Indian Garment Design Course Book Copyright © 2011 USHA INTERNATIONAL LIMITED No part of this publication may be reproduced or distributed in any form or by any means, electronic, mechanical, photocopying, recording or otherwise or stored in a database or retrieval system without the prior written permission of the publisher. Edition 2011 Acknowledgement This work entitled “Indian Garment Design Course Book” has been designed for Usha International Limited by fashion design graduates of National Institute of Fashion Technology (NIFT), New Delhi - Mr. Ashish Kashyap, Ms. Rashmi Sharan and Ms. Rishika Jalali in coordination with Ms. Rupika Jain from Usha International Limited. Usha International Limited would also like to express gratitude to all those who in one way or the other contributed towards successful completion of this work. Rishika Jalali is a fashion design graduate from NIFT, New Delhi. [email protected], 9971832449 Rashmi Sharan is a fashion design graduate from NIFT, New Delhi. [email protected], 9868341625 Ashish Kashyap is a fashion design graduate from NIFT, New Delhi. [email protected], 9873297576 ii Index Chapter Topic Page No. Chapter Topic Page No. 1 Syllabus 1 Blouse Making 2 History of Fashion Designing 2 28 Plain Blouse 82 3 Theory of Color 4 29 Princess Cut Blouse 84 4 Garment Details 11 30 Yoke Blouse 86 5 Body Type 16 31 High Neck Blouse 88 6 Sewing Machine and Practice 18 32 Raglan Blouse 90 7 Common Machine Problems 26 33 Choli Cut Blouse 92 8 Pattern Terminology 28 9 Sewing Aids 29 Petticoat Making 10 Needle and Thread 30 34 Six Panel Petticoat 94 11 Essential Terminology of Fashion Industry 33 35 Hip Tight Petticoat 96 12 Basic Hand Stitches 35 36 Lehanga 98 13 Basic Seams 38 14 Fibres and Fabrics 45 Kameez Making 15 Different Types of Fabrics 47 37 Plain Kameez 100 16 Trims 49 38 Princess Line Kameez 102 17 Fabric Care 53 39 A - Line Kameez 104 18 Spots and Stain Removal 54 40 Angrakha Kameez 106 19 Garment Fitting 56 41 Multi Panel Kameez 108 20 Elementary Sketching 64 42 Anarkali Kameez 110 21 How to Take Measurements 65 43 Kalidar Kameez 112 22 Women’s Size Chart 68 23 Men’s Size Chart 69 Salwar Making 24 Kid's Size Chart 70 44 Plain Salwar 114 25 Seam Allowance 71 45 Churidar 116 26 Measure from a Garment 72 46 Patiala Salwar 118 27 Fabric Requirement 76 47 Zouve 120 Chapter 1 Syllabus SERIAL NO. TOPIC CHAPTER NO OF DAYS THEORY 1 Garment Details 4 2 Sewing Machine and Practice 6 3 Common Machine Problems 7 6 4 Basic Seams 13 5 How to Take Measurements 21 BLOUSE MAKING 6 Plain Blouse 28 3 7 Princess Cut Blouse 29 3 8 Yoke Blouse 30 2 9 High Neck Blouse 31 2 10 Raglan Blouse 32 3 11 Choli Cut Blouse 33 3 PETTICOAT MAKING 12 Six Panel Petticoat 34 1 13 Hip Tight Petticoat 35 1 14 Lehanga 36 2 KAMEEZ MAKING 15 Plain Kameez 37 2 16 Princess Line Kameez 38 2 17 A - Line Kameez 39 1 18 Angrakha Kameez 40 2 19 Multi Panel Kameez 41 3 20 Anarkali Kameez 42 3 21 Kalidar Kameez 43 2 SALWAR MAKING 22 Plain Salwar 44 2 23 Churidar 45 1 24 Patiala Salwar 46 2 25 Zouve 47 1 NOTE- Duration of class: 2 Hours per day According to the students coming to the sewing school, the instructors can teach pattern making of garments in any order that they deem fit. All garments will include special features of the Usha sewing machine like zip fixing, hemming, button holing, button fixing, decorative stitches etc., teaching of this will depend on the availability of these machines in the school. All students are required to maintain a record consisting of detailed notes on pattern making. All practical work, including paper patterns and garment samples constructed, should be properly filed. 1 22 Chapter 2 History of Fashion Designing The history of Indian fashion dates back to the Harappan stanapatta or breast-band forms a basic ensemble, and culture in the Vedic times. The evidence about textiles once again consists of garments that do not have to be and dresses is scant but not unimportant even in the stitched. The upper garment is simply fastened in a knot Harappan sculptures. at the back and the dhoti or sari is worn covering both In Vedic literature, the lower garment worn by the legs at the same time, or alternatively, with one end of it women was much like the sari or dhoti of later times. passed between the legs and tucked at the back in the Garments made by the skin of animals were worn by gods, kakshya fashion that is still prevalent in large areas of India. sages and tribal alike. It was a perception among The preference for people to wear these kinds of some scholars that initially, sewing was not a timeless garments was also due to the hot Indian climate, very popular concept amongst Indian people where comfort of fabric was important. and it was something that was brought in by The “time-bound” category of garments reflects the eras the Mughals. of the various invasions that happened in India. With each There is a definite indication that invasion came a new concept of clothing. The Indians the Indians were familiar with the adapted these to a certain extent in their own dress code, knowledge of sewing i.e. the needle and a new range of costumes evolved. was known to the Indians from the Trousers of a close-fitting kind evolved with the British very beginning of historic periods. influence. Angrakha and chogas evolved with the Muslim So, a distinction needs to be made influence. So, we became familiar with time-bound attire between the knowledge of sewing and sewing became a visible feature and the evolution of and the use of sewing. fashion occurred. So, we need to draw a When we evolve, we pick from all these basic elements distinction between what can and create ensembles of our own. be designated as “timeless” For example, the Ghaghra has been an