DR. A.P.J.

ABDUL KALAM TECHNICAL UNIVERSITY,

UTTAR PRADESH, LUCKNOW

EVALUATION SCHEME & SYLLABUS FOR

BFAD

BACHELOR OF FASHION AND APPAREL DESIGN

AS PER
AICTE MODEL CURRICULUM [Effective from
the Session: 2020-21]
Curriculum & Evaluation Scheme Page 1
 BFAD. I Semester
BACHELOR OF FASHION AND APPAREL DESIGN
ESE Sessional
Subject Subject Name T P
S. No. L
Code Marks CT TA Total Credit

Introduction to Textile & Apparel

1 KFD101 Industry 2 1 0 70 20 10 100 3

2. KFD102 Cultural Studies 2 1 0 70 20 10 100 3

3. KFD103 Professional Communication 2 1 0 70 20 10 100 2

0 5
4. KFD151 Basic Drawing 0 50 30 20 100 3

5. KFD152 Material Studies-I 0 0 5 50 30 20 100 3

6. KFD153 Basic Design 0 0 5 50 30 20 100 3

7. KFD 154 Computer Applications CorelDraw) 0 1 3 50 30 20 100 3

1 3
8. KFD155 Craft Appreciation (Modular) 0 50 30 20 100 2

9. KFD156 Research Skill for Design 0 1 2 50 30 20 100 2

KFD157 Socio Cultural Environment and 0 50 50

10 1 1 100 0
Enterprises (Modular)

Total 1000 24

CT: Class Test TA: Teacher Assessment L/T/P: Lecture/ Tutorial/ Practical

Curriculum & Evaluation Scheme Page 2

 BFAD. II Semester
BACHELOR OF FASHION AND APPAREL DESIGN
ESE Sessional
Subject Subject Name T P
S. No. L
Code Marks CT TA Total Credit

KFD201 Textiles-I
1 2 1 0 70 20 10 100 3

2. KFD202 Art Appreciation 2 1 0 70 20 10 100 2

3. KFD203 Historic Costume Indian 2 1 0 70 20 10 100 2

4. KFD204 Elements of Fashion

2 1 0 70 20 10 100 3

KFD251 Fashion Model Drawing

5. 0 1 3 50 30 20 100 3

KFD252 Material Studies-II

6. 0 1 3 50 30 20 100 2

KFD253 Communicating Fashion (Modular)

7. 0 1 2 50 30 20 100 2
KFD254 CAD- I (Photoshop)
8. 0 1 3 50 30 20 100 3

KFD 255 Photography

9. 0 1 3 50 30 20 100 2

KFD256 100
10 Design Process 0 1 3 50 30 20 2

Total 1000 24

Curriculum & Evaluation Scheme Page 3

 BFAD. III Semester

BACHELOR OF FASHION AND APPAREL DESIGN

T P Sessional
S. No. Subject Subject Name L ESE
Code Marks CT TA Total Credit

RVE301/ Universal Human Values &

1 Professional Ethics/ Environment 3 0 0 70 20 10 100 3
RAS302
& Ecology
2. KFD301 Textiles-II 2 1 0 70 20 10 100 3

3. KFD302 Historic Costumes-Western 2 1 0 70 20 10 100 3

4. KFD303 Traditional Indian Textiles 2 1 0 70 20 10 100 3

5. KFD351 Fashion Illustration-I 0 1 3 50 30 20 100 2

6. KFD352 Computer Aided Design – II (Adobe Illustrator) 0 1 3 50 30 20 100 2

7. KFD353 Elementary Pattern Making 0 1 5 50 30 20 100 3

8. KFD354 Garment Construction Techniques 0 1 3 50 30 20 100 2

9. KFD355 Dyeing and Printing 0 0 2 50 15 10 50 1

10 KFD356 Market Survey 0 0 2 25 15 10 50 1

11 KFD357 Integrated Design Project-I 0 1 3 50 30 20 100 2

Total 1000 25

CT: Class Test TA: Teacher Assessment L/T/P: Lecture/ Tutorial/ Practical

Curriculum & Evaluation Scheme Page 4

 BFAD. IV Semester

BACHELOR OF FASHION AND APPAREL DESIGN

Sessional
Subject T P ESE
S. No. Subject Name L Total Credit
Code Marks CT TA

1 KFD401 Textiles-III 2 1 0 70 20 10 100 3

2. KFD402 Contemporary Art Appreciation 2 1 0 70 20 10 100 3

3. KFD403 Contemporary Fashion Studies 2 1 0 70 20 10 100 3

4. KFD404 Fashion and Sustainability 3 0 0 70 20 10 100 3

5. KFD451 Fashion Illustration-II 0 1 3 50 30 20 100 2

6. KFD452 Pattern Making-II 0 1 3 50 30 20 100 2

7. KFD453 Advanced Garment Construction 0 1 3 50 30 20 100 2

8. KFD454 Fabric Ornamentation-I 0 0 3 25 15 10 50 2

9. KFD455 Introduction to Draping 0 1 3 50 30 20 100 2

10 KFD456 Fabric Studies 0 0 2 25 15 10 50 1

11 KFD457 Integrated Design Project–II 0 1 3 50 30 20 100 2

Total 1000 25

Curriculum & Evaluation Scheme Page 5

 BFAD. V Semester
BACHELOR OF FASHION AND APPAREL DESIGN
S. ESE Sessional
Subject Code Subject Name L-T-P Total Credit
No Marks CT TA
1. KFD501 Quality Control in Garments 2-1-0 70 20 10 100 3

2. KFD502 Production Techniques 2-1-0 70 20 10 100 3

3. KFD551 Fashion Illustration-III 0-1-3 50 30 20 100 2
Pattern Making and Construction of
4. KFD552 0-1-3 50 30 20 100 3
Kids wear & Menswear
5. KFD553 Design and Development of Kids 0-1-3 50 30 20 100 2

6. KFD554 Design and Development of Menswear 0-1-3 50 30 20 100 2

7. KFD555 Advanced Draping 0-1-3 50 30 20 100 3

8. KFD556 Fabric Ornamentation-II 0-1-3 50 30 20 100 2
9. KFD557 CAD PROJECT (TUKATECH) 0-1-3 50 30 20 100 2

10. KFD558 Integrated Design Project-III 0-1-3 50 30 20 100 2

11. AUC002 Cyber security 2-1-0 50 15 10 75* -

Total 1000 24

CT: Class Test TA: Teacher Assessment L/T/P: Lecture/ Tutorial/ Practical

*Cyber Security will be offered as a compulsory audit course for which passing marks are 30% in End Semester
Examination and 40% in aggregate

Curriculum & Evaluation Scheme Page 6

 BFAD. VI Semester
BACHELOR OF FASHION AND APPAREL DESIGN

ESE Sessional
S.No Subject Code Subject Name L-T-P Total Credit
Marks CT TA
1. KFD601 Knitting Technology 2-1-0 70 20 10 100 3
Fashion Merchandising &
2. KFD602 2-1-0 70 20 10 100 3
Management
3. KFD651 Pattern Grading 0-1-3 50 30 20 100 2
Pattern Making and Construction of
4. KFD652 0-1-3 50 30 20 100 3
Indian Wear
Design and Development of Indian
5. KFD653 0-1-3 50 30 20 100 2
Wear
Leather Sourcing &
6. KFD654 0-1-3 50 30 20 100 2
Development of Leather
7. KFD655 Advanced Photography & Styling 0-1-3 50 30 20 100 2
Design and Development of
8. KFD656 0-1-3 50 30 20 100 2
Knitwear Products
9. KFD657 Integrated Design Project-IV 0-1-3 50 30 20 100 3

10. KFD658 Educational Tour 0-0-0 50 - 50 100 2

Total 1000 24

CT: Class Test TA: Teacher Assessment L/T/P: Lecture/ Tutorial/ Practical

Curriculum & Evaluation Scheme Page 7

 BFAD. VII Semester
BACHELOR OF FASHION AND APPAREL DESIGN

ESE Sessional
S.No Subject Code Subject Name L-T-P Total Credit
Marks CT TA

1. KFD701 World Textiles 2-1-0 70 20 10 100 3

Consumer Behavior & Fashion
2. KFD702 2-1-0 70 20 10 100 3
Marketing
Choice Based Elective (Any 2) *
1. Choice Based Elective One*
3. KFD751 0-1-3 50 30 20 100 3
2. Choice Based Elective
0-1-3 50 30 20 100 3
Two*
Mandatory Elective (Any
One)
1. Business of Fashion Luxury
4. KFD752 2. Corporate Designs and
fashion Industry 0-1-3 50 30 20 100 3
3. Fashion Forecast for
Indian retail
Bridal Wear: Design and
5. KFD753 0-1-4 100 30 20 150 3
Development
6. KFD754 Integrated Design & Development 0-1-4 100 30 20 150 3
7. KFD755 Internship 0-0-6 100 50 50 200 3
Total 1000 24

CT: Class Test TA: Teacher Assessment L/T/P: Lecture/ Tutorial/Practical

*Choice Based Elective (Any 2) Mandatory Elective (Any One)

KFD-751-1 Fashion Accessories KFD-752-1 Business of Fashion Luxury

KFD-751-2 Creative Pattern Making KFD-752-2 Corporate Designs and fashion
KFD-751-3 Visual Merchandising Industry
KFD-751-4 Digitization in the Fashion Industry KFD-752-3 Fashion Forecast for Indian Retail

Curriculum & Evaluation Scheme Page 8

 BFAD. VIII Semester
BACHELOR OF FASHION AND APPAREL DESIGN

ESE Sessional
S. No Subject
Subject Name L-T-P Marks CT TA Total Credit
Code
Entrepreneurship and
1. KFD801 2-1-0 70 20 10 100 3
Design Management
Choice Based Elective (Any 2)*
1. Choice Based Elective One*
2. KFD851 0-1-3 50 30 20 100 3
2. Choice Based Elective
0-1-3 50 30 20 100 3
Two*

Mandatory Elective (Any One)

1. Business of Fashion Luxury
3. KFD852 2. Corporate Designs and
fashion Industry
0-1-3 50 30 20 100 3
3. Fashion Forecast for
Indian retail

4. KFD853 Art Portfolio 0-0-9 100 50 50 200 4

5. KFD854 Design Collection 0-3-12 200 100 100 400 8

Total 1000 24

CT: Class Test TA: Teacher Assessment L/T/P: Lecture/ Tutorial/Practical

*Choice Based Elective (Will Continue same as Mandatory Elective Will Continue same as
Sem VII) Sem VII)
KFD-851-1 Fashion Accessories KFD-852-1 Business of Fashion Luxury
KFD-851-2 Creative Pattern Making KFD-852-2 Corporate Designs and fashion
KFD-851-3 Visual Merchandising Industry
KFD-851-4 Digitization in the Fashion Industry KFD-852-3 Fashion Forecast for Indian Retail

Curriculum & Evaluation Scheme Page 9

 BFAD 1st Year
I Semester
Syllabus

Curriculum & Evaluation Scheme

Page 10
KFD-101 INTRODUCTION TO TEXTILE & APPAREL INDUSTRY 2L:1T:0P 3 Credits
Objectives
• To provide a comprehensive overview of the textile, apparel and fashion industry
• To understand the evolution and growth of the textile and apparel industry
• To understand the importance of the textile and apparel industry and its segments
• To evaluate the employment prospects in the textile and apparel industry
• To understand the global trade in the industry
• To understand and appreciate the role of various supportive institutions and organizations in the development
of the industry

Learning Outcomes
• Become aware of history and development of global and Indian textile and apparel industry
• Understand the characteristics, structure and trade avenues in the apparel and textile
industry
• Be able to understand the functioning of the apparel manufacturing industry
• Become aware of trade in terms of domestic, retail, export and import of Indian textiles and
apparel
• Be able to understand the role of small and medium scale enterprises in the industry
• Be able to appreciate the support of trade promotion organizations, government and non-
governmental organizations, various institutes and research organizations in the
development of the industry

INTRODUCTION TO TEXTILE & APPAREL

KFD-101 INDUSTRY
2L:1T:0P 3 Credits
Unit Topics Lectures

OVERVIEW OF THE TEXTILES INDUSTRY: Overview of global and Indian

I textile industry. Nature, size, structure and trade of various sectors of the industry. 8
Evolution and Growth. Employment prospects

MAJOR SEGMENTS OF THE TEXTILE INDUSTRY: Organized textile sector.

II Decentralized sector. Handloom and power loom sector. Cotton and man-made 8
filament yarn industry. Woolen textile industry. Sericulture. Other fibers

APPAREL INDUSTRY IN INDIA: Overview of global and Indian apparel industry.

History and its development in recent years. Size and nature of the industry.
III 8
Regional features and structure of the industry. Small and medium scale enterprises-
design studios, boutiques, organized sector.

FASHION INDUSTRY: Fashion overview. Fashion trade. Nature and sectoral

overview of the fashion industry. Fashion retailing- retail stores, department stores,
IV 8
boutiques, chain stores, discount stores, factory outlets, e-tailing etc. Role of
professionals in the fashion industry

TRADE IN APPAREL AND TEXTILES: Opportunities and Challenges. Export and Import.
V Indian apparel export and important product category. Domestic market and 8
domestic brands. Export Promotion Councils of India.

Curriculum & Evaluation Scheme

Page 11
 SUPPORTING INSTITUTIONS AND ORGANIZATIONS: Trade promotion services
(AEPC, CMAI, PEXCIL, etc.). Government and Non-Government. Testing laboratories.
VI Handloom and Handicrafts Development Corporation, Silk Board, KVIC, CCIC, NIFT,
IIT, NID, etc. Textile research associations- NITRA, BTRA, CIRCOT.

Suggested Assignments
Assignment 1: Collection of current news regarding textiles and apparel
industry- a report.
Assignment 2: Comparative study of major players of textiles and apparel
industry- a document.
Assignment 3: Schemes and initiatives taken by any research organization- a
report. Assignment 4: Role of garment fairs in generating business- a report.
Suggested Visits
1. Garment fairs organized by AEPC (held twice at New Delhi) Trade fairs Fashion shows
2. Retail stores
3. Textile research association
4. Production units – textile
and apparel
Text Book:
1. Bheda, R., Managing Productivity in the Textile Industry, CBS
Publisher and Distributers, new Delhi, 2003.
2. Fringes, G. S., Fashion from Concept to Consumer, Prentice Hall, 9th
Edition, 2007.
Reference Books:
1. Annual Report, Ministry of Textiles
2. Apparel Online
3. Clothesline
4. Compendium of Textiles Statistics, Textile Commissioner, Govt. of India.
5. Dickerson, K., Textile and Apparel in the Global Economy, Prentice Hall, Englewood Cliffs,
NJ, 1995.
6. Express Textile
7. Han, H. and the Staff of Vault, Vault Career Guide to the Fashion Industry: Step into a
fashionable career with insider advice, 2nd Edition, Vault Inc., USA, 2003. Indian Textile
Journal
8. Jarnow, J. A., Guerreiro, M. & Judelle, B., Inside the Fashion Business, John
9. Wiley, USA, 1981.
10. Koshi, D. O., Garment Exports- Winning Strategies trade Magazines
11. Textile View
12. Trade Reports, (Textile Committee, AEPC, CMAI)
Web Sources
1. http://www.bharattextile.com/features/research-brief/#3
2. http://texmin.nic.in/annualrep/arep.htm
3. www.cci.in/pdf/surveys_reports/indian-textile-industry.pdf
4. www.india-exports.com/apparel.html
5. www.ediindia.org/DSR/BANGALORE%20DS.pdf
6. http://www.epch.in/
7. http://www.btraindia.com/
8. www.nitratextile.org/
9. www.sitra.org.in/

Curriculum & Evaluation Scheme

Page 12
 KFD-102 CULTURAL STUDIES 3L:1T:0P 4 Credits

Objectives
• To create awareness about the Indian and global civilizations and their evolution
• To understand the interrelation of clothing with different cultures
• To understand human behavior viz-a-viz clothing
• To become aware of various tribes around the world
• To understand the reasons leading to universalization of modern civilizations

Learning Outcomes
• Understand the correlation of various factors leading to the evolution of civilizations
• Be able to appreciate the interrelationship of clothing with different cultures and human
behavior
• Be aware of the various tribal communities across the world and understand their
evolution, existence and lifestyles
• Understand the reasons for increasing similarities between the modern civilizations of
the world
• Be able to use the knowledge of civilizations and cultures across the world for
subsequent design development

KFD-102 CULTURAL STUDIES 3L:1T:0P 4 Credits

Unit Topics Lectures
I EVOLUTION OF CIVILIZATIONS AND CULTURE: In terms of Food, Clothing, Shelter, 8
Religions, Rituals, Customs. Difference between religion, ritual and custom,
Interrelationship within societies, Symbolism – religious and cultural, Culture-
material and symbolic. Elements of culture- Language, shelter, clothing, economy,
religion, education, values, climate, Government/ laws, Recreation/ entertainment.
II INTER RELATIONSHIP OF CLOTHING AND CULTURE: Patterns of culture. Relation to 8
the material culture. Folkways, customs and laws. Clothes, attitudes and values.
Cultural change and fashion change.

III CLOTHING AND HUMAN BEHAVIOUR: Clothes and self-concept. Conformity and 8
individuality in dress. Clothing symbolism. Clothes, roles and status. Differentiation
in the mass society

IV CULTURESOF VARIOUS COMMUNITIES: Evolution. Famous communities – Indian and 8

International. Cultures. Religions and rituals. Costumes. Isolation and related
problems.
V UNIVERSALIZATION OF MODERN CIVILIZATIONS: With reference to Travel, Media, 8
Food, Entertainment, Clothing, Lifestyle etc.

