING 900
NA
NA TOTAL LABOUR 2400
NA OVERHEADS COST
LABELS TOTAL TRANSPORT 500
TOTAL RAW MATERIAL 1700 COURIER 200
TOTAL LABOUR 2400 ELECTRICITY 200
TOTAL OVERHEADS 900 TOTAL OVERHEADS@2% 900

TOTAL MANUFACTURING

MARKUP@300%
TOTAL 5000
The whole experience and journey of coming up
with a design and to work through it to make
it into a whole garment was magnificent and
creatively fulfilling. What started as a
research on my personal favourite classic -
The little black dress, became a whole
finished wearable garment by the end. I chose
LBD as my base as I wanted to explore more on
silhouettes and materials and not at all on
the colours , prints or motifs as much.
This whole process was so amazing while there
were a few hurdles in between physically,
mentally and emotionally, I tried to not let
them affect the outcome. I would like to thank
our tutors and faculty for constantly being
there at every step and guiding me through and
being utmost understanding.
Overall this was a very enriching, intriguing
and fulfilling as well as stressful but in the
end it was all worth it.