inspiration for all. costumes and those that are It can be called a day skirt, a lehnga or even a petticoat. “time-bound”. The timeless The concept is the same. The Angrakha of the man Indian dress of men thus has been converted into the Angrakha with churidar for consists of garments that women. The backless choli of Rajasthan inspired all of us use no stitching. As Forbes to create backless blouses with strings and knots. The Watson says, “leave the loom, choga of men inspires us to use embroideries and also ready to wear”. The dhoti, the create a toned down version of kurtas for women. scarf, the uttariya, and the However, while creating new designs, the basic turban, which have never really concepts remain “timeless” and “time-bound”. We at disappeared from any part of times pick from the timeless fashion drapes of ancient India, belong to this category. India and create draped garments on our dummies. Similarly for women, the We also pick from the various costumes, colours and dhoti or sari as the lower embroideries of our heritage and translate them into garment combined with a contemporary fashion. 33 Chapter 3 Theory of Colour Designers are experts in combining colours in original Learning about colours is like wanting to enjoy a musical ways, and each collection requires a new and creative instrument, or a game of football. The real enjoyment mix of colours. Some designers are known for their comes after one has begun to learn some basic rules and signature colour palettes, which reflect their individual skills. If one doesn’t know how to co-ordinate colours, perspectives and preferences. The palettes are modified one generally lands up mixing colours which may not from collection to collection, but the stamp of the give a desired effect. However, once the basic principles designer’s style is always present and sometimes results are learnt, colour co-ordination becomes simple and in the beginning of new design trends. Other designers automatic change palettes at will to fit the needs of the individual collection and the trends prevailing COLOUR WHEEL The colour wheel is an invention credited to Sir Isaac BASICS OF COLOUR Newton (1706). Artists use a traditional colour wheel based Colour is the perceptual characteristic of light described on the Red/Yellow/Blue model with secondary colours of by a colour name. Specifically, colour is light, and light is orange, green and purple. A colour wheel (also referred composed of many colours—those we see are the colours to as a colour circle) is a visual representation of colours of the visual spectrum: red, orange, yellow, green, blue arranged according to their chromatic relationship. Begin and violet. Objects absorb certain wavelengths and reflect a colour wheel by positioning primary hues equidistant others back to the viewer. We perceive these wavelengths from one another, then create a bridge between primaries as colour. using secondary and tertiary colours. A colour is described in three ways: by its name, how pure or de-saturated it is, and its value or lightness. Although pink, crimson and brick are all variations of the colour red, each hue is distinct and differentiated by its chroma, intensity and value. Chroma, intensity, and value are inter-related terms and have to do with the description of a colour. Chroma: How pure a hue is in relation to gray. Intensity: The brightness or dullness of a hue. One may lower the intensity by adding white or black. Value: A measure of In the 19th century, a French artist, Michel Chevreul, the amount of light reflected from a developed a wheel bringing in the secondary and hue. Those hues with a high content tertiary colours, which had a profound influence on of white have a higher luminance or many artists of the time. Chevreul’s wheel, the basis of value. most contemporary colour theory, is the foundation of all colour teaching. Colours could now be mixed optically, in Shade and tint are terms that refer the eye, rather than being premixed on the palette. The to a variation of a hue. Shade: A colour wheel can be divided into ranges that are visually hue produced by the addition of active or passive. Active colours will appear to advance black. Tint: A hue produced by the when placed against passive hues. Passive colours appear addition of white. to recede when positioned against active hues. 4 Blue is most commonly associated with the sky and the TYPES OF COLOURS sea. Blue has the capacity to express the airiness of clouds and the solidity of slate, the calmness of a clear sky as well PRIMARY COLOURS: RED, BLUE, YELLOW as electric energy. It can evoke clarity or mystery, joyfulness of sadness, broad daylight or deep night. Psychologically, PRIMARY COLOURS: Colours at their basic essence; those blue is associated with tranquility and contentment. colours that cannot be created by mixing others. The primary colours are the three basic hues red, blue and Yellow: Yellow is powerful colour, both in light value yellow. They are the foundation of the colour wheel, and and extremely intense in its purest form. Its brilliance is theoretically all other colours are mixed from them. most often associated with the sun and evokes a sense of It is important to be familiar with the positions of the energy and excitement. The emotional effects of yellow primaries on the colour wheel and the relationships are optimistic and bright. Yellow combines with red to formed by these positions. form the warm family of oranges and with blue to blend the cooler greens. Its complement is violet. Red: Red is the most dramatic, emotional and active of Gold as part of the yellow family is responsible for the the three primaries. It is an especially versatile colour in association of richness and opulence with