Suggested Assignments
• Make a group presentation (at least three students in a group) on any one
civilization from across the world studying in detail their origin, food, clothing,
shelter, religion, rituals, customs, symbolism– religious and cultural etc.
Curriculum & Evaluation Scheme
Page 13
 • Make a group presentation (four students) on any Indian or International tribe
• studying in detail about their evolution, culture, religion, rituals, costumes and
isolation and related problems
• To do a comparative study of two families viz-a-viz their origin, culture and
rituals for important landmarks in life

Suggested Movies
To expose the students to the cultural influences, lifestyles, social interaction
rituals, customs, clothing etc.
Mirch
Masala
Manthan
BenHur
God Must Be Crazy
Harish chand rachi
Factory Achhut Kanya
Do Bigha
Zameen Persepolis
Mamma Mia
Babette’s Feast etc.
Suggested Visits
• Tribal section of a local museum
• History section of a nearby museum
• Cultural centers in the near vicinity
Textbooks
1. Horn, Marilyn, J., The Second Skin: An Interdisciplinary Study of
Clothing, Houghton Mifflin Co., 1975
Reference Material
1. Sharma, Ram Sharan, Material Culture & Social Formations in Ancient
India, Macmillan India Ltd., 2007
2. Bose, M. L., Social and Cultural History of Ancient India, Concept
Publishing Co., 1998
3. Fisher, Nora, Mud, Mirror and Thread: Folk Traditions of Rural India,
Grantha Corporation, 2007
4. Ganguly-Scrase, Ruchira and Scrase, Timothy J., Globalization and the
Middle Classes in India: The Social and Cultural Impact of Neoliberal
Reforms
5. Srinivas, Mysore Narasimha char and Srinivas, M. N., Social Change In
Modern India (Rev Edn.), Orient Longman Pvt. Ltd., 2005
Web Sources
http://www.indianetzone.com/37/indian_tribal_people.htm
http://en.wikipedia.org/wiki/Tribe
http://historymatters.gmu.edu/mse/film/socialhist.html
http://en.wikipedia.org/wiki/Culture_of_India

Curriculum & Evaluation Scheme

Page 14
http://www.globalpolitician.com/print.asp?id=3502
http://asiasociety.org/countries/traditions/indian-society-and-ways-living

Curriculum & Evaluation Scheme

Page 15
 KFD103 PROFESSIONAL COMMUNICATION 3L:1T:0P 4 Credits
Objectives
• To improve English language skills
• To learn effective communication skills
• To understand the nuances of spoken and written language which is essential for any
student of designing, since all creative professions need the support of communication in
the contemporary world
• To enable them to achieve effective language proficiency for their social, professional &
inter personal communication both in speaking & writing

Learning Outcomes
• Be able to express his /her ideas and thoughts in speech or writing
• Be able to comprehend, converse, interact and participate in any day-to-day events and
situation
• Be able to write grammatically correct sentences for various forms of written
communication to express oneself
• Be able to read and understand professional articles and use the acquired information for
further work
• Be able to understand phrases and expressions pronounced and communicate in simple
everyday situations
• Be able to document any undertaken research or project

Unit Topics Lectures

Language/Communication in context: communication as a means of sharing
information, speakers-listener and reader-writer relationship, process, importance,
I purpose, features of communication (accuracy, brevity, clarity and appropriateness 8
in communication), barriers to communication, personal and interpersonal
communication.
Writing Skills: Learning words for general purpose, use through situations,
sentence formation and use of given set of words in different contexts, usages of
words in different tenses, aspect and moods, narrative in first, second and third
II 8
person, meaning and usages of connectives, modifiers and models, phrasal verbs,
connotations, various types of sentences and paragraphs, features of paragraph
(cohesion and coherence).
Speaking Skills: Speech and verbal communication, articulation (pronunciation of
different sounds and words i.e. vowels, consonants, diphthongs, (IPA Chart) and
III words), paralinguistic features, formal informal speaking, extempore, discussion and 8
presentation.

Reading Comprehension: kinds and types of reading texts Reading

Comprehension: kinds and types of reading texts, basic steps to effective
IV reading, abstracting, précis writing and summarizing taking example from 8
different texts.

Curriculum & Evaluation Scheme

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 Listening Comprehension: process and types of listening, steps of listening,
V barriers to listening, Fluency & speed, impact of pronunciation on comprehension 8
through various texts, intelligent listening.

Article Writing on Issue Related to Fashion, Style and Design: How to begin the
VI topic, sentence and the controlling idea, structure, coherence, description writing
techniques and critical appreciation.

Fashion and Clothing Terminology: Fashion terminology related to fashion trend,

Forecast, new style, textile terms and designing terms, Terminology for Classes and
VII
style of basic clothing: -Contemporary, Historic and modern Terminology related to
Garments Parts, size, range and clothing details.
Practice exercises I: vocabulary and conversation exercises on the newly learnt
VII words, transcription of words, understanding of tenses, enhancing conversation
skills, reading & listening Comprehension of simple passages with exercises

Practice exercises II: conceptual inputs on presentation skills and

VIII conducting presentations.

Web Sources

http://en.wikipedia.org/wiki/Communication
http://notesdesk.com/notes/business-communications/types-of-communication/
http://www.buzzle.com/articles/forms-of-communication.html
http://en.wikipedia.org/wiki/Noun
http://en.wikipedia.org/wiki/Pronoun
http://en.wikipedia.org/wiki/Verb
http://en.wikipedia.org/wiki/Adjective
http://grammar.ccc.commnet.edu/grammar/adverbs.htm
http://www.usingenglish.com/resources/letter-writing.php/
http://www.scribd.com/doc/12258697/How-to-Write-Informal-Letters
http://www.talkenglish.com/LessonDetails.aspx?ALID=768
http://www.effective-public-speaking.com/
http://www.slideshare.net/suniltalekar1/fashion-terminology
http://en.wikipedia.org/wiki/Clothing_terminology
http://ahn.mnsu.edu/fcs/fashion_terminology_ppt_-_ms_krysten_dane.pdf
http://www.apparelsearch.com/terms/

Curriculum & Evaluation Scheme

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KFD151 BASIC DRAWING 3L:0T:0P 3 Credits
Objectives
• To explore the new ways of thinking through drawing
• To enhance the visual language
• To develop cognitive skills by helping to distinguish between seeing and looking
• To develop observation skills through various techniques of drawings using different material
• To develop understanding of concept and ability to express ideas

Learning Outcomes
• Be able to establish cognitive skills as demonstrated by the ability to
distinguish between “ceeing” and “looking”
• Be able to develop observational drawing skills
• Be able to demonstrate working knowledge of a variety of drawing methods
and material
• Be able to improvement the ability to express ideas both visually and orally
• Be able to sketch different elements from outdoors to develop spontaneity in
drawing

KFD151 BASIC DRAWING 3L:0T:0P 3 Credits

Unit Topics Lectures
FREE HAND DRAWING: Line drawing- horizontal, vertical, diagonal,
I circular, spiral and curved. Pencil gradation. Object drawing- drawing both 8
manmade and natural objects (both line drawing and shading)

GEOMETRIC DRAWING: Drawing simple geometric objects like cubes,

II cylinders, cones etc. Drawing of same objects put together. Pencil shading to 8
understand light and shade
STILL LIFE DRAWING: Drawing by composing different objects like
flower vase, flowers, teapots, cups, bottles etc. with drapery as background.
Pencil shading to understand light and shade and the three-dimensional
III 8
quality. Changing the object and the composition to colour rendering with
different colour media (Staedtler colour pencils, oil pastels, water colours
and pen and ink).
PERSPECTIVE DRAWING: One-point perspective drawing from
IV interior of a building. Two-point perspective drawing from exterior of a 8
building.
OUTDOOR DRAWING: Drawing plants, trees and flowers with pencil
shading and colour rendering them with different colour media. Drawing
V with compositions of different elements from landscape with pencil 8
shading. Sketching of animals in the landscape. Changing composition of
landscape to colour rendering with different colour media

Suggested Assignments
• Submission of twenty detailed object drawings with shading
• Submission of ten complete compositions of still life on A3 sheet with pencil and different
colour renderings of each
• Submission of five detailed drawings of one-point perspective of interiors on A3 sheets
Curriculum & Evaluation Scheme
Page 18
 • Submission of five detailed drawings of two-point perspective of exteriors on A3 sheets
• Submission of five landscape compositions using different elements and rendering with
different mediums on A3 sheets
Suggested Visits
• Local monuments
• Local zoo for sketching animals
Text Book:
1. Civardi, G., Complete guide to drawing, Search Press, Limited, 2006
2. Civardi, G., Drawing light and shade, Search Press, Limited, 2006
3. Civardi, G., Drawing techniques, Search Press, Limited, 2002
4. Civardi, G., Drawing scenery, Search Press, Limited, 2002
5. Norling, E. R., Perspective made easy, Dover Publication, N. Y. 1999
6. Hamm, J., Still-life drawing and painting, Grosset & Dunlap, 1976
Reference Material
1. Hale, R. B., Drawing lessons from Great Masters: 45th Anniversary edition, Watson-
Guptill Publications, 1964
2. Metzger, P. W., The Art of Perspective: The ultimate guide for Artists in every medium
by North Light Book, Ohio, 2007
3. Peter A. Koenig, Design Graphics, Drawing Techniques for Design Professionals,
Third Edition, Dorling Kindersley, India Pvt. Lt., 2012
4. Barber, B., The Fundamentals of Drawing, Arcturus Publishing, 2013
Web Sources
1. http://figure-drawings.com/freedrawing.html
2. http://www.drawinghowtodraw.com/drawing-lessons/improve- drawing/drawing-freehand.html
3. http://sherristakes.com/download/art/drawing%20basics_26%20free%20beginner%
20drawing%20techniques.pdf
4. http://www.dummies.com/how-to/content/drawing-geometric-perspective.html
5. http://www.artyfactory.com/still-life/still_life_pencil.html
6. http://www.artyfactory.com/perspective_drawing/perspective_index.html
7. http://www.drawinghowtodraw.com/drawing-lessons/nature-drawing/tips- sketching-
outdoors.html
8. http://www.lyceum.org/summer-camps/indoor-outdoor-drawing-sketching- and-watercolor

Curriculum & Evaluation Scheme

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KFD152 MATERIAL STUDIES-I 3L:0T:0P 3 Credits

Objectives
• To explore the materials, present in our environment
• To sensitize towards the importance and usage of the materials present in the surroundings
• To develop an understanding of their behavior, characteristics, properties, physical and visual
potential. This in turn will help in creative development
• To familiarize with the manufacturing processes and machine tools
• To orient towards the manipulation of materials using various hand tools. This will create an
interest for the students to innovate and create
• To enhance the design skills for product development and expansion.

Unit Topics Lectures

INTRODUCTION TO MATERIAL STUDIES: Importance of
understanding material for effective designing Classification of material
and their properties Powder - colors, dyes etc. Liquid- paints, adhesives,
chemicals, GP resins Semi liquids/ Semi Solids: adhesive, glues, fabric
I 8
paints, etc. Granular- sand, gums, grains, resins, clay, POP, plastic
grains, etc. Linear: wires, yarns, twines, ropes, ribbons, straw, tapes etc.
Plainer: paper, fabric, leather, foil, sticks Solid: wood, metals, glass,
thermocol, stone, plastics, bottle caps, wax etc.
INTRODUCTION TO WORKING TOOLS: Measuring tools (ruler
and its types, inch tape, Vernier caliper, gauge, fishing scale, analytical
weighing balance, two pan balance, measuring glass/cup/spoons, spring
II scale, pendulum balance etc.) Marking tools (pen, pencil, markers, sketch 8
pens, chalk, tracing wheel, whitener, powder, thread, masking tape etc.)
Work holding device (tongs, Plücker, magnet etc.) Cutting tools
(Scissor, cutter, knife, blade, nail cutter, punching machine, chisels)
INTRODUCTION TO FINISHING TOOLS: Joining tools (stapler, all
pins, paper clips, nails welding, adhesive, fasteners interlocking, brazing,
soldering, riveting). Sewing tools (needle, sewing machine: manual and
III 8
electronic, thread). Finishing tools (buffing, filing, electroplating,
hardening, powder coating, painting and burning). Machine tools (Lathe,
drill, loom, industrial sewing machine, block and screen printing).
HANDLINGOF MATERIAL (Technique and working): Granular.
IV 8
Linear. Plainer. Solids
DESIGNING WITH MATERIAL: Granular. Linear Plainer. Solids
V 8
Combination. of Material.

Suggested Assignments
Students are required to maintain a scrap book of samples of different linear, solid, planar,
granular material, doodles, sketches, photographs etc. and submit at the end of the
Curriculum & Evaluation Scheme
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 semester

PROJECT – 1 (Individual activity)

Make a clay model of any fruit / vegetable
Make a pottery article on a potter’s wheel
Print paper using various materials such as vegetables, threads, comb etc and develop
handbags using the same
Make colorful beads of different shapes and sizes using POP Create
innovative spirals and shapes using metal wires
Create innovative yarns using different linear material
Develop textures using different materials
Make a theme-based composition coordinated with accessories using different types of
planar material
Develop products using paper Mache technique
Make Puppets using different material

PROJECT – 2 (Group activity)

Create a 2-D surface using sand as a medium
Make flower sticks using different categories of materials (fabric, paper, chemical etc.)
Use yarns / ribbons / twines for creative hair braiding
Make3-D geometrical shapes using metal sheets
Use thermocol to make a 3-D model of a building
Use combination of granular / linear / plainer / solid mediums to create a product Use
combination of more than two categories of material to create an innovative product
A theme-based installation using different categories of material (at least five)
Make colored candles of various shapes
Suggested Visits
1. Visits are to be made under faculty guidance. Illustrated report to be submitted after each visit.
2. Demonstration by local/ roadside artisans
3. Visit to local artisans (potter’s, blacksmith’s, clay idol makers, jewelry maker,
electroplating units, powder coating units, welders, chik makers etc.)
4. Visit to local art village
5. Visit NGO’s working in the field of creative product development from yarns
and fabrics

Textbooks
1. Thwaites, G., Indian Inspiration, Traplet Publications Ltd., 2003
2. Newman & Thelmar, Plastic as an art form, Clinton book Co., 1972
3. Budzik & Richards, Sheet metal technology, Bobbs-Merrill Educational Publishing, 1981
4. Verhelst & Wilbert, Sculpture: tools, Materials and Techniques, Prentice-Hall, 1973
5. Kowal, Dennis and Crown, Dona Z. Meislach, Sculpting, Casting, Mould Techniques and Material,
Publishers, New York, 1972
6. O.P. Khanna, Material Science and Metallurgy, Khanna publications, 1998
7. Wilbert Verherst, Sculpture: Tools, Materials & Techniques, Prentice-Hall 1988
8. R.K. Rajput, Material Science, Publisher, S. K. Kataria & Sons, 2009

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 9. Richard Budzik, Sheet Metal Technology, Macmillan Publishing Company, 1985
10. Leslie Pina, Beads in Fashion, Schiffer Publishing, 1999
11. E.R. Huckleberry, how to make your own Wooden jewellery, T A B Books, 1979

Reference Material
1. Reygate, K., Rubber Stamping, search press Ltd., 2006
2. Stevens, Chine, Fund with Paper sculpture, search press, 1998
3. Raz, Haim, Stained Glass, Sterling Publishing Co., 2007
4. Atlas, Ronit., Contemporary Mosaics, Sterling Publishing Co., 2007
5. Parnes, Tair, Beaded jewellery, Sterling Publishing Co., 2007
6. Gestalting, Paper Craft-2, Daily Feed, Publishing, 1998
7. Rajput, R.K., Material Science, S. K. Kataria & Sons, 2009

Web Sources
1. http://www.papercraftsmag.com/index.html
2. http://craftgawker.com/post/category/clothing/
3. http://woodcraft.org.uk/
4. http://pinterest.com/pug1/clay-crafts/
5. http://pinterest.com/rincklemalhotra/best-out-of-waste

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 KFD153 BASIC DESIGN 3L:0T:0P 3 Credits
Objectives
• To give detailed knowledge about understanding and usage of elements and
principles for creating a good design.
• To instill exploration and innovation skills to enhance creativity.
• To develop visualization and communication skills.
• To understand elements and principles of design in context of design suitability for
different apparel designs and body shapes.
• To understand application of skills and processes with different media
Learning Outcomes
• Be able to handle mediums and tools
• Understand the importance and application of design fundamentals for effective working as a
designer.
• Be encouraged to think, explore and create.
• Be able to create effective visual compositions.
• Be able to correlate and apply various fundamentals to create compositions.
• Understand the nuances of the process of ideation

KFD153 BASIC DESIGN 3L:0T:0P 3 Credits

Unit Topics Lectures
BASICS OF DESIGN: Introduction to design Definitions– design, types of design
I (structural and decorative) Visualizing design from nature and manmade references 8
Sensitization to inner perceptions and emotions
Elements of Design: Introduction Understanding the elements through their use in
various designs – furniture, logos, graphics, fabric prints, garments, bags, shoes
etc.
Principles of Design: Introduction Understanding the principles through their use
in various designs – furniture, logos, graphics, fabric prints, garments, bags, shoes
II etc. 8
ELEMENTS OF DESIGN: Point Line- directing, dividing, psychological effects
of line, illusion. Shape and form – geometric and organic Space– negative and
positive space Texture– tactile and visual textures Understanding the elements in
context of different body shapes and apparel design

COLOR
Hue
Value
Saturation
III Color Wheel 8
Color Schemes
Color Psychology
Color Interaction
Color Identification

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 PRINCIPLES OF DESIGN
Balance– symmetric, asymmetric and radial Proportion
Rhythm– through repetition, progression, transition, radiation and continuous line
IV 8
movement
Harmony Emphasis
Understanding the principles in context of different body shapes and apparel design
AESTHETIC QUALITIES OF DESIGN ELEMENTS
V 8
Formal qualities Expressive qualities
Suggested Assignments
PROJECT – 1
• Collect pictures showing structural and decorative design (at least five each)
• Collect pictures of different products showing various elements and principles of design (at
least five each)
• Select any simple object from the environment (leaf, flower, phone, car, stationary box, lunch
box, pencil, eraser etc.) and give a name to it (proper noun) based on the visible characteristics
of the object
• Associate the personality of any one classmate with a color and give reasons

PROJECT - 2
• Use dots and lines (individual and combination) to create compositions (atleast five)
reflecting movement
• Use shapes – outline and solid color, to make various compositions (atleast five) depicting
movement
• Create a composition and depict negative and positive space through it using black ink
Replicate different textures from the environment (fifteen)
• Create different visual and tactile textures (atleast ten each) using different material (paints,
crayons, oil pastels, color pencils, masking tape, fevicol, rubber solution, candle, sand, glitter,
comb, toothbrush, scale, etc.)

PROJECT - 3
• Make a Color Wheel
• Depict the different stages of value and saturation of any hue (in five stages)
• Depict a visual composition in different color schemes (one for each scheme)
• Depict a visual composition in warm and cool colors (one each for both) Color Interaction –
(three exercises each)
• Make two colors look alike by changing the background
• Make two swatches of same color look different by changing background color
• Color Identification - Depict the color range of a visual in a grid format by visually
identifying the percentage of each hue in a grid box and generate the same on another sheet
(one exercise)
PROJECT - 4
• Create different compositions depicting individual principles (atleast two each)
• Create different compositions correlating different principles (atleast two)
Suggested Visits
• Visits are to be made under faculty guidance. Illustrated report to be
submitted after each visit.

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 • Graphic / Art Exhibitions
• Photography Exhibitions
• Design Studios
• Vegetable market – to study colors
• Cloth shops – to study colors and use of elements and principles of design

Reference Material
1. Elements of Design- Space & Form, Albert W. Porter
2. Elements of Design- Line, Albert W. Porter
3. Rowland Kurt, Looking & Seeing, Vol. 1-4, Ginn and Company Ltd. London
4. Basic Principles of Design (Vol. 1-4) Manfred Maier
5. Interaction of Colors, Josef Albert, Yale University Press
6. Principles of Color, Fabersvan Birren, Nostrand Reinnold Company
7. Basic Design- The Dynamics of Visual Form, Maurice de Sans Marg, The Herbert Press, 1964
8. Terry Marks, Tina Sutton, MINE, Color Harmony Compendium: a complete color reference for
designer of all types, Rockport Pub., 2009
Web Sources
1. http://www.raysofcolor.com/colour/definition.html
2. http://www.usask.ca/education/coursework/skaalid/theory/cgdt/color.htm
3. http://art.pppst.com/elements.html
4. http://www.johnlovett.com/test.htm
5. http://en.wikipedia.org/wiki/Design_elements_and_principles
6. http://en.wikipedia.org/wiki/Line_art
7. http://pinterest.com/iamalyssa/color-board

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 KFD154 COMPUTER APPLICATIONS (COREL DRAW) 3L:0T:0P 3 Credits
Objectives
• To learn the basic knowledge of computers and its applications since it has
become an integral part of fashion design
• To familiarize with the computer hardware and software, and Microsoft office package
• Be able to use internet
• Be able to create multimedia presentations
• To learn vector image formats through Corel Draw applications
• To acquire sound knowledge of the principles of graphic design
• To conceptualize design and its implementation using Corel Draw
• To incorporate in design students the ability to represent and
create visuals using tools of Corel Draw
• To design and develop structural and applied design for product
development

Unit Topic Lectures

I COMPUTER FUNDAMENTALS
8
• Introduction to Computer
• Introduction and parts of computer
• Computer Hardware (keyboard, pointing device, scanning device, voice
input device)
• Output devices (printers & its types, soft copy- CRT, flat panel)
• Storage devices (hard disk, optical disk- CD’s, DVD, pen drives etc.)
• Computer Software
• Working with the Internet
II WORKING WITH MICROSOFT AND MULTIMEDIA PRESENTATIONS
• Create, open, close and save document 8
• Shortcut keys
• Creating new templates and layouts, formatting slides, working with text and
its formatting (insert slide, indent, bullets, setting format styles & themes,
font, style, effects, color, paragraph formatting, align, text direction, word
art)
• Hyperlinks, drawing tools, animations, transitions, graph and organizational
chart (animation preview, slide show option, set up slide show, record
narration, rehearse timings)
• Presentation view (slide show, slide sorter view, slide view, note page view
etc.), Printing presentation (printing option & print preview)
III INTRODUCTION TO COREL DRAW
• Tools and their application 8
• Introduction to Corel Draw software (definition and shortcut keys, RGB and
CMYK color modes)
• Page layout (size, orientation, page formatting, rulers, guidelines, nudge,
table formatting, setting up grids etc.)
• Menu bar, property bar, standard bar options
• Importing bitmaps and tracing bitmap

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 • Exporting
IV COREL DRAW TOOLS
• Application of each tool 8
• Pick tool (duplicate, rotate, skew, mirror)
• Shape tool (shaping objects, shaping text)
• Bezier tool
• Eraser tool, knife tool
• Crop tool
• Zoom tool (zoom-in, zoom-out)
• Basic shapes tool and other drawing tool (circle, semi-circle,
3/4th circle, rectangle, triangle, charts)
• Text tool (shaping text, lens)
• Table tool
• Special effects (eyedropper, contour, distort)
• Color eyedropper
• Outline pen tool
• Fill tool
• Power clip objects blend, drop shadow, envelope
V ASSIGNMENTS
Application in terms of digital design 8
• Logos
• Visiting cards & Advertisement Poster
• Motif development
• Repeat pattern layout (clone, step and repeat)
• Fashion Illustration
• Drawing fashion croquis
• Draping on fashion croquis
• Suggested Assignments
• Write any fashion related article on note pad
• Make your bio-data with your personal, academic and other relevant
information. Also add your photograph to it.
• Create a presentation of 10 slides on any given topic given by the
faculty using power-point along with an audio and video input. Also use
scanned images from various sources
• Make a workbook for a class containing the roll numbers, names,
marks obtained in five main subjects, total marks, percentage, and
ranks. Use formatting features to make it visually appealing
• Create an email account and send a reply to an email containing an
attachment that you received from your classmate
• Practice any ten logos of different brands
• Design at least ten different logo concepts for your brand. Choose any
one. Design a visiting card and incorporate the chosen logo in the
same
Curriculum & Evaluation Scheme
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 • Develop at least two designs for the following:
Nursery prints, Floral prints,
Geometrical, Polka dots, Abstract,
Stripes, Checks, Stylized motifs
• Design an advertisement/poster (look board & information poster) on
a topic given by the faculty concerned, using typographical tools of
Corel Draw
OR
• To replicate a two-page magazine layout having graphics, images and
typography, for effective representation using Corel Draw software
• Create at least 5 different postures of male and female flesh croquis
on Corel Draw based on five selected themes (executive wear, casual
wear, beach wear, sportswear etc.) design at least two garments
each and drape on an appropriate posture of a flesh croqui. Also
create a suitable backdrop for the same.
Web Sources
1. Corel draw Tutorials
2. http://en.wikipedia.org/wiki/MS-DOS
3. http://windows.microsoft.com/en-us/windows-vista/Introduction-to-computers
4. http://en.wikipedia.org/wiki/Microsoft_Office

Textbooks
1. Respective software manuals
2. Sinha, Kr., P., Computer Fundamentals, BPB Publications, 2003.
3. Norton, P., Complete Guide to MS Office 2000, BPB Publications, 1999
4. Basandra, S.K., Computers Today (Galgotia, 1st Edition), 2005.
5. Kakkar, D.N. & Goyal, R., Computer Applications in Management (New Age, 1st Edition), 2009.
6. Rajaraman, V., Fundamentals of Computers, PHI, 2008.
7. Bajpai, S., Yadav, Introduction to Computers and C Programming, DS, New Age, New Delhi, 2008.
8. Bajpai, S., Yadav, Introduction to Computers and C Programming, DS, New Age, New Delhi, 2008.
9. Prasad, D.S., Basic Computer Skill, Sapna Book House Ltd., 2003
10. Altman, R., Corel Draw X5, BPB Publications
11. Bangia, R., Corel Draw, Khanna Book Publishing, Delhi, 2003
12. Phyllis, D, CorelDraw 11 for windows & Macintosh, Schwartz-Steve Publisher
Reference Material
1. Leon, A. & Leon, Mathews, Introduction to Computer, Vikas Publication. 2009.
2. Lawrenceville, Pr., A Guide to Microsoft office 2000 professional, Pearson.
3. Computer Fundamentals and windows with Internet Technology- SciTech Publication Pvt. Ltd.

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 KFD155 CRAFT APPRECIATION (MODULAR) 3L:0T:0P 3 Credits
Objectives
• To create awareness for the Indian and global craft industry
• To encourage appreciation of the different crafts – their
origins, processes, production, marketing and design
development
• To create awareness for the challenges faced by craftspeople in
developing and marketing their products
• To create awareness of various craft organizations and individuals
working in the sector
• To understand the various Government and other organization initiatives
towards betterment and improvement of the crafts
Learning Outcomes
• Sensitization to the various regional crafts in the vicinity
• Understanding of the socio-economic conditions of the related craftspeople
• Awareness of new product innovations being undertaken by some crafts
• Understanding of marketing strategies being undertaken by the artisans, craft
• organizations and the Government for getting better visibility to
the crafts and widening the customer base for them.
• Understanding of the survival strategies being followed by craftspeople
• Understanding of the scope of improvement and intervention for
development of the craft and craftspeople

Unit Topics Lectures

I Pre-visit lecture 8
Lectures for a brief regarding the craft Introductory lectures on famous crafts
Detailed review of literature on area specific craft Guest lectures
II PROJECT – 1 8
• The students may be taken for visits to the following mentioned
places Textile / Craft Museum / Industry
• Trade Fair, (if possible)
• Any craft Centre in the vicinity
• Local craft clusters in the vicinity
• Any local craft organization / NGOs etc. and their area of work (if
possible) The students will be expected to document the visits
through the following–
• Maintain a field diary with observations, sketches, names of
participating /visited artisans and organizations etc.
• Interviews and questionnaires Photographs
• Video recordings
• Collecting pamphlets / brochures / any other printed material of
the participants /visited organization
• The students will have to prepare an illustrated visit report and
submit to the concerned faculty

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 III PROJECT – 2 8
• The students will conduct a survey and document any one local
craft in the near vicinity
• During this, the students will study the complete process of craft
manufacturing, raw material procurement, preparation, production,
customer profile etc.
• Visual documentation will be done through field diary,
photographs, video recordings etc.
• At the end of the study, the students will prepare a document
compiled with complete study and visual data
• The students will also prepare an audio-visual presentation for the
same
• For the jury evaluation the students will display the collected and
sourced material as well as research undertaken for the project

Reference Material
1. Craft Maps of India, Dastkari Haat Samiti
2. Jaitly, Jaya, Viśvakarmā's Children: Stories of India's Craftspeople, Concept
3. Publishing Company, 2001
4. Jaitly, Jaya, The Craft Traditions of India, Tiger Books International, 1990
5. Ranjan, Aditi and Ranjan, M. P. Handmade in India: A Geographic Encyclopedia
6. of Indian Handicrafts, Abbeville Press, 2009
7. Cooper, Ilay, Arts and crafts of India, Thames and Hudson, 1996
8. Chattopadhyaya, Kamaladevi, Indian Handicrafts, Indian Council for Cultural
9. Relations, 1963
10. Tribal Arts and Crafts of India, Ministry of Education and Culture, India, 1982

Web Sources
1. http://www.dastkar.org/
2. http://www.indiancraftsjourney.in/
3. www.sewalucknow.org/
4. http://www.sewatfc.org/
5. http://sewadelhi.org/
6. http://www.grameencrafts.com/
7. http://www.aiacaonline.org/craftmark-members.asp?links=craftm4
8. http://www.speakingwithhands.com/article_details.php?aid=87

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 KFD156 RESEARCH SKILL FOR DESIGN 3L:0T:0P 3 Credits
Objectives
• To sensitize to the importance of research and data collection.
• To create awareness of the process of research.
• To develop the nature of creative thinking
• To assimilate and adapt the knowledge of research for product development

Learning Outcomes
• Understand the fundamentals of research
• Be able to use analytical and evaluative skills and techniques for data collection
• Be able to develop interpersonal skills effectively to gather information
from various sources
• Be able to incorporate research and creative thinking strategies
within product development methodology
• Be able to realize the importance of targeting the right customer with the
right product or service

Unit Topics Lectures

IMPORTANCE OF RESEARCH IN DESIGN

I Need of research 8
Applications of research Nature of research
PROCESS OF RESEARCH
Idea generation
II Gathering information (library, field visits, internet, interpersonal 8
communication etc.)
Analysis Synthesis Hypothesis Plan of action
CONCEPTRESEARCH
Data collection for a specific project Library (universities, institutes,
museums, private, online) Books
III 8
Magazines Journals Newspapers
Research articles etc. Book Stores Internet Internet Interviews Observation
Photographs Questionnaires etc
PRODUCT RESEARCH
Study of existing designs
IV Design Material Availability Cost etc. 8
Scope for intervention Processes involved Production technique Production
centres

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 Place of sale/ Sale outlet
MATERIAL RESEARCH
Appropriate material selection

V End usage Cost 8

Sourcing- exhaustive study of all feasible market areas
Handling of material Innovation Substitution
MARKETING RESEARCH

VI Costing
Consumer profile Target market Distribution channel
Suggested Assignments

To do an in-depth research on any one of the classic fashion styles (e.g. jeans, leather jacket, cardigan, t-shirt,
canvas shoes etc.). Collate data from various sources based on the process of research and product research.
Market survey is mandatory. Diversify the products using the same material as well as collect various other
materials for the product development. Carry forward the research to analyses the prospective market for the
developed product.

Suggested Visits
Asper the requirements of undertaken research

Reference Material
1. Kothari, C. R., Research Methodology: Methods and Techniques, New
Age Publications, 1985
2. Bernard, H. R., Social research methods: qualitative and quantitative
approaches, Sage Publications Inc., 1940
3. Gary J. Anderson, Fundamentals of educational research, Routledge, 1998
4. Kumar, R., Research Methodology: A Step-by-Step Guide for
Beginners, Sage Publications Inc., 1999

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 KFD157 SOCIO CULTURAL ENVIRONMENT AND ENTERPRISES 3L:0T:0P 3 CREDITS
(MODULAR)
Objectives
• To observe and analyses the details of the micro and macro
environments and their interrelationships in socio-cultural,
economic, political and religious contexts
• To develop conceptual and objective perspectives in the chosen area of study
• To sensitize the students to the various tools of perception and
analysis for an effective study of their immediate environment
• To learn to work in teams
• To maximize individual contributions for maximizing the outcome of the study

Learning Outcomes
• Be aware of the surrounding environment and the sub-systems
coexisting in the society
• Be able to study the various aspects of community living and appreciate
community inter-relationships
• Be able to bond with the other social groups
• Be able to understand the production / communication processes
within diverse environmental contexts
• Be able to work in teams and mutual cooperation
• Be able to perceive and adequately formulate a problem for discussion and research

Unit Topics Lectures

Introduction to the subject and its relevance to the course
Introduction to the concept of macro and micro environment, methods of spatial
mapping, visual documentation, primary and secondary sources of data
collection Project 1:to study a macro environment in detail, taking every aspect
of community interrelations, interactions and interdependence into account
Project 2: to understand the variety of micro environments and their distinctive
characteristics
Project 3: to understand a micro-level enterprise in the environment from the
point of view of its structure, processes and interrelations therein Environmental
I issues
Green concept Recycling
Waste management
Carbon footprints
Corporate Social Responsibility
Guest lectures related to different aspects of the course

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 MACRO ENVIRONMENT STUDY Methodology
Formation of groups - The class will be divided into groups of four to five
students
Identification of the macro environment of the city to be studied -Bazaars, Places
of worship, commuter junctions (railway stations, bus terminals, auto and taxi
stands etc.), community locales and recreation zones (housing societies, parks,
restaurants, cinema halls, malls, amusement parks etc.), historical monuments,
service institutions (hospitals, prisons, orphanages etc.), educational institutions
etc.
Selection of any one macro environments by each group and collection of
secondary data (historical information, published monographs, official statistics
etc.) before visiting the environment
II 8
Initial visit to the selected area and spatial mapping of the environment
Development of the relevant tools for generation of primary data (method of
observation, interviews, questionnaires, group interactions etc.)
Revisiting the environment and collection of primary data Presentation Visual
documentation of the selected area (photographs, sketching, drawings
–general and specific, videos etc.)
Collation of the collected information and documentation (Visual, primary and
secondary data)
Analysis and group presentation of the documented information

MICRO ENVIRONMENT STUDY Methodology

Same groups of Projects 1will work on this project
Selection of any one micro environment (specific garment shop, jewellery shop,
footwear shop or any other such enterprise, eatery, any specific department of
the hospital, school, college, ticket counter at the railway station, bus terminal
etc.) from the macro environment studied previously (individual activity)
III Detailed study of the selected environment 8
Sequential diagram of the process followed in the selected micro environment
Presentation
Visual documentation of the activity and collection of primary and secondary
data Documentation of the collected information
Individual presentation and submission of documented work
SMALL ENTERPRISE STUDY Methodology
Formation of groups- The class will be divided into groups of two students
Selection of any road side enterprise in the nearby locality (not a proper shop
IV like paanwala, chaiwala, chatwala, maggiwala, cobbler, vegetable vendor, 8
phoolwala, rikshawala,vendors on red lights, chik makers etc.) Interaction and
understanding of the enterprise and person running it – visual documentation,
observation, interview etc

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 Understanding the enterprise on the following terms: Raw material resource
Materials and technology used for production Production structure
End product
Costumer profile Environmental aspects
Presentation
Maintain a field diary although the duration of the course, recording every detail
and information observed and experienced during the course of the project.
Documentation of the process – collation of all visual and collected data
Reference Material
1. Papaneck, V., Design for the Real World: Human Ecology and Social
Change, Thames and Hudson, 2000
2. Berger J, Ways of Seeing, BBC and Penguin Books, 1972
3. Balaram N., Thinking Design, National Institute of Design, Ahmedabad, 1998
4. Alexander C., The Nature of Order, Vol. 1-4
5. Koshy, Darlie Indian Design Edge: Strategies for Success in the Creative
Economy, Lotus Collection, 2008

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 BFAD 1st Year
II Semester
Syllabus

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Page 36
 KFD201 TEXTILES-I
Objectives
• To develop an understanding of the fundamental concepts of textiles
• To accustom the students with the nature, property, behaviour and
uses of various natural and man-made textile fibers
• To familiarize students to the various types of yarns, their
properties and manufacturing processes
• To develop an understanding of various techniques of fabric construction
• To be able to identify different types of woven, knitted and nonwoven fabrics
• To understand calculation of yarn-count and yarn twist and their
relation to fabric properties
• To impart the knowledge of some important physical and chemical tests
of fabrics for better understanding of fabric properties, their
performance and application
• To enable students to identify basic and decorative weaves
• To learn graphical representation of basic weaves and their variations

Learning Outcomes
• Understand the attributes of different textile fibers
• Understand yarn count and its relation to fabric properties
• Be aware of various types of looms and fabrics made from these looms
• Understand different techniques of fabric construction
• Skill development to relate textile structure and property for specific end uses
• Develop concept of the nature and behaviour of various textile material
in the apparel sector
• Be able to identify basic weaves and their variations
• Be aware of various types of decorative weaves and their properties

Unit Topics Lectures

INTRODUCTION TO TEXTILES
Terms and definition: fibres, filaments, yarns-spun yarns, filament yarns, sewing threads,
I fabrics- woven, knitted, non-woven 08

Classification of textile fibres on the basis of origin and length of fibre

TEXTILESFIBRES AND THEIR PROPERTIES
(Source, production and properties) Important properties of textile fibres Natural
cellulosic fibres-cotton, flax, jute, ramie
Natural Protein fibres-wool, silk
Regenerated Fibres-viscose rayon, cuprammonim rayon and polynosic rayon,
II acetate and tri-acetate, azlon 08
Synthetic fibres- nylon, polyester, acrylic, modacrylic, olefins, Polypropylene
Special use fibres- elastomeric fibres, aramid, carbon Micro fibres-Tencel, Modal,
etc.
Innovative fibre
Fibre identification- visual test, microscopic test, burning test, chemical test

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 YARNS
Yarn manufacturing process
Mechanical Spinning
Chemical spinning processes- dry spinning, melt spinning,
Yarn Classification- on the basis of structure, fibre composition, effects and processing
Novelty yarns- core, eyelash, boucle`, ribbon, ladder, nub, slub, chenille, corkscrew or
spiral, metallic yarns, crepe yarns
Yarn numbering system- direct and indirect system
Yarn twist- direction of twist (S and Z twist), types of twist, effect of twist on fabric
III properties 08
Sewing threads
Yarn testing - Determination of staple / filament yarn, number of plies, direction of twist,
measurement of twist
Fabric testing - Physical tests
Thread count: ends per inch and picks per inch
Fabric weight: fabric mass per unit area (gsm), fabric mass per unit length (weight per
linear meter)
Evaluation of fabric drape Seam/ yarn slippage
Chemical tests - Dimensional stability, mercerization, chlorination

FABRIC CONSTRUCTION TECHNIQUES

Weaving
Preparation of yarns for weaving Loom: Parts and types of looms Characteristics of woven
fabrics
Classification of Weaves
Basic weaves: plain, rib and basket, twill, satin/sateen Decorative weaves: dobby and
jacquard

IV Surface figure weaves: lappet, swivel, spot/dot 08

Other weaves: pile weave, velvet, velveteen, leno, double weave Weave identification -
Identification of basic weaves and their design interpretation on graph
Plain weave and its variations – rib and basket weave
Twill weave: even, uneven, right handed, left handed, pointed twill, herringbone
Satin and sateen weave
Identification of decorative weaves- dobby and jacquard, surface figure weaves: lappet,
swivel, spot/dot, pile weave, velvet, velveteen, leno, double cloth

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 Weaving defects Knitting
Introduction to knitting
Characteristic of knitted fabrics- wales and course, gauge (npi), technical face, technical
back, skewing, snagging
Warp and weft knits
Comparison between knits and woven
Weft knit fabrics: double knit, jersey knit, rib knit and piqué Warp knit fabrics: tricot and
raschel

OTHERFABRIC CONSTRUCTION TECHNIQUES

Non-woven/bonded fabrics
V 08
Other methods of fabric construction- braids, nets, lace, taper cloth, film fabrics, coated
fabrics, metallic plated, multi component fabrics

Suggested Assignments
Assignment 1: Source and prepare a portfolio of various types of yarns. Specify fibre composition,
count and twist of the samples (minimum 10 samples)
Assignment 2: Conduct a market survey of fabric or clothing stores to examine the fibre content of
fabrics. Note the variety of effects created by blending fibres. Explain why the different fibers
were used together
Assignment 3: Prepare a portfolio of fabric swatches of different fibre content Specify fibre content
and end use of the samples (minimum ten samples)
Assignment 4: Prepare a portfolio of fabric swatches of different weights and thickness. Calculate
their yarn count in terms of ends per inch and picks per inch. Specify possible applications of the
samples (minimum ten samples)
Assignment 5: Develop a portfolio of fabric swatches of various types of woven fabrics. Identify
type of weave and provide graphical representation of basic weaves (minimum ten samples
sourced by students and ten samples provided of department)
Assignment 6: Prepare a portfolio of fabric samples of different surface appearance such as fabric
made of slub yarns, textured yarns, twill weave, pile weave, leno weave, etc. (minimum ten
samples)
Assignment 7: Prepare a frame from hard board and make basic weaves using paper strips
Instruments Required
Pickglass Microscope, Twist counter Crease, recovery tester, Drapometer , GSM cutter
, Electronic weighing balance

Suggested Visits
• Fabric manufacturing unit- handloom / power loom unit
• Handloom weaving units of Varanasi, Panipat, Surat, Moradabad, etc
• Indian Institute of Handloom Technology (nearest one)
• Knitwear manufacturing unit
• Nearest Weaver’s Service Centre (visit the following website for list of centres
http://handlooms.nic.in/cit_char_wsc.htm)
• Textile testing laboratory

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Textbooks
1. Corbman, B. P., Textile Fibre to fabric, MGH International, 2003
2. Hann, M. A. and Thomas, B. G., Patterns of Culture: Decorative Weaving Techniques, Leeds
2005
3. Joseph, M.L., Essentials of Textiles (6th Edition), Holt, Rinehart and Winston Inc., Florida, 1988
4. Kadolph Sara J., Quality Assurance of Textiles and Apparel, Fairchild publication, 1998
5. Kadolph, S. J. & Langford. A. L., Textiles, 10th edition, Pearson education, USA, 2007
6. Raul, Jewel, Textile Testing, APH Pub. Corp., 2005
7. Saville, B.P., Physical Testing of Textiles, Textiles Institute, 2000
8. Sekhri, S., Textbook of Fabric Science, Fundamentals to Finishing, PHI Learning Pvt. Ltd., 2011

Reference Materials
1. Bhardwaj, S.K. and Mehta, P.V., Managing Quality in the Apparel Industry, New Delhi,New
Age International, 1998
2. Brackenbury, T., Knitting Clothing Technology, Blackwell Science Publishers, 2005
3. Express Textile Journal
4. Field, A., The Ashford Book of Weaving, Shoal Bay Press, 1991
5. Grayson, M., Encyclopedia of Textile, Fiber and Nonwoving Fabrics. New York: JohnWiley &
Sons, 1984
6. Hallett, C., and Johnston, A., Fabric for Fashion, The Swatch book, Laurence King Publishing,
London, 2010
7. Hollen, N. & Saddler, J., Textiles (6th Ed.), New York: Macmillan, 1988
8. Horrock & Anand, Handbook of Technical Textiles, Woodhead Publishers, 2000
9. Huphhirs, M., Fabric Reference, 4th Edition, Pearson Education, Inc, 2009
10. Joseph, M.L., Essentials of Textiles, 6th edition, Holt, Rinehart and Winston Inc., Florida, 1988
11. Kothari, V.K., Behera, B.K., Quality Control in Textiles and Apparel Industry- A& B,
Delhi,Department of Textile Technology, IIT – Proceedings of Workshop- 3-5 October, 1996
12. Marjory, L. J., Essentials of Textiles, New York, 1976
13. Marjory, L. J., Introductory Textile Science (3rd Ed.) New York, 1977

14. Murphy W.S., Handbook of weaving, Abhishekh Publications, 2000

15. Seiler, A., Textiles Classification of Techniques, Craweford House Press, 1994
16. Sekhri, S., Textbook of Fabric Science: Fundamentals to Finishing, PHI Learning, Delhi,2011
17. Shaikh, I. A., Pocket Weaving Expert- A practical handbook on textile weaving, Lahore, Pakistan

Web Sources
1. http://www.scribd.com/doc/15570324/Textile-Fibres-Classificationppt
2. http://www.swicofil.com/soybeanproteinfiberproperties.html
3. http://en.wikipedia.org/wiki/Synthetic_fiber
4. http://www.excellup.com/Notes/8_Science_SyntheticFibres.pdf
5. http://en.wikipedia.org/wiki/Warp_(weaving)

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 KFD202 ART APPRECIATION 0L:0T:2P 1 Credit
Objectives
• To get the basic understanding of art through the ages
• To appreciate the other fields of arts along with the drawing, painting,
calligraphy, architecture, sculpture, etc.
• To understand the effect of personal, political, sociological and
religious factors behind each creation
• To stimulate students to create their own creations by learning history of art

Learning Outcomes
• Understand how social, political, cultural and religious conditions influence art
• Understand the elements of design
• Understand how the visual elements are used and how they affect a work of art
• Be able to decide and develop their own style
• Be able to develop a subject/ theme/ content for their creation

Unit Topics Lectures

ANCIENTPERIOD
Indus Valley Civilization- Art and artifacts of the time, city planning etc. Mauryan period

I Sunga period 08
Kushan period Gandhara period
Gupta period

SOUTHERNAND NORTHERN INDIA

Pallava period
II Chola period Chalukya period Rashtrakuta period Hoysala period Vijayanagar 08
period Chandela period Orissan
LATEMEDIEVAL AND EARLY MODERN AGE

III Islamic Sultanate Delhi– 08

Mughal period

WESTERNART – ANCIENT TO MIDDLE AGES

Ancient world
Prehistoric Art- Old Stone Age & New Stone Age Egyptian Art and Architecture
IV 08
Classical period
Greek Art and Architecture Roman Art and Architecture
The middle ages Byzantine Romanesque Gothic

FIFTEENTH – EIGHTEENTH CENTURY

V Renaissance 08
Baroque

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 Rococo

THEMODERN WORLD
Neo classicism, Romanticism, Realism Impressionism, Post- Impressionism Fauvism,
Cubism
VI
Expressionism
Dadaism, Surrealism Bauhaus

Suggested Assignments
• Make a presentation on Indus Valley civilization, elaborating on the city planning, potteryand
other artifacts of the time
• Make a presentation on the influence of Buddhism on art and architecture of
Mauryan and Sunga periods
• Discuss the stylization of Buddha in both Gandhara and Mathura schools with illustrated
examples from the both
• Make a presentation on the Hindu temple architecture and art of Southern India with visual
illustration
• Make a first-hand documentation with photographs on the architectures of Delhi Sultanate
• Make a visual presentation supported by text on miniature paintings of the Mughal period
• Collect information on art and architecture of the classical period and make a power point
presentation.
• Make a power point presentation on the architecture of the different phases of Middle ages with
examples of how stain glasses are used in them.
• Make an illustrated project on any artist from Renaissance period, discussing how his works
reflect the spirit of the time. Submit in a form of portfolio.
• Develop your own designs of fashion or accessories inspired by baroque or rococo period and
present in a portfolio.
• Collect information on different “isms” of 19th and early 20th Century and present in a form of
power point presentation.
Suggested Visits
• Libraries, museums and the galleries in the vicinity
• National Gallery of Modern Art (New Delhi)

Textbooks
1. Partha Mitter, Indian Art (Oxford History of Art), Oxford Univ.Press,2001
2. Roy C.Cavern, Indian Art:A Concise History, Thames & Hudson,1976
3. B.N Goswamy, Essence of Indian Art, Asian Art Museum of San Francisco.1986
4. Susan Huntington, The Art of Ancient India
5. Mortimer Wheeler, Indus Valley Civilization, Penguin, 1966
6. Duane and Preble, S., Art Forms, Harper Collins, 1989
7. Kleiner, F. S. & Christian J. M., Art Through Ages, Thomson Wadsworth, 1995
8. Janson, H.W., History of Art, Thames &Hudson, 1997
9. Gilbert, R., Living with Art, McGraw-Hill, Inc. 1995

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Reference Materials
1. N.R. Ray, Maurya and Sunga Art
2. Stella Kramrisch, The Art of India
3. Ananda Coomaraswamy, The Transformation of Nature in Art
4. Rajan k.Ghose, Aesthetic theory and art, Ajanta Publishing Co.,1979
5. Dar, S.N., Costumes of India and Pakistan, D.B. Taraporewala Sons & Co. Private Ltd., 1982
6. Belozerskaya, M. and Lapatin, K. D. S., Ancient Greece: Art, Architecture and History, Getty
Publications, 2004
7. Boardman, J., Greek art and architecture, H.N. Abrams, 1967
8. Charles, V. and Carl, K. H., Romanesque art, 2008.
9. Charles, V., Renaissance Art, Parkstone International Press, New York, 2007.
10. Cormack, R., Byzantine art, Oxford University Press, 2000.
11. Durand, J., Byzantine art, Terrail, 1999.
12. Gunderson, J., Gothic Art, Creative Education, 2008.
13. Milam, J. D., Historical Dictionary of Rococo Art, Scarecrow Inc., 2011.
14. Petzold, A., Romanesque Art, H.N. Abrams, 1995.
15. Smith, W. S., The Art and Architecture of Ancient Egypt, YALE University Press, 1998
16. Wheeler, M., Roman Art and Architecture, Thames and Hudson, London, 1964.

Web Sources
1. http://en.wikipedia.org/wiki/Indus_Valley_Civilization
2. http://www.sscnet.ucla.edu/southasia/History/Ancient/Indus2.html
3. http://en.wikipedia.org/wiki/Mauryan_art
4. http://www.indianetzone.com/42/art_under_sunga_period.htm
5. http://en.wikipedia.org/wiki/Art_of_Europe
6. https://www.boundless.com/art-history/prehistoric-art/stone-age/art-stone-age/
7. http://en.wikipedia.org/wiki/Prehistoric_art
8. http://en.wikipedia.org/wiki/Art_of_ancient_Egypt
9. https://en.wikipedia.org/wiki/Ancient_Greek_art
10. http://www.ancientgreece.com/s/Art/
11. http://en.wikipedia.org/wiki/Roman_art
12. http://www.scholastic.com/browse/article.jsp?id=3753873
13. http://en.wikipedia.org/wiki/Byzantine_art
14. http://education.yahoo.com/reference/encyclopedia/entry/ByzantinANA
15. http://en.wikipedia.org/wiki/Romanesque_art
16. http://www.britannica.com/EBchecked/topic/508431/Romanesque-art
17. http://en.wikipedia.org/wiki/Gothic_art
18. http://en.wikipedia.org/wiki/Gothic_architecture
19. http://www.britannica.com/EBchecked/topic/239728/Gothic-art
20. http://en.wikipedia.org/wiki/Renaissance_art
21. http://www.students.sbc.edu/kitchin04/artandexpression/renaissance%20art.html
22. http://loki.stockton.edu/~fergusoc/lesson7/lect7.htm
23. http://en.wikipedia.org/wiki/Baroque
24. http://www.myteacherpages.com/webpages/Skearney/files/Microsoft_Word_-
_Comparison_Chart%5B1%5D%5B1%5D.pdf
25. http://people.uncw.edu/myersj/ARH%20202%20SUMMARY%207%20-NEO-
CLASSICISM.pdf

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 26. http://www.oxfordartonline.com/public/page/themes/impressionismandpostimpressi onism
27. http://en.wikipedia.org/wiki/Post-Impressionism
28. http://www.metmuseum.org/toah/hd/poim/hd_poim.htm
29. http://home.vs.moe.edu.sg/whitenoise/F_C_E.html
30. http://www.mam.paris.fr/en/node/271
31. http://www.osnatfineart.com/expressionism.jsp
32. http://msuweb.montclair.edu/~nielsenw/dada.html
33. http://www.smashingmagazine.com/2009/08/02/bauhaus-ninety-years-of-inspiration/

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 KFD203 HISTORIC COSTUME INDIAN 0L:0T:2P 1 Credit

Objectives
• To understand the evolution, changes and developments in clothing with
the evolution of human race
• To understand the evolution, changes and developments in clothing
in the Indian context
• To appreciate the social and political life of various periods of Indian history
• To identify the costumes, headdresses and accessories of various periods
in the Indian history
• To understand the socio-cultural influences over dressing styles of
population in any period

Learning Outcomes
• Be aware of the chronology of various dynasties and rulers in the
political history of India

• Get introduced to the world of costumes and lifestyles in the socio-

cultural context of India from ancient times
• Understand various factors affecting the costumes, jewellery and
headdresses of any given period
• Understand design inspirations and past influences over current fashion trends
• Understand the historic costumes, jewelry and surface designs as
a source of inspiration for new design developments
Unit Topics Lectures
ORIGINOF CLOTHING Evolution of clothing

I Origin and development of costumes Functions of clothing 08

Theories of clothing

NORTHERNAND NORTH WESTERN INDIA

Indus valley civilization Vedic period
The Maurya and Sunga periods Satvahana period
II 08
Kushan period Gupta period
Post-Gupta period

SOUTHERNINDIA
The Pallavas The Cholas
III 08
The Rajputs
The Vijayanagara Empire

THEMEDIEVAL INDIA

Ghurid dynasty
IV 08
Slave dynasty Khalji dynasty Tughlaq dynasty
Timur and Sayyid dynasty Lodi dynasty

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 Pre-Mughal period
Mughal period The Post-Mughals British period

THEPRESENT DAY DRESS

V Northern India 08
Eastern and Northeastern India Western and Central India Southern India

Suggested Assignments
Find a list of three movies where the costumes have been influenced by any given period In the Indian
history and make a presentation of visuals from the movies depicting the same.
Collect pictures (at least eight) and make a catalogue of different lifestyle products – furniture, daily use
articles, kitchen utensils, mirrors, hookahs, paandaans, fans, bolsters and pillows, canopies, mosquito nets,
candle stands, oil lamps etc. from various periods of Indian history.
Design an apparel for wearing in present times inspired from the historical styles of costumes of medieval
men/women.
Suggested Movies
Forbetter visual understanding of the costumes of earlier periods, the students should be shown
at least five of the following (or similar kind) movies: Siddhartha
Amrapali Utsav Agni varsha
Mughal-e-azam Umraojaan Pakeezah
Razia sultan Chaudhvi ka chand Gandhi
Shatranjke khiladi Lagan
Mangal pandey etc.
TV Serials
Bharat ek khoj
Chanakya
Chandragupta Maurya
Suggested Visits
Visits are to be made under faculty guidance. Illustrated report to be submitted after each visit
• Costume section of any local museums
• Dolls Museum, New Delhi
• Educational tour to a museum of a bigger city
Textbooks
1. Pathak, Anamika, Indian Costumes, Roli Books, 2006
2. Alkazi, Roshan, Ancient Indian Costumes, Art Heritage Book
Publications, New Delhi,2006
3. Alkazi, Roshan, Medieval Indian Costumes : India and Central Asia, Art
Heritage Book Publications, New Delhi, 2008
4. Fringes G.S., Fashion from Concept to Consumer, 4th Edition, Prentice Hall
Career & Technology, 1994
Reference Material

1. Brijbhushan, J., The Costumes and Textiles of India, D.B. Taraporewala Sons & Co. Pvt.
Ltd., 1958
2. Mohapatra, Ramesh Prasad, Fashion Styles of Ancient India, B.R. Publishing Corporation,
1992
3. Chandra Moti, Costumes, Textiles, Cosmetics and Coiffure in Ancient and Medieval India,

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 Delhi
4. Biawas, A., Indian Costumes, Publications Division, Ministry of Information and
Broadcasting, Government of India, 2003
5. Marshal, J., Mohanjo-Daro and the Indus Civilization, Vol-III, London, 1993
6. Treasure of Indian Textiles History, Marg Publications, Mumbai
7. Fabri, Charles Louis, Indian Dress :A Brief History, Disha Books, 1994
8. Bhatnagar, P., Traditional Indian Costumes and Textiles, Abhishek Publications,
Chandigarh
9. Tortora, Phyllis G. and Eubank, Keith, Survey of Historic Costumes – Fifth Edition,
Fairchild Books, New York, 2010
10. Bhavnani, Enakshi, Decorative Designs And Craftsmanship of India, D.B.
Taraporevala Sons & Company, 1974

Web Sources
1. http://en.wikipedia.org/wiki/Histor_of_clothing_and_textiles
2. http://www.sacred-textes.com/lcr/eod/eod33.htm
3. http://www.mahmoodgroup.com/functionsofclothing/index.html
4. http://en.wikipedia.org/wiki/Clothing_in_India
5. http://ancientwonders.wordpress.com/2009/02/25/ancient-clothing-of-india-women/
6. http://indianetzone.com/50/costumes_ancient_india.htm
7. http://histclo.com/chron/ancient/india/indus.html
8. http://www.preservearticles.com/201105257089/social-condition-o-the-aryans- during-
the-vedic-age.html
9. http://www.scribd.com/doc/49592033/The-costume-of-Mughal-women

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 KFD204 ELEMENTS OF FASHION 3L:1T:0P 4 Credits
Objectives
• To familiarize with fashion concepts and terminology
• To appreciate the relevance of fashion forecast
• To realize the multidimensional factors influencing fashion
• To provide comprehensive understanding of the development of fashion
• To understand the scope of job prospects in the fashion industry
• To familiarize students with various apparel categories- men, women, kids
Learning Outcomes
• Be able to understand and use the common terms used in fashion industry
• Be familiarized with the psychology of fashion and the factors associated with it
• Understand the acceptance of fashion as an outcome of lifestyle influences
• Be aware of national and international fashion trends, brands and designers
• Be able to visualize design concepts based on seasonal fashion forecasts

Unit Topics Lectures

I FASHIONVOCABULARY 8
Fashion terminology (fashion, style, couture, haute couture, accessories,
Avant Garde, classic, collection, fad, fashion cycle, fashion forecast, haute
couture, knock-off, bridge fashion, line, mark up or mark on, pre-a-porter,
style, trend, motifs, blends, trimmings, details, toile, boutique, atelier,
silhouette, fashion forecasting, grading, draping, ready-to-wear, retailer,
visual merchandising, merchandiser, stylist, hue, value, intensity, texture,
repeat, proportion, balance, rhythm, CAD, pattern, pattern making etc)
Design terminology (elements and principles of design)
Colour terminology (dimensions, colour psychology, colour wheel, colour
schemes) Fabric terms (fibre, yarn, fabric, weaving, warp, weft, thread count,
balance, grain line, selvedge, knits, etc.)
Fashion accessory terminology (footwear, jewellery, gloves, hats,
belts, scarves, umbrellas, hand bags, sunglasses etc)
Common sewing terms (alter, seam allowance, backing, back stitch, bias,
fray, facing, lining, puckering etc.)
II FASHIONFORECASTING 8
Introduction
Forecasting for colours, fabrics, style, embellishment & accessories
Promotion
Fairs (Heimtextil, Premier Vision etc)
Journals and magazines (The Wall Street Journal, Apparel India, Couture
Asia, Id, Face, Apparel online, Fashion newsletter, WWD, Wall Paper,
Sportswear International, Fashion Forecast International, Inside fashion,
International textiles, Promostyl, Here and there, Textile View, Trends
Collezioni, Vogue, Cosmopolitian, ELLE, GQ magazine, Allure, Grazia etc.)
Websites (www.fashioncenter.com, www.fgi.com,
www.wgsn.com, www.vogue.com,www.wwd.cometc)
III FASHIONDEVELOPMENT 8
Fashion cycles (introduction, acceptance, peak, decline and obsolete, waxing
and waning of fashion)
Consumer groups (fashion leaders and fashion followers)
Adoption of fashion (traditional fashion adoption, reverse adoption and mass

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 dissemination)
Consumer buying (motives, fashion selection on the basis of styling features
and practical considerations)
Fashion categories (women’s wear, men’s wear, children’s wear, sportswear,
resort wear, sleepwear, casual wear, formal wear etc.)
IV INTERNATIONAL FASHION 8
Fashion Education Milan-Domus Academy
NewYork- Fashion Institute of Technology
London- London School of Fashion, Royal College of Art
Fashion capitals of the world – Tokyo, Paris, Milan, London, Germany
(exclusivity and five top designers from each capital)

Designers (Coco Channel, Christian Dior, Yes Saint Laurent, Ralph Lauren,
Donatella Versace and Vallentino, Karl Lagerfeld, Dolce & Gabbana)
Fashion Weeks (Paris, Milan, New York, London) Fashion Brands
High fashion (Tommy Hilfiger, Christian Dior, Calvin Klein, Versace etc.)
Ready-to-wear (H&M, Ralph Lauren Polo brands, CK by Calvin Klein,
DKNY,Versus by Versace etc)
Retail stores (Marks and Spencer’s, Target, JC penny, Neiman Marcus,
Harrods, Zara International and many more)
V FASHION IN INDIA 8
Major fashion cities in India (Delhi, Mumbai, Pune, Bangalore)
Designers (Ritu Kumar, Manish Malhotra, Rohit Bal, J.J. Valaya, Tarun
Tahiliani, Manish Arora, J.J. Vallaya, Ritu Beri, Manish Arora, Rina Dhaka,
Hemant Trivedi, Rana Gill etc)
Fashion Weeks (WIFW, Lakme Fashion Week etc) Fashion Brands
Designers brands (Satya Paul, Sabyasachi etc.) & Corporate brands (Zodiac,
Grasim, Park Avenue, Parx, Van Heusen, Allen Solly, Color Plus, Frank
Jefferson etc.)
Retail stores (Lifestyle, Pantaloons, Shoppers Stop, Raymond, Park Avenue,
Colour Plus, Globus, Westside, Reliance Trends, Big Bazaar, etc)
VI CAREERS IN FASHION
Fashion designers, product developers, creative pattern makers, fashion
coordinators, fashion stylists, design merchandisers, fashion educators,
fashion illustrators, costume designers

Suggested Assignments
From current fashion magazines, collect five examples of each of the following High fashion
Mass fashion Classic
Fad
Collect at least ten pictures of ensembles from various magazines, newspapers etc. depicting different
colour schemes.
Collect pictures of different accessories from any seven different domestic and international brands.
Identify and write a brief profile (one paragraph) of five renowned brands in different apparel
categories (men wear, women’s wear, kids wear etc.)
Identify your favourite fashion designer and analyze the exclusivity of his/her work with reference
to work, design, silhouette, colours, etc. Presentation on careers in fashion.
Textbooks

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 1. Fringes G. S., Fashion from Costumes to Consumer, 4th Edition, Prentice Hall Career & Tech,
1982
2. Carr H., & Latham B., The Technology of Clothing Manufacture, 2nd edition, Blackwell Sc.,
1994
3. Tate, S.L. and Edwards, M.S., The Complete Book of Fashion Design, New York, Harper& Row
Publication, 1982
4. Tortora, P. & Calasibetta, C.M., Dictionary of Fashion, Om Book International, 2005
5. Brannon, E. L., Fashion Forecasting, Fairchild Publication, 2010
6. Goworek, H., Careers in Fashion & Textiles, Om books International, 2007
7. Seeling, C., Fashion-The Century of the Designers, Konemann Publisher, May 2000
8. Ireland, P. J., Encyclopedia of Fashion, B.T. Batsford Ltd., 1995
9. Thames & Hudson, Dictionary of Fashion & fashion Designers, T & H Ltd., London, 2008
Reference Material
1. Nancy Mccarthy Folse, Careers in fashion Industry, Barnes & Noble, 1981
2. Hidalgo, M. R., The Sourcebook of Contemporary Fashion Design, Collins Design, 2010
3. Stegemeyer, A., Who’s Who in Fashion, Fairchild Publications, 1984
4. Stone, E., Fashion Merchandising: An Introduction, (4th edition), Mc. Graw Hill Book Co., 1985
5. Jarnow, J. & Dickerson, K., Inside Fashion Business, Macmillan. Johnson, New York
6. Castelino, M., Fashion Kaleidoscope, Rupa Publication
Web Sources
1. www.nationsonline.org
2. http://www.allsrilanka.com/directory/tools/women/fashion_magazines.htm
3. http://online.wsj.com/public/page/news-fashion-style-industry.html
4. www.fashioncenter.com
5. www.fgi.com
6. www.vogue.com
7. http://www.allure.com/
8. http://www.grazia.it/

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 KFD251 FASHION MODEL DRAWING 3L:1T:0P 4 Credits
Objectives
• To understand the fundamental structure of a human body by beginning with figure drawing,
emphasizing anatomical details
• To draw figures with normal human proportion to get the actual knowledge of human scale
• To understand the development of fashion figures by enlargement of proportions and balancing
of postures etc. in a normal figure drawing
• To learn to convert flat croquis to flesh croquis
Learning Outcomes
• Be able to develop visual thinking and creativity as a fundamental to all art, craft and design
• Be able to use knowledge of human anatomy for developing illustrations
• Be able to develop skills for drawing fashion figures free-hand
• Be able to use the study of body parts to play with postures and expressions
• Be able to convert flat figure drawings to flesh fashion figures
• Be able to use the understanding of clothed figure for depicting folds and pleats

Unit Topics Lectures

I FIGUREDRAWING (Normal Proportion) 8
Live drawing from model Proportion and anatomy Study of head, hands and feet
Study of eyes, ears, nose and mouth
Study of different postures and movements Drawing of different age group figures
II DRAWINGFASHION FIGURES (Stylization) 8
Ten head female coqui Front view Back view
½ Profile view
¾Turned view
½ Profile view
¾Turned view
III ANALYSIS OF BODYPARTS 8
Face analysis with hairstyles Hand analysis
Feet analysis

IV FLESHING OF FEMALE AND MALE CROQUIES 8

Front View Back view
½ Profile view
¾Turned view
Suggested Assignments

PROJECT-1

Make thirty freehand sketches of live models from your surroundings Draw fifty free hand sketches
of different body parts of various age groups showing details in different positions and angles
Draw fifty sketches of people with different postures and movements Draw ten detailed sketches of
people from different age groups

PROJECT-2

Make four sketches each of male and female ten head croquis (front, 3/4th, profile and back view)
Draw sketches of ten faces with different hairstyles PROJECT-3
Make four sketches each of male and female flesh croquis (front, 3/4th, profile and back view)

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Note: All work to be presented in a portfolio with proper mounting and due labelling.
Textbooks
1. Rowlands, I., Life Drawing, Octopus Books, 2005
2. Giovanni, C., Complete guide to drawings, Search Press, Limited, 2006
3. Giovanni Civardi,Drawing Hands and Feet, Search Press Limited,2006
4. Giovanni Civardi, Drawing Clothed Figure, Search Press Limited,2006
5. Ireland, P. J., Introduction to Fashion Design, Wiley, 1970
6. Ireland, P. J., Fashion Design Drawing &Presentation, Wiley, 1970
7. Ireland, P. J., Fashion Design Illustration For Women, Wiley, 1970
8. Ireland, P. J., Fashion Design Illustration for Men, Wiley, 1970
9. Ireland, P. J., Fashion Design Illustration For Children, Wiley, 1970
10. Mckelvey, K., & Janine, M., Illustrating Fashion, Blackwell Pub.Ltd,1970

Reference Material
1. Raynes, J., Complete Anatomy & Figure Drawings, Anova Batsford, 2007
2. Talham, C., & Julian S., Fashion Design, Barron's Educational Series,
Incorporated, 2011
3. James, L., Costume and Fashion: A Concise History, T&H Pub, 2002
4. Barcsay, J., Anatomy for the Artist,
5. Sterling Publishing Company, Incorporated, 2006
6. David K. Rubins, The Human Figure, Penguin Books, 1976

Web Sources
1. www.human-anatomy-for-artist.com
2. www.ligedrawingsocietu.co.uk
3. www.fashionillustration.or.kr
4. www.fashionmission.nl
5. www.fashion-era.com

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 KFD252 MATERIAL STUDIES-II 3L:1T:0P 4 Credits
Objectives
• To explore different fibers, yarns and other unconventional material towards handcrafted
garments and accessories
• To sensitize to the importance and usage of various textile materials
• To develop an understanding of their behavior, characteristics, properties, physical and visual
potential
• To impart knowledge of various yarn craft, fabric craft techniques
• To explore and adapt the techniques to create innovative surfaces
• To enhance the design skills for product development and expansion

Learning Outcomes
• Be able to explore and manipulate material
• Be able to handle various textile material
• Be able to apply comprehensive knowledge to the material and design
• Be able to use various kinds of textile material for innovative design development
• Be able to explore and adapt different fibers, yarns and other unconventional material for
handcrafted fabrics and accessories
• Be able to construct end product which could range from an accessory to a trimming, details or
a fully finished garment
Unit Topics Lectures
I INTRODUCTION TO TEXTILE MATERIAL 6
Yarns study
Fabrics study Loom study

II YARNCRAFT 10
(Exploration, adaptation and improvisation of the techniques to create
innovative surfaces / products using yarns, vegetable fibers, threads, ropes, ribbons,
braids, wires etc. and combining them with other non-textile material)
Macramé Knotting Crochet Braiding Tasseling Twining
III FABRIC CRAFT 8
(Exploration, adaptation and improvisation in using the material to create innovative
surfaces / products using different kinds of fabrics)
Deconstruction Addition on the surface Addition to the structure
Converting flat fabrics to 3-D surfaces (quilting, ruffling etc.)
IV WEAVING 8
(Using the loom to develop fabric surfaces with different types of yarns and creative
addition of non-textile material for enhancing the aesthetics of the fabrics)
Basic weaves – plain, basket, rib, twill & its variations, satin,
Advanced weaves – colour & weave effects, pile, block drafts, extra weft Creative
weaving

Suggested Assignments
• Projects

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 • Collection of various materials which can be used as weft for
creative weave development
• Develop innovative yarns using various textile and non-textile material

• Develop innovative products using various techniques mentioned in Unit-II

• Develop a product using any one technique from Unit-II
• Develop at least eight interesting fabric surfaces using the techniques
mentioned in Unit-III
• Develop a 3-D product using different fabrics
• Develop swatches of basic weaves on a table loom using different
types of textile material
• Develop swatches of advanced weaves on a table loom using different
types of textile material

• Develop swatches of creative weaves using non-textile material for

weft in a yarn warp
Suggested Visits
• Visits are to be made under faculty guidance. Illustrated report to be
submitted after each visit
• Visit local artisans (chik makers, floors/chattai makers etc.)
• Visit the nearest Weavers Service Centre (Ministry of Textiles,
Government of India) or a handloom weaving unit/weaver/dari unit.
• Visit NGO’s working in the field of creative product development from
yarns and fabrics.

Textbooks
Fashion Show- selected by Trends: Milan, Paris, Madrid, Gap Japan Co.
Ltd., 1991 Thwaites, G., Indian Inspiration, Traplet Publications Ltd.,
2003

Reference Material
1. Ewy, Jane, Art to Wear, North Light Books, 2005
2. Braddock, Sarah E., Techno Textiles, Thames & Hudson, 1999
3. Sommer, Elyse, Inventive Fiber Crafts, Prentice Hall, 1977
4. King, Heidi, Peruvian Feather works: Art of the Precolumbian Era,
Metropolitan Museum of Art, New York, 2012
5. Chandler, Deborah, Learning to Weave, Interweave Press, 2009
6. Crockett, Candace, Card Weaving, Watson-Guptill Publications, 1991

Web Sources
1. http://www.raysofcolor.com/colour/definition.html
2. www.yarn-craft.co.uk/
3. pinterest.com/lion brand yarn/crafts-with-yarn/
4. www.marthastewart.com› Crafts
5. www.cutoutandkeep.net› Bustle › Becca Kordas
6. www.incredibleart.org/lessons/middle/weave.htm

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Page 54
 KFD253 COMMUNICATING FASHION (MODULAR) 3L:0T:0P 3 Credits
Objectives
• To expose to various aspects of the fashion industry
• To understand the fashion world from the perspective of designers and film makers
• To get an insight into the lives, inspirations and working styles of the
popular national and international fashion designers
• To understand the realities of functioning of the fashion and related
industries from experts involved within the field

Learning Outcomes

• Be sensitized to the working environment of fashion and related industries

• Be aware of the lives and working styles of popular designers
• Understand fashion and fashion industry from the grass root level
• Face-to-face interaction with experts from the fashion industry

Unit Topics Lectures

I POPULARINTERNATIONAL DESIGNERS 8
Clippings of fashion shows of the designers
Movies based on the lives of some designers (Andy Warhol, Coco Chanel, Valentino,
Giorgio Armani etc.)
Signe Chanel - Documentary on process of making haute couture collection in the
House of Chanel
II POUPULAR INDIAN DESIGNERS 8
Clippings of fashion shows of the designers
III MOVIES ON FASHION 8
Devil Wears Prada
My Fair Lady
Bill Cunningham New York Sex and The City
It Started in Paradise Unzipped
Fashion
Page 3 etc..
IV GUESTLECTURES 8
The institute can invite speakers from any of the below mentioned
categories for a session with the students to expose them to the various facets of the
fashion industry
Designers NGOs
Fashion magazine editors Fashion photographers
Stylists Page 3 reporters – print and electronic media
Suggested Assignments
There will be a group discussion of faculty and students to discuss the
various details of the movies / videos / documentaries shown / sessions held

Give a hand-written brief summary of about 150 - 200 words (along

with visuals) about the review of the movies / videos / documentaries
/ sessions attended (after each session)

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Page 55
 KFD254 CAD-II 3L:0T:0P 3 Credits
Objectives
• To develop an understanding of the tools of PageMaker
• To learn raster image format through Adobe applications
• To make students understand tools which help to rectify and add
minute details in designs and visuals
• To incorporate in design students the ability to represent and create
visuals and designs using image editing and object creation/manipulation
capabilities of Adobe Photoshop

Learning Outcomes
• Be able to document research work on PageMaker
• Understand the skills of raster graphics software
• Understand presentation techniques
• Be able to integrate design skills with the technology of the graphical software
• Be able to apply Adobe Photoshop to fashion or print media
Unit Topics Lectures
PAGE MAKER
Introduction, tools and their applications. Introduction to Page Maker (about Page Maker,
opening and navigating publications). Building single and multi-page publications (creating
single and multi-page publication, working with text blocks, modifying text, managing text-
I flow, working with pages, character formatting & spacing, applying effects to text). 8
Including graphics and objects (include drawing objects, adding colour, adding graphics,
arranging text around graphics, merging text & graphics). Working with layers, tables and
long documents (applying and exploring layers, adding tables, enhancing tables, working
with linked tables, adding a table of content, creating an index).

ADOBE PHOTOSHOP
Introduction to Photoshop (about Photoshop, bitmap vs. vector graphics, setting up new
II document, image size, saving files, saving new and existing images, reverting files, export, 8
import, all file formats explained, changing work canvas, rotating, flipping, cropping).
Menu bar options.
TOOL BAR
Application of each tool. Shortcuts, tool options. Move tool, hand tool, zoom tool. Pencil
and pen tool. Selections and channels (making selections with various marquee tools,
modifying selection borders, inversing, feathering, using grow and similar, transforming
III 8
selection, masks and channels, channel options, quick mask mode, crop tool, slice tools,
magic wand, lasso and eraser tools). Type tool (editable vs. rasterized type, editing text,
creating text on a path, converting type to shapes, special effects with type: painting,
stroking, screening, fading, warping).
COLORS, LAYERS AND FILTERS
Back ground and foreground, Eyedropper-colour sampler. Painting and coloring (painting
tools, erasing, blending modes, gradients, working with brushes, creating and managing
IV patterns, Paintbrush, History brushes, Gradient, Paint bucket, Burn-dodge-sponge, Blur- 8
sharpen- smudge). Using layers (naming, creating, duplicating, transforming, deleting,
hiding, showing, moving, merging, flattening, locking, layer styles, blending options, using
layer effects and styles, setting opacity and blending options, using layer effects and styles,

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 using adjustment, using fills, using layer masks). Applying filters (filters, modifying filter
effects, filter techniques).

RESTORINGAND ENHANCING IMAGES:

Restoration of photos (red eye tool, patch tool, clone stamp pattern stamp, spot healing brush
tool, retouch tool, colour replacement tool). Photo enhancement and colour correction
V 8
(changing levels, changing curves, colour balance, changing brightness and contrast,
changing hue saturation and brightness, desaturase, colour replace, equalize, threshold,
changing background using layer composting).

Suggested Assignments
• To create a four-page fold-up on oneself – it should include profile and work description
along with visuals
• Change the colour of a picture using magic wand tool
• Using a single picture create various images by applying
different effect of adjustments and compare the changes.
Execute the same using filter effects
• Create a print design for t-shirt
• Make a theme-based collage on any given topic
• Prepare two posters (look board and information poster- A-3 size) & an
invitation card (7.5”X4.5”) on the topic given by the faculty concerned.
Same theme to be given to the whole class. (Themes could be exhibition,
cultural events
• etc. Emphasis should be given on the content, image quality, layout,
selection of colors & fonts, to make effective promotional material. Use of
images downloaded from internet should be avoided. Images can be drawn
on Corel Draw and imported)
• Create scenes using different background effects (using all the options in
the tool bar and others too)
• Select a theme and create a mood board and color palette for the same
• Develop an apparel collection (atleast five designs) based on the
above theme and also make three color ways for any two designs
from the collection

Note: All work to be presented in the portfolio with proper mounting and due labeling.

Textbooks
• Khanna, V., Learning Photoshop CS5, Khanna Publications, 2012
• Siprut, M., Adobe Photoshop, BPB Publications, New Delhi, 2001
• Rajaraman, V., Fundamentals of Computer, PHI Learning Pvt. Ltd., 2010

Reference Material
• Respective Software Manuals (Adobe Photoshop)
• Eismann, Katrin, Simmon, Photoshop Retouching Techniques, Steve Publishers, 2001

Web Sources
1. Photoshop Tutorials

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 KFD255 PHOTOGRAPHY 3L:0T:0P 3 Credits
Objectives
1. To learn the fundamentals of photography
2. To understand photography as a medium of communication and conceptual process
3. To develop basic competency in handling photography equipment
4. To develop a base for development of creative photography skills
Learning Outcomes
1. Be able to use camera as a tool
2. Understand the different peripherals and their usage
3. Understand compositions, placement of elements and interplay of light and shade in a
Photographic frame
4. Be able to handle and manipulate various photography tools for effective photography
5. Be able to use photography as a tool for documentation
6. Use the knowledge of photography to click pictures of different types of subjects
Unit Topics Lectures
I INTRODUCTION TO PHOTOGRAPHY 8
1. The basic science of photography, orientation and scope
2. Camera Anatomy
II WORKING OF A CAMERA 8
1.Exposure
- Aperture
-Shutter Speed
-ISO
-The Exposure Triangle
-Exposure Compensation
-Camera Exposure Modes: Automatic, Manual, etc.
2.Composition
-The Rule of Thirds Ratio
-Negative Space
-Leading Lines
-Balance & Symmetry
-Perspective & Angle
-Backgrounds
3. Focus and Of Field
-Depth of Field & Aperture
-Understanding Bokeh
III CAMERAS AND CAMERA EQUIPMENTS 8
1.Types of camera
2.Types of camera films
3.Types of light
4.Reflectors
5.Types of filters
6.Tripod, monopod and handheld
7.Memory cards
IV ASSIGNMENT – 1 WORKING WITH DIFFERENT SUBJECTS 8
1.Working with different apertures, shutter speeds, exposure values and depth
of field)
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 2.Nature – understanding natural light and forms
3.Architecture – solid forms
4.Portraits
5.The human form – candid and designed
V ASSIGNMENT – 2 EXPERIMENTAL PHOTOGRAPHY 8
1.Sports & Action Photography
2.Time Lapse Photography
3.Artistic Aspect of Photography
VI ASSIGNMENT – 3 FASHION PHOTOGRAPHY
1.The garment
2.The model
3.Props
4.Posing
5.Make-up
6.Accessories
7.Hair
Suggested Assignments
All assignments will be continued in extra time apart from the class Lectures. The practical
classes will be majorly used by the faculty to assess and discuss each student’s work with the
concerned student and the rest of the class. The students can collate all the work done during the
course and present as a combined portfolio, or in a creative digital way at the end of the semester.
Reference Material
1. Langford, Michael, Basic Photography – 7th Edition, Focal Press, 2000
2. Grimm, Tom and Grimm Michele, The Basic Book of Digital Photography, Penguin Group US,
2009Langford’c Basic Photography – The Guide for Serious Photographers (9th Edition), Focal
Press, 2010
3. Stroebel Leslie D., Zakia Richard Donald, Basic Photographic Material and Processes, Elsevier
Science & Technology Books, 2009
4. Eggers, Ron, Basic Digital Photography: A Comprehensive Step-By-Step Guide to Selecting and
Using Digital Cameras, Scanners and Software, Amherst Media, 2000
5. Modrak, Rebekkah and Anthes, Bill, Reframing Photography: Theory and Practice, Routledge,
2011
6. Gernsheim, Helmut, Creative Photography: Aesthetic Trends, Dover Publications Inc., 1991
7. Prakel, David, The Fundamentals of Creative Photography, Ava Publishing SA, 2010
8. Webb, Jeremy, Basic Creative Photography 01: Design Principles, Ava Publishing SA,2010
9. Shinkle, Eugénie, Fashion as Photograph: Viewing and Reviewing Images of Fashion, Aubenas,
Sylvie and Demange, Xavier, Elegance: The See Berger Brothers and the Birth of Fashion
Photography, Chronicle Books LLC, 2007
10. Harnischmacher, Cyrill, Closeup Shooting: A Guide to Closeup, Tabletop and Macro
Photography, O'Reilly Media, Inc. 2012
11. Harnischmacher, Cyrill, Tabletop Photography: Using Compact Flashes and Low
12. Cost Tricks to Create Professional Looking Studio Shots, Rocky Nook Inc., 2012

Web Sources
1. http:// learnbasicphotography.com/
2. photo.net › Learn About Photography

Curriculum & Evaluation Scheme

Page 59
 KFD256 DESIGN PROCESS 3L : 0T : 0P 3 Credits
Objectives
• To understand the stepwise process to be followed while developing a design
• To get sensitized to the use of design process to create designs at various levels of
product development
• To learn the development of theme board, colour palette, story board etc. for design
inspiration
• To develop a product using the design process
• To understand the documentation and presentation of any design project

Learning Outcomes
• Be able to research, analyze and use collected data for ideation and concept
development

• Be able to develop, interpret and use mood boards, theme boards, colour palettes or
storyboards to create designs based on a particular theme.
• Be able to develop designs / products using the design process
• Be able to collect, collate and present all work done for the project systematically and
appropriately
• Be able to understand appropriate presentation and display required for any particular
Product

Unit Topics Lectures

STEPS IN DESIGN PROCESS

Research, problem of Identification Analysis and Planning Design Concept
I 8
Development Detailed Design Development
Final Implementation
DESIGN DEVELOPMENT
Introduction to Mood Board / Theme Board / Inspiration Board. Introduction to
II 8
Colour Palette
Introduction to Look Board, Design Board and Story Board
DESIGN CONCEPTION
(Conception of a product using any single or combination of material –
refer to Material Studies– I syllabus)
Select any product for development (fashion accessory – shoes, bag, scarf,
jewellery, caps, hats etc., table accessory – pen stand, file folder, napkin holder,
photo frames, pots, fruit basket, napkin rings etc., lifestyle product
–keychain, magazine holder, newspaper rack, umbrella, pocket mirror, storage
III pouch, display shelves etc.) 8
Select an appropriate theme for design development
Research on theme, colours, product design and other components before design
development
Make a theme board, colour palette and story board based on the selected theme
and product
Use the tools of Units – I and II to develop initial concepts of product design based
on the selected theme

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 DESIGN DEVELOPMENT
(Development of a product using any single or combination of material
–refer to Material Studies– I syllabus)
Work in detail on the final selected product concept for final prototype
IV 8
development
Create a detailed illustration of the designed product in a suitable surrounding
(drape the fashion accessory on a fashion model against appropriate background /
place the table top accessory on a table in a suitable room etc.)
DOCUMENTATION, PORTFOLIO AND PRESENTATION
Document the complete concept development process through appropriate scrap
book, pictures, material swatches / samples, research material etc.
Also, record the stepwise design development process through photography
Compile a portfolio of the theme board, colour palette, story board, all doodles,
V 8
initial concepts, detailed illustration of the final selected design with specifications,
proper mounting and appropriate labelling and the detailed product illustration in
suitable surroundings
Submit all initial product samples and final prototype with all other documentation
and portfolio for evaluation

Suggested Visits
• Fashion accessory and lifestyle product stores
• Table top accessory stores
• Design studios in near vicinity
• Local product designers
• Local markets
Reference Material
1. Stone, Terry Lee, Managing the Design Process - Concept Development: An Essential Manual for the
Working Designer, Rockport Publishers, 2010
2. Lawson, Bryan, How Designers Think: The Design Process Demystified, Routledge, 2006
3. Stone, Terry Lee, Managing the Design Process: Implementing Design: An Essential Manual for the
Working Designer, Rockport Publishers, 2010
4. McKelvey, Kathryn, Munslow, Janine, Fashion Design: Process, Innovation and Practice, John Wiley &
Sons, 2011
5. Product Design and Development, Tata McGraw-Hill Education, 2003

Web Sources
1. http://inspirationfeed.com/articles/design-articles/design-process-flowchart-that- all-freelancers-designers-
must-have/
2. http://www.google.co.in/url?sa=t&rct=j&q=design%20process%20steps&source=we
b&cd=10&cad=rja&ved=0CFgQFjAJ&url=http%3A%2F%2Fwww.engr.uconn.ed u%2F~abboud%2FLect-
2.ppt&ei=PPZbUdToIIuSrgeUmoDwCw&usg=AFQjCNH3lVN9lE9y8UxlvV6DD
p8_k0mRFA&bvm=bv.44697112,d.bmk
3. http://www.academia.edu/561522/Layout_for_different_Textile_design_prints

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 BFAD 2nd Year
III Semester
Syllabus

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Page 62
 KFD-301 TEXTILES-II 2L:1T:0P 3 Credits
Objectives
• To familiarize with the wet processing in textile industry and its importance
• To know different dye classes and their application on various types of fabrics
• To learn about various fabric printing methods and techniques
• To know textile finishing process and types of finishes applied to different fabrics
• To understand the importance of care labels in use and maintenance of textile products
• To understand environmental issues and social responsibility in relation to textile industry
Learning Outcomes
• Understand the importance of wet processing in production of textiles
• Be aware of suitable dye for different fabrics and method of their application
• Have knowledge of various printing methods and their characteristics
• Be able to analyze and adopt any particular process of dyeing, printing and finishing for
particular end use
• Understand fabric testing and care labelling
• Be aware environmental issues involved in wet processing
KFD-301 TEXTILES-II 2L:1T:0P 3 Credits
Unit Topics Lectures
INTRODUCTION: Wet processing. Areas and importance. Preparation process.
I 8
Dyeing Process. Finishing process.
DYEING: Introduction to dyeing, preparation of fabric for dyeing. Classification
of dyes on the basis of origin and their application: Dyeing of cotton and viscose
with direct, reactive, vat, Sulphur and azoic dyes; Dyeing of polyester with
disperse dyes; Dyeing of wool and silk with acid and basic dyes. Stages of dyeing-
solution or dope dyeing, yarn dyeing, fabric dyeing or piece dyeing, product
dyeing. Methods of dyeing- batch dyeing, winch dyeing, jig dyeing, pad dyeing,
II 8
package dyeing, combination dyeing, jet dyeing, paddle machines, continuous
machines. Special dyeing effects- cross dyeing, union dyeing, tone on tone. Dyeing
defects. Colour fastness- importance of colour fastness to the consumer, evaluation
of colour fastness, factors influencing colour fastness, assessing colour fastness of
different fabrics to laundering, light/sunlight, perspiration, crocking, equipment
used to test colour fastness.
PRINTING: Introduction to printing. Basic styles of printing- direct, resist,
III discharge, mordant, heat transfer printing. Methods of printing- block, stencil, 8
screen, rotary and roller printing, duplex printing. Printing defects.

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63
 FINISHING: Introduction to finishes, importance of finishes. Classification of
finishes- permanent and non -permanent finishes. Basic or routine finishes-
singeing, desizing, scouring, bleaching, stiffening, weighting, calendaring, tentering,
mercerization. Aesthetic finishes- special calendaring (schreinering, moiré
embossed surface, glazed finish), acid finishes, alkali finishes, softening finishes,
IV 8
stiffening finishes, fading finishes. Functional finishes- absorbent finishes, antistatic
finishes, abrasion resistant finishes, stain and soil resistant finishes, durable press
finishes, shrink resistant finishes, flame resistant finishes, flame retardant finishes,
water repellent and water proof finishes, antimicrobial finishes, moth proof finishes,
microencapsulation finishes.
CARE OF TEXTLE PRODUCTS: Washing (hand and machine), drying, ironing,
V bleaching, dry cleaning. Labels- types of labels (brand labels, size labels, care 8
labels), importance of fabric care labels, study of care symbols, etc.

ENVIRONMENTAL CONCERNS ANDSOCIAL RESPONSIBILITY:

Environmental
VI
issues – air pollution, water pollution, solid waste pollution. Sustainability in
production of textile. Corporate social responsibility in textile industry.

Suggested Assignments
• Prepare a portfolio of fabric swatches of different types of dyed and printed fabrics. Specify
printing (for example block printing, screen printing, discharge printing, etc.) and finishing
methods (for example mercerization, stiffening, acid finish, alkali finish, etc.) of fabric samples.
• Prepare a portfolio of fabric and garment care labels and analyze care labels in terms of fabric
composition, washing instruction, ironing instruction, dry-cleaning, bleaching, etc.
Suggested Visits
• Fabric processing unit
• Dyeing and printing unit
• Textile testing laboratory
Text Book:
• Clarke, W., An Introduction to Textile Printing, London, Butterworth and Co. Ltd.1977
• Corbman, PB, Textile Fibre to Fabric, MGH International, 2003
• Kadolph Sara J., Quality Assurance of Textiles and Apparel, Fairchild publication 1998.
• Sadov, F., Korchanging, M. & Matelsky A., Chemical Technology of Fibrous Materials,
Moscow: MIR Publications, 1973.
• Satsangi, S. S., Garment Finishing & Care Labeling, Usha Publishers, 2002.
• Sekhri S., Textbook of Fabric Science: Fundamentals to Finishing, PHI Learning, Delhi,
2011.
Reference Books:
1. Apparel Views

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64
 2. Chaudhary, A. K. R., Textile Preparation and Dyeing, Science Publisher, United States of America, 2006
3. Colourage
4. Gisela Hein, Fabric Printing, BT Batsford, 1972
5. Gohl and Vilensky, Textile Science, CBS Publishing, 1987
6. Hollen, N. & Saddler, J., Textiles. (6th Ed.) .New York: Macmillan, 1988
7. Howard, L. N., Textiles: Fibres, Dyers, Finishes and Processes, New Jersey: Noyes, 1986
8. Marjory, L. J., Essentials of Textiles, New York, 1976
9. Marjory, L. J., Introductory Textile Science (3rd Ed.), New York, 1977
10. Miles, L.W.C., Textile Printing, 2nd ed., West Yorkshire, England, Society of Dyers and Colorists,
1994
11. Shenai, V.A., Chemistry of Dyes and Principles of Dyeing, Vol II, Bombay, India, Sevak
Publications, 1987
12. Shore, John (Ed), Colorants and Auxiliaries: Organic Chemistry and Application Properties, Vol. 1 &
2, West Yorkshire, England, Society of Dyers and Colorists, 1990
13. Storey, Joyce, Textile Printing, London, Thames & Hudson, 1974
14. The Indian Textile Journal
15. Trotman, E. R., Dyeing and Chemical Technology of Fibers, Sixth edition, England, Charles Griffin and
Company Ltd., 1984Web Sources
Web Sources
10. http://www.iiem.com/em/dyes/chapter3.html
11. http://en.wikipedia.org/wiki/Dye
12. http://www.pburch.net/dyeing/directdye.shtml
13. http://www.chem.wisc.edu/areas/organic/studsemin/kolonko/KolonkoSem.pdf
14. http://www.pburch.net/dyeing/dispersedye.shtml
15. http://www.wisegeek.com/what-are-the-advantages-of-pigment-yeing.htm
16. http://practicalaction.org/docs/technical_information_service/dyeing_textiles.pdf
17. http://www.fibre2fashion.com/industry-article/17/1623/dyeing1.asp
18. http://dyeingworld1.blogspot.in/2010/01/jet-dyeing.html
19. http://sourcing.indiamart.com/engineering/plants-achinery/apparel- and-textile
machinery/package-dyeing-machine/
20. http://sourcing.indiamart.com/engineering/articles/semi-continuous-dyeing/
21. http://www.scribd.com/doc/36061452/Dyeing-Defects

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KFD-302 HISTORIC COSTUMES WESTERN 3L:1T:0P 3 Credits

Objectives
• To study the ancient civilizations of the world
• To examine the styles and special features that were popular in different countries at different times
• To understand the nuances of costumes from the ancient world up to the 20th century
• To evaluate the influence of the past trends on current fashion trends
• To enhance the knowledge of jewelry and accessories of different periods of history
Learning Outcomes
• Become aware of the chronology of various civilizations
• Understand the social and cultural aspects of costumes
• Understand the sociological and cultural influences on the clothing of different eras
• Be able to relate the features of historical costumes with the features of contemporary costumes
• Be able to apply the knowledge of styles and special features of historical costumes for contemporary design
development
• Understand the cross-cultural contacts during various civilizations influencing the materials, styles and silhouettes
of the people of that era

KFD-302 HISTORIC COSTUMES WESTERN 3L:1T:0P 4 Credits

Unit Topics Lectures

THE ANCIENT WORLD: Mesopotamia- Sumer, Babylonia, Assyria; Egypt; Crete and Greece;
I 8
Etruria and Rome; China.

THE MIDDLE AGES: The early middle ages – Byzantium, Coptic (the feudal ages); The late
II 8
middle ages.

III THE RENAISSANCE: The Italian renaissance; The northern renaissance 8

IV BAROQUE AND ROCOCO PERIODS: The seventeenth century; The eighteenth century. 8

THE NINETEENTH CENTURY: The Director and Empire period; The Romantic period; The
V 8
Crinoline period; The Bustle period and the Nineties

THE TWENTIETH CENTURY: The Edwardian Period; World war I; Twenties, thirties and
VI 8
world war II.

Suggested Assignments
• Inspired fromthe historical styles of costumes (any period/civilization) design an apparel for the present

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 times
• Group presentation (four students) on: The work of any two national and two international designers
who have created the modern adaptations of a style or some special features of costumes of a particular
period
• The latest international fashion weeks where the designers have been inspired from any particular
period’s silhouettes and styles
• Identify, research and document at least five movies where the costumes have been influenced by any
given period in the history of the world
Suggested Movies
For better visual understanding of the costumes of earlier periods the student should be shown at least five
of the following movies:
• Cleopatra
• The Odyssey
• Troy
• Julius Caesar
• Gladiator
• King Arthur
• The Adventures of Robin Hood
• Henry V
• Elizabeth
• Joan of Arc
• The Duchess
• A Tale of Two Cities
• Titanic etc.
Suggested Visits
• Textile section of a nearby museum
• Painting section of a nearby museum
Textbooks
• Tortora P.G., Eubank K., Survey of Historic Costumes, Fairchild Books, 2010
• Laver J., Costume and Fashion: A Concise History, 2010, Thames & Hudson World of Art
• Peacock T., Costumes 1066 to the Present, Thames and Hudson, London, 2006
• Francois B., A History of Costume in the West, Thames and Hudson, 1987
• Racinet A., The Complete Costume History, Taschen, 2006
Reference Material
• Baclawski K., The Guide to Historic Costumes, Drama Publishers, 1995

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 • Boucher F., History of Costumes in the West, Thames & Hudson Ltd, Revised Edition, 1987
• Jahre Mode design, 1920s Fashion Design, The Pepin Press, 1998
• Racinet Auguste, Full Colour Pictorial History of Western Costume, Dover Publications, 1888
• Black, J.A and Garland M., A History of Fashion, London, Orbis Publishing, Ltd.,1978
• Lester, K. M., Historic Costume, Chas A Bennett Co. Inc. Illinois, 1956
• Tarrant N., The development of Costume, National Museum of Scotland 7 Routledge, 1994
• Wilcox, Turner R., The Dictionary of Costume, B.T. Babsford Ltd., 1992
Web Sources
• http://www.fashion-era.com/ancient_costume/index.htm
• http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/egypt.htm
• http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/greek.htm
• http://www.roman-empire.net/society/soc-dress.html
• http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/roman.htm
• http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/renaissance.htm
• http://realmofvenus.renaissanceitaly.net/
• http://www.maggiemayfashions.com/belleepoque.html
• http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/crinoline.htm
• http://www.thefashionhistorian.com/2010/09/cage-crinoline-as-socialmetaphor.html
• http://www.shpect.org/index.php/costumeanatomy/213-the-crinoline-periodcostumes
• http://www.cwu.edu/~robinsos/ppages/resources/Costume_History/renaissance.htm
• http://en.wikipedia.org/wiki/Bustle
• http://www.costumes.org/classes/fashiondress/BustlePeriods.htm
• http://www.maggiemayfashions.com/secondbustle.html
• http://pinterest.com/mwojdak/early-bustle-period-1869-1876/
• http://pinterest.com/mwojdak/romantic-era-fashion-1820-1840/
• http://fashionhistory.zeesonlinespace.net/romantic.html
• http://shpect.org/index.php/costumeanatomy/212-costumes-in-the-romantic- period-1815-1840
• http://www.maggiemayfashions.com/romantic.html
• http://www.tudorlinks.com/treasury/articles/view1900.html

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 KFD303 TRADITIONAL INDIAN TEXTILES 2L:1T:0P 3 Credits
Objectives
• To acquaint the students with the textile traditions prevalent in India
• To understand various influences on evolution of textiles in India
• To impart comprehensive knowledge of development of Indian Traditional textiles with reference to
origin, production, material, colour, motifs and contemporary interventions
• To be able to relate textile design to art and architecture
• To assimilate and adapt this knowledge for design ideation and creation
Learning Outcomes
• Be able to appreciate traditional textiles of India viz a viz their material, colours, texture and motifs
• Be able to identify and appreciate various Indian traditional crafts/garments and accessories
• Understand the importance of textile crafts with the historical perspective, the impact of modernization
and their contemporary status.
• Be able to apply Indian traditional designs and motifs for contemporary designs
• Be able to identify traditional Indian textiles and their product diversification in the local market
Unit Topics Lectures
HISTORICAL PERSPECTIVE: Map of India. Development of textiles in India:
socio- cultural factors and influences (geographical location, availability and
I abundance, impact of trade, availability combined with social value, religious 8
significance, love for beauty, inspiration, historical Influences- from within the
country and abroad).
WOVEN TEXTILES (With reference to origin, production, material, colors,
motifs, product diversification, contemporary interventions and adaptations):
Brocades of Banaras. Jamdani, Baluchari, Tangail of West Bengal & Uttar
II 8
Pradesh. Kota Doria of Rajasthan. Chanderi & Maheshwari of Madhya Pradesh.
Paithani of Maharashtra. Kanjeevaram of Tamil Nadu. Innaphis of Manipur. Muga
Silk of Assam. Shawls of Kashmir, Gujarat, Kullu and North East. Market Survey.
EMBROIDERED TEXTILES (With reference to origin, production, material,
colours, motifs, product diversification, contemporary interventions and
adaptations): Kantha & Sujani of West Bengal. Zardozi of Uttar Pradesh. Kasuti of
Karnataka. Phulkari of Punjab. Chikankari of Uttar Pradesh. Applique and patch
III Work- Patti ka kaam, Ralli quilts of Rajasthan, Pipli from Orissa. Kashida of 8
Kashmir. Chamba Rumal of Himachal Pradesh. Banjara Embroidery- Rabadi, Ahir,
Jat, Mochibharat and Heerbharat of Gujarat, Lambadi of Karnataka. Embroidered
shawls of Kashmir. Market survey.

PAINTED TEXTILES (With reference to origin, production, material, colors, motifs,

product diversification, contemporary interventions and adaptations): Kalamkari
IV of Andhra Pradesh. Pabuji Ki Phad of Rajasthan. Mata ni Pachhedi of Gujarat. 8
Pichhwai of Rajasthan. Patachitras of Orissa. Thangka Paintings of Buddhist.
Madhubani of Bihar. Market survey.

PRINTED TEXTILES (With reference to origin, production, material,

colours, motifs, product diversification, contemporary interventions and
V 8
adaptations): Sanagner, Bagru, Warak, Tinsel - Rajasthan. Ajrakh and Rogan of
Gujarat. Bagh of M.P. Market Survey.

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 RESIST DYED TEXTILES (With reference to origin, production, material,
colours, motifs, product diversification, contemporary interventions and
adaptations): Tie & dye- Bandhej & Leheriya of Rajasthan; Bandhani of Gujarat;
VI 8
Batik of West Bengal. Ikat- single, double and combined- Patola & Mashru of
Gujarat; Bandhas of Orissa; Pochampalli & Telia Rumal of Andhra Pradesh.
Market Survey.

Suggested Assignments
• Group presentation on any one topic from each of the following categories with reference to origin,
production, material, colours, motifs and contemporary interventions:
o Regional embroidery as mentioned in Unit-III
o Woven textiles as mentioned in Unit-II
o Painted textile as mentioned in Unit-IV
o Printed textile as mentioned in Unit-V
o Resist dyed textile as mentioned in Unit-VI
• Study the work of any one designer with reference to contemporarisation of a traditional textile.
• Study the last Indian Fashion week in context of the usage of traditional Indian
• textiles
• Market survey at the end of each unit to study the availability of traditional Indian textiles and its
contemporarisation in local area
• Choose any three motifs and see its usage and depiction in various categories of traditional Indian
textiles (for e.g. elephant, peacock, fish, paisley etc.)
Suggested Visits

• Illustrated report to be submitted after each visit

• Textile section of a museum in the near vicinity
• Educational tour to a textile section of a Museum/ craft fairs of a bigger city
• Craft fairs and stores
• Craft organizations/NGO’s working in the traditional textile sector
Textbooks
• Naik, S., Traditional Embroideries of India, A.P.H. Publishing Corporation, 1995
• Shrikant, U., Ethnic Embroidery of India Part-I, Usha Shrikant, Pune, 2009
• Shrikant, U., Ethnic Embroidery of India Part-II, Usha Shrikant, Pune, 2009
• Villo, M., and Vinutha, M., Handlooms and handicrafts of Gujarat
• Dhamija, J., and Jain, J., Hand woven fabrics of India, Mapin Publishing. 1989
• Dongerkery Kamala S.,Romance of Indian Embroidery, Thaker & Co. Ltd., Bombay
• Gillow, J. & Barnard, N., Indian Textiles, Thames & Hudson, London, 2008
• Crill, R., Indian Embroidery, V&A Publications, 1999
• Das, Shukla, 1992, Fabric Art- Heritage of India, Abhinav Publications, New Delhi
• Ritu Kumar, Costumes and Textiles of Royal India, ACC Distribution, 2009
• Satheesan, Textiles arts of India- Vastra, Honesty Publishers, 2000
• Hundekar, M., and Dedhia, E., Ajrakh: Impressions and expressions, Colour Publications, 2008
• Irwin, J., and Hall, M., Painted and printed fabric, Ahmedabad: Calico Museum of Textiles
• Buhler and Fischer, The Patola of Gujarat, Krebs, 1979
• Buhler, Naobholz and Fischer, Indian tied and dyed fabrics, Ahmedabad: Calico Museum of
Textiles, 1980
Reference Material
• Bhatnagar, P., Traditional Indian Costumes and Textiles, Abhishek Publications.,2004

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 • Chattopadhaya, K.D., 1995, Handicrafts of India, Wiley Eastern Limited, New Delhi
• Chattopadhaya, K.D., Indian Embroidery, Wiley Eastern Ltd., New Delhi, 1977
• Chattopadhaya, K.D., Indian Carpets and Floor Coverings, All India Handicrafts Board, New Delhi,
1977
• Shehnai, History of textile design, Victoria Albert Museum, 1977
• Das and Sukla., Fabric Art: Heritage of India, Abhinav Publications, 1992
• Bhavnani, E., Decorative Designs and Craftsmanship of India, D.B. Taraporevala Sons & Co. Pvt.
Ltd., Bombay, 1974
• Barve, V.R., Complete Textile Encyclopaedia, D.B. Taraporevala Sons, Bombay,1967
• Mehta, Rustam J., Masterpieces of Indian Textiles, , D.B. Taraporevala Sons & Co. Pvt. Ltd., Bombay,
1970
• Ajit Mukherjee, 5000 designs and motifs, Dover Publications. Inc., 1996
• K. Prakash, Rajasthani Folk art, English Edition Publishers and Distributor
Web Sources
• http://www.craftrevival.org/
• http://www.archedu.org/
• http://www.aiacaonline.org/
• http://www.indianetzone.com/
• http://www.academia.edu/840611/History_of_indian_Textiles
• http://www.academia.edu/2133459/Textile_Crafts_and_their_contribution_in_Indian_ Fashion

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 KFD351 FASHION ILLUSTRATION-I 0L:1T:3P 4 Credits
Objectives
• To learn the different aspect of fashion illustration
• To develop the skills of rendering different textures and colours to illustrate various fabrics
• To develop the skills of drawing garments and garment details
• To understand the illustration of garments and accessories on fashion figures
Learning Outcomes
• Be able to develop the skills of illustration
• Be able to render colours and textures to illustrate various fabrics
• Be able to illustrate various garments and garment details in flat sketches
• Be able to drape garments on fashion figures
• Be able to accessorize fashion figures to illustrate a complete ensemble

Unit Topics Lectures

FABRIC AND COLOR RENDERING: Render using different colour
mediums. Cotton - cambric, canvas, muslin, seersucker, organdy, denim
(heavy, medium and light weight), khadi etc. Wool & wool blends-
I gabardine, suiting’s, tweeds, flannel, houndstooth etc. Silk - crepe, tissue, 8
silk jacquard, shot silk, shantung, noile, dupion, tussar, chanderi, organza,
satin, chiffon etc. Non- woven fabrics – suede, Napa, Rexene etc. Nets and
laces. Pile fabric - velvet, corduroy etc. Leather. Fur. Knits etc.
UNDERSTANDING CLOTHED FIGURES: Study of clothed figures.
II Detailed study of garments (fabric, drape, folds and pleats, gathers, 8
embellishments, closures etc.).
DRAWING GARMENTS & GARMENT DETAILS: Drapes, folds,
pleats, gathers, tucks, darts, smoking, quilting, knitting, shirring,
embellishments, closures etc. Necklines and collars. Sleeves. Skirts (various
III types). Blouse / tops (various types). Lower garments (jeans, trousers, 8
tights, leggings, jeggings, stockings etc.). Coats and Jackets (various types).
Single piece dresses (knee length, calf length, full length). Ethnic wear (sari,
salwar suit, kurta, dhoti, churidar, sherwani etc.).

IV DRAWING CLOTHED FIGURES: Draping garments on the figures. 8

Garment detailing.

V ACCESSORIZING CROQUIS: Headgears. Footwear. Hand bags. Belts. 8

Bows and ties. Eyewear. Jewellery. Gloves & Scarves.

Suggested Assignments
PROJECT-1

• Render ten different fabric swatches from each category under Unit-I using various colour mediums.
Present the actual fabric swatch with the rendered ones.
• Make collages (at least ten) of pictures collected from different fashion magazines
showing different types of garments and garment details as mentioned in Unit-II PROJECT-2

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 • On a selected garment silhouette, render different types of design details (folds, pleats, gathers, tucks, darts,
smoking, quilting, knitting, shirring, embellishments, closures etc.) with pencil shading
• Make detailed flat drawings of five garments from each category mentioned in Unit- III with different
colour media giving emphasis to the folds and character of the used fabric / fabrics
• Make coloured illustrations (using different colour media) of male and female fashion figures (ten each)
draped with different garments
• Draw detailed flat sketches of different fashion accessories mentioned in Unit-V using colour media, giving
importance to the folds, embellishments, closures etc. And character of the used material
• Use male and female fashion croquis (five each) to illustrate different accessories and coordinate the same
with garments rendered
Suggested Visits
• Design Studios
Text Book:
• Abling, B., Fashion Sketchbook, 6th edition, Fairchild books, New York, 1998
• Terry Marks, Tina Sutton, MINE, Colour Harmony Compendium: a complete colour reference for
designer of all types, Rockport Pub., 2009
• Bryant, M. W., Fashion Drawing ( Illustration Techniques for fashion illustration), Paperback,
Laurence King Publishing, 2011
• Ireland, P. J., Introduction to Fashion Design, B. T. Batsford, 1992
• Ireland, P. J., Fashion Design Illustration for women, B T Batsford Ltd, 1996
• Ireland, P. J., Fashion Design Illustration for men, M/s Om Book International, 1979
• Ireland, P. J., Fashion Design Illustration for Children, Cambridge University Press, 1979
Reference Material
• Borrelli, L., Fashion Illustration Bow, Thames and Hudson Ltd., 2002
• Gill, R. W., Rendering with pen ink, Thames and Hudson Ltd., 2007
• Peter A. Koenig, Design Graphics, Drawing Techniques for Design Professionals, Third Edition,
Doorling Kindersley, India Pvt. Lt., 2012
• Donovan, B., Advanced Fashion Drawing, Laurence King Publishers, 2010
• Ellinwood, J. G., Fashion by Design, Laurence King Publishing, 2011
• Laver, J., Costume and Fashion (A Concise History), Thames and Hudson Ltd., 1982
• Peacock, J., Costume (1066 to present), Thames and Hudson Ltd, 2006
• Eicher, J. B., Evenson, S. L., & Lutz, H. A., The Visible Self- Global Perspective of Dress, Culture and
Society, 3rd edition, Fairchild Books, 2008
• Donovan, B., Advance Fashion Drawing, Laurence King Publishers, 2010
Web Sources
• www.fashion-era.com
• www.design-library.com
• www.morefashiondrawing.com
• http://histclo.com/chron/ancient/india/indus.html
• http://www.preservearticles.com/201105257089/social-condition-o-the-aryansduring- the-vedic-age.html
• http://www.scribd.com/doc/49592033/The-costume-of-Mughal-women

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 KFD352 COMPUTER AIDED DESIGN-II (Adobe Illustrator) 0L:1T:3P 4 Credits
Objectives
• To demonstrate knowledge of text and typography, colour, image manipulation and basic layout for a print-
based output for the industry
• To develop skills for effective visual communication using concept boards, technical design procedures and
other presentation method
• To analyze garment styles, fabric drape and reproduce it to fit the fashion figure.
• To learn and be familiar with illustration using computer programs
Learning Outcomes

• Be able to create quality artworks and graphics utilizing various tools in Illustrator
• Be able to draw the flat sketches, fashion figure and communicate apparel design details and technical
specification using a variety of media
• Be able to develop a personal style of illustration and presentation techniques
Unit Topics Lectures
ILLUSTRATOR: GETTING STARTED

• Introduction, Workspace & Navigation, creating a New Document,

Saving the Document
• Working with Layers
I • Selections (Direct, Group, lasso, stray points, Magic wand) 8
• Smart Guides and Rulers (Rulers, Creating guides, Smart guides, Smart
guide options, Grids, Measure and info tools)
• Fills and Stroke and Colour
• Gradients & Gradient Mesh
• Layers and Grouping
TOOL BAR

• Line
• Shapes (Mirror images, combining Shapes, Tile Key Function)
• Pen tools and path editing
• Pencil tools
II • Eraser tool 8
• Drawing with Brushes
• Symbols Tools
• Transform tools
• Cutting tools
• Charts and Graphs
• Alignment and distribution
TYPE FORMATTING, FILTERS AND EFFECTS
III 8
• Working with Types
• Appearance and Styles

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 • Transparency and Masking
• Liquify, Enveloping and Meshes
• Filters
• Effects (3D space, 3D Effects and revolve)
• Blending
PRINTING, SAVING, AND EXPORTING

• Printing your Illustrator document

• Saving your Illustrator document
IV • Creating PDF files for clients and printers 8
• Exporting Illustrator files for use in Microsoft Office (excel)
• Exporting Illustrator files for use in Photoshop
• Exporting artwork for use on the web
• Exporting high-resolution raster files

Suggested Assignments
• Draw 3 front view, 3 side view, and 3 three-quarter view croquis
• Illustrate men and women in different costumes
• Draw the following pictures:
➢ Pocket variations
➢ Collar variations
➢ 2 styles of jackets
➢ 2 styles of skirts (pleats & gathers)
➢ 2 styles of pants
➢ 2 styles of tops (including t-shirts, sweater, woven shirts, etc).
Note: Hand in the reference pictures together.
• Select a jacket, skirt, pants and 2 top and fill colours to the flat drawings. Make two colour ways for each flat.
Include at least two patterns (flower, stripe, etc.) in the colour ways. The pattern colour must change for
different colour ways. Include at least one scanned fabric using masking technique.
• This is a capstone project, incorporating all the techniques and concepts discussed and executed throughout the
semester. Students will choose a target market, and conduct brief research on the selected market, ideate
design concepts, sketch by hand & CAD, and complete presentation boards. Students will be asked to decide
your own target market and design a line of clothes (at least 5 outfits). Hand in the boards and any electronic
files you make for the project on the CD. This project will be executed and presented in three parts:
➢ Concepts or Mood Page: The mood or theme of the collection by visually telling the story through
inspiration images, colour story, fabric swatches, etc.
➢ Illustrations: Sketches of designs in different poses.
➢ Technical Flat Sketches: A front and back flat view of each design in 3 colour ways, providing
technical information about the garments.
Note: 1. This must be completed using Adobe Illustrator and Photoshop.
2. As per the corporate needs it is required to teach the new and updated software such as Rhino
04/Lectra/Tuka CAD/AutoCAD
Guest Lectures

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 Fashion designer
Industry expert specialized in CAD / CAM

Textbooks
• CAD/CAM computer aided design and manufacture, Groover MP and E.W. Zinimmers, prentice hall, India
1984
• Computer aided design and manufacture, Bezant C.E, Ellis Horwood, England, 1983 John Ireland, Patrick,
Fashion Design Illustrator: men, B.T. Batsford, 1995
• John Ireland, Patrick, Fashion Design Illustrator: women, B.T. Batsford, 1995 John Ireland, Patrick,
Fashion Design Illustrator: children, B.T. Batsford, 1995
• John Ireland, Patrick, Fashion design drawing and presentation, B.T. Batsford, 1982 Aldrich, Winfred,
CAD in clothing and textiles, Blackwell science, 1994
• Abling, B., Fashion sketchbook, New York: Fairchild Publications, Inc., 2004 Abling, B., Advanced
fashion sketch book, Fairchild Fashion Group, 1990

Reference Material
• Groover MP and E.W.Zinimmers, CAD/CAM computer aided design and manufacture,
Prentice hall, India 1984.
• Bezant C.E, Computer aided design and manufacture, Ellis Horwood, England,1983 Taylor P,
Computers in fashion industry, Heinemann publications 1990.
• Buhanan and Graddy, Automation in the textile industry from fibers to apparels, The Textile Institute, UK
1995.
• Veinsinet DO, Computer aided drafting and design –concept and application, 1987.
Web Sources
• http://www.adobe.com/in/products/illustrator.html
• https://creative.adobe.com/products/illustrator
• http://www.adobe.com/mena_en/products/illustrator.html
• http://www.artlandia.com/products/SymmetryWorks/tutorials/Brushes_Northlite.pdf
• http://helpx.adobe.com/pdf/illustrator_reference.pdf

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 KFD353 ELEMENTARY PATTERN MAKING 0L:1T:3P 4 Credits
Objectives
• To impart comprehensive knowledge of patternmaking
• To introduce the various methods of patternmaking and types of paper patterns
• To impart knowledge on the importance of body measurements for obtaining a perfect fit in garments
• To extend knowledge of pattern development through the flat pattern method
• To acquaint with the principles of dart manipulation
• To enable the students to develop patterns and test fit the same on dress forms
Learning Outcomes
• Understand the relation of pattern to body measurements
• Skill of developing paper patterns of required style and fit
• Be able to adapt standard patterns to produce patterns of various styles of garments
• Be able to apply principles of dart manipulation and flat pattern making to create different styles
• Be able to analyze the design details and produce patterns which are an exact replica of the designs

Unit Topics Lectures

INTRODUCTION TO PATTERNMAKING: Patternmaking tools. Patternmaking terms.
Types of patterns. Balance line terms. Information to be mentioned on patterns. Different
I body types. Measuring techniques: Circumference, Vertical and horizontal measurements. 8
Individual measurements. Measurements from readymade garments. Size charts.

II DEVELOPMENT OF BASIC BLOCKS (Pattern development and test fit on muslin): 8

Adult bodice block. Adult sleeve block. Basic skirt. Torso.
DART MANIPULATION (Test fit on muslin of at least one design from each
III category): Single and two dart series by slash-spread and pivotal transfer technique. 8
Princess line foundation. Designing with darts: Dart clusters and dart equivalent; Graduated
and radiating darts; Asymmetrical dart; Intersecting dart; Dart converted into style lines.

IV ADAPTATION OF ADULT BASIC BLOCKS: Bodice block with yokes. Bodice block 8
with pleats. Skirt block: A-line, Flared, Gathered, Gored. Torso: One-piece princess line.

NOTE: Students are required to maintain a portfolio of the patterns developed in Units I, II and IV. Every pattern will
be supported by:

• Step by step process of pattern development

• Layout for cutting of pattern on fabric (miniatures of the original pattern) For unit
III the students are required to maintain a separate file which will include the miniatures of patterns
of various designs and their final construction on fabric.

Suggested Assignments

• Analysis of various designs (visuals provided by the faculty or from magazines, internet etc.) and
pattern development of the same.
• Keeping the paper patterns of skirts/bodices in mind create innovative designs with respect to selected

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 fabric swatch based on the knowledge gained during the course.
Suggested Visits

• Pattern developers at local tailoring shops and boutiques.

• Sampling department of any nearby garment manufacturing unit.

Textbooks

• Aldrich Winifred, Metric pattern cutting for women’s wear, 5th Edition, Blackwell publishing, 2008
• Armstrong H. J., Pattern Making for Fashion Design, Longman, 2003
• Shoben, M.M., Ward, J.P., Pattern cutting and Making up The Professional, Approach, CBS Publishers & Distributors
(P) Ltd., 1999
Reference Material
• Kopp E., et. al., How to Draft Basic Patterns – 3rd Edition, Fairchild Publications, 1988
• Liechty E.G., et al., Fitting & Pattern Alteration: A Multi Method Approach, Fairchild Publications, 1986
• Attualitá Leri, The 20th C. History of Fashion; Skirts & More Skirts, Zanfi Editori, 1989
Web Sources
• http://my.safaribooksonline.com/book/design/9782940439072/patterncutting/
• dart_manipulation#X2ludGVybmFsX0J2ZGVwRmxhc2hSZWFkZXI/eG1s
• aWQ9OTc4Mjk0MDQzOTA3Mi8zMQ==
• http://wps.prenhall.com/chet_armstrong_pattern_5/134/34385/8802714.cw/-
• /8802717/index.html
• http://www.scribd.com/doc/36932530/Pattern-Making-Instructions
• http://www.patterndraftingforfitandfashion.com/files/documents/PatternDraftingFor
• FitAndFashion_-_Chapter1.pdf
• http://opensourcestitches.wordpress.com/2010/07/14/pattern-drafting-101-draftingthe-
• basic-bodice-block/
• http://www.sew2pro.com/dart-manipulation/
• http://wps.prenhall.com/chet_armstrong_pattern_5/134/34385/8802714.cw/-
• /8802717/index.html
• http://www.scribd.com/doc/41980215/Lesson-2

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 KFD354 GARMENT CONSTRUCTION TECHNIQUES 0L:1T:3P 4 Credits
Objectives

• To understand the basic hand sewing techniques and various methods of garment construction
• To develop the skill of operating a sewing machine
• To understand the utility of seams, gathers, pleats, tucks, etc. as used in garments both for construction and
as design feature
Learning Outcomes
• Understand and appreciate different kinds of hand and machine stitches, seams and seam finishes
• Be able to demonstrate attachment of fasteners on garments
• Be able to stitch basic bodice with darts and check fitting of the same on the dress form
• Develop skill of incorporating design details by using tucks, pleats, gathers, etc. On the basic bodice
Unit Topic Lectures
INTRODUCTION TO TOOLS: Sewing machines. Various parts of a machines
and their functions. Threading the machine. Care & maintenance of sewing
I machine. Common machine defects and remedies. Sewing equipment’s- measuring 8
tools, marking tools, cutting tools, needles, pressing tools, etc.

HAND AND MACHINE STITCHES: Stitching Practices- Stitching practice on

paper (various geometric shapes like lines – straight and zig-zag, swirls – circular,
square and elliptical, concentric – circles, squares, ellipses and triangles,
checkerboard etc.); Stitching practice on fabric (designs same as done on paper).
Hand Stitches and their usage: Temporary stitches: even basting, uneven basting,
II diagonal basting, pin basting, slip basting, machine basting etc.; Permanent stitches:
8
running, back, hemming- visible & invisible, buttonhole, etc.; Decorative stitches-
stem, chain – open, cable and twisted, cross, satin, feather, wheat- ear, lazy daisy,
herringbone and blanket stitch and their variations, bullion knot, French knot, etc.
Fasteners and their usage: Button and button hole; Snap buttons; Hook and eye;
Velcro.
SEAMS AND SEAM FINISHING: Seams- Plain, French, run & fell, slot,
III lapped, bound seam, etc. Methods of seam finishing: Pinking, binding, turning
8
& machining, overcasting, interlocking, edge machining, etc.
DARTS, TUCKS, PLEATS AND GATHERS: Darts- single, double dart. Tucks-
IV space, pin, shell & cross tucks etc. Pleats- knife, box, inverted box, sunrays pleats
8
etc. Gathers- gathers and shirring – with and without elastic.
V PLACKETS AND THEIR VARIATIONS: Even hem. Wrap and projection.
Continuous wrap and projection. Kurta placket. 8
VI FINISHING OF NECKLINES: Shaped facing. Bias facing. Bias binding. 8

VII POCKETS: Patch pocket and its variations. Flap pocket and its variations. In-set 8
pocket and its variations. Bound pocket and its variations.

Suggested Assignments
• Develop samples on paper and fabric swatches of size 10 cm X 10 cm of machine stitching over different geometric
shapes (as mentioned in Unit – II)

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 • Develop samples of all temporary and permanent hand stitches on fabric swatches of 10 cm X 10 cm
• Develop samples of all decorative stitches on fabric swatches of 7” X 2”
• Develop samples of any three motifs using combination of at least three decorative stitches in each
• Collect samples of different types of fasteners under each category mentioned in Unit – II. Attach any five fasteners
on fabric swatches of 10 cm X 10 cm
• Develop samples of all seams and seam finishes on fabric swatches of appropriate sizes
• Develop samples of all types of darts, tucks, pleats and gathers on fabric swatches of appropriate sizes. Finish the
pleat and gather swatches with a band
• Develop fabric samples of various kinds of plackets (as mentioned in Unit-V)
• Collect designs of different necklines (at least twenty) from magazines/ photographs and finish (at least five) with
appropriate techniques of finishing
• Collect designs of different pockets (at least ten) from magazines/ photographs and make samples (at least five)
with appropriate techniques.
NOTE: All work done in the class to be submitted in the form of a portfolio with proper mounting and due
labelling
Suggested Visits
• Garment manufacturing unit
• Tailors shop to see the finishing etc.
Textbooks
• Crawford, C. A., A Guide to Fashion Sewing, Fairchild Publications, 2008
• Reader’s Digest Association, New Complete Guide to Sewing: Step by Step Techniques for Making Clothes and
Home Accessories, 2005
• Shoben, M. M. & Ward, J. P., Pattern Cutting and Making Up: The Professional Approach, CBS Publishers &
Distributers (P) Ltd., New Delhi, 1997 Reference Material
• Bane, A., Creative Clothing Construction, Mc Graw-Hill Book, 1966
• Carr H. &, Latham, B., The Technology of Clothing Manufacture, Blackwell Scientific Publication, 1984
• Clair, B. S., Couture Sewing Techniques
• Clair, B. S., The Complete Book of Sewing Short Cut, Sterling Publication, 1981
• Cooklin, A.G., Garment Technology for Fashion Designers, Black well Science, 1997
• Cooklin. G., Introduction to Clothing Manufacture, Blackwell Scientific Publication, 2000
• Eaton, J., The Encyclopedia of Sewing