this brilliant its effects, brightening up dresses by creating excitement, colour. In Eastern cultures, yellow has warmth and elegance. The use of red suggests a bold and always been a revered colour. confident attitude. When tinted, it becomes distinct; when The Brahmans considered it deepened, it is more rich and masculine; when used with sacred, and in India, brides yellow, the cheerful family is created, and when combined wore yellow as they had in with blue, the more dreamy and mysterious violets are ancient Rome. The Chinese created. The complement of red is green. associated this colour with Diverse cultures view red in very different ways. The royalty and deity. Chinese have always favored red, traditionally using it for it for the bridal gown, a sign of longevity. In India, it is the These terms refer to colour colour of fortune and is favored as the wedding colour. groups or types: The Romans used it to symbolize power, an association that has been continued in the rituals of the Catholic SECONDARY COLOURS: ORANGE, VIOLET, GREEN Church. Many nations have chosen have chosen red for their flags. In nature, red is associated with the powerful Secondary Colours: Those colours achieved by a mixture life-sustaining fluid, blood and with the earth where of two primaries. The Secondary group of colours are certain types of soil and rocks are characterized by the orange, violet and green. They are made by combining distinctive colour. equal parts of two primaries; red and yellow make orange, blue and yellow form green and red and blue result in Blue: Of all the colours, blue is perhaps most universally violet. equated with beauty. It has remained popular from The secondary group of colours is orange, violet and ancient times until the present throughout the world. Blue green. They are made by combining equal parts of two is timeless, linking the present with tradition and lasting primaries; red and yellow make orange, blue and yellow values. One of the three primary hues, it is perhaps the most from green and red and blue result in violet. versatile in its expressive qualities. Its analogous families include greens when mixed with yellow, and violets when Green: Green is unique in its duality; pushed towards mixed with red. The complement of blue is orange. yellow its acts as a warm colour, and when more blue 5 is present, it becomes a cool tone. In some form green in its opposite colour. This is because the receptors in the goes with every other colour, making it a natural. Our eyes eye, which have been looking at the first colour, are tired, appreciate the beauty of this versatile colour, associating while the receptors that perceive the opposite colour are it with soothing shade, quietness and youth. Bright yellow rested and react immediately. greens evoke the memories of miracle of nature ‘spring’. Deep green suggest elegance and security. WARM AND COOL COLOURS Violet: Violet seems to be a colour of emotional contrasts. We look at a colour wheel to understand Its paler tints are delicate, fragile and exquisitely feminine. the relationships between colours. Deeper purple denotes the colour of power and royalty. Analogous colours are positioned in such a way as to mimic the process that occurs Orange: Orange is amazingly versatile; when blending hues. The colours that capable of emitting great energy are positioned opposite one another are in its purest form and, as an complementary colours. earth tone, it reminds of To call those hues in direct opposition to warmth and comfort. As each other “complements of each other” is a pale tint, it becomes the appropriate. Complementary colours bring out most flattering colour of all for the best in each other. When fully saturated human skin tones. complements are brought together, inter- esting effects are noticeable. This may be TERTIARY COLOURS a desirable illusion, or a problem if creating visuals that are to be read. Tertiary Colours: Those colours achieved by a mixture of Every colour on the colour wheel has an op- primary and secondary hues. The three primary colours posite, or complementary, colour. The opposite give a third set of colours known as tertiary colours. colour pairs are red and green, blue and or- A tertiary colour is simply a mixture of a primary colour ange, and yellow and violet, but every other with a secondary colour. Red can be mixed with orange colour on the wheel also has an opposite. to make red orange. Take any tertiary colour, and its Rend can be mixed with violet to make red-violet, yellow complementary can be found facing it on can be mixed with green to make yellow-green, yellow the other side of the wheel. By laying a colour can be mixed with orange to make yellowish orange, blue next to its opposite, the effect is to make both can be mixed with violet to make bluish violet and blue appear more vibrant than they would be if can be mixed with green to make blue-green. perceived separately. They create a tension through strong contrast as well as an COMPLEMENTARY COLOURS attraction. Combined in less intense hues, complements form subtle colour balances Complementary Colours: Those colours located opposite that are enormously pleasing to the eye. However, each other on a colour wheel. when both colours are used in equal amounts, Opposite colours have a curious effect on the human the effect can be counter-productive. The eye. If you stare hard at any shape of bright colour for a few two colours compete and may even be minutes, then transfer your gaze to a white wall, you will uncomfortable to look at. see an after-image. This fades after a few seconds. During We learn from the relationships displayed that time the eye sees the same shape, but perceives it by a colour wheel that every colour has an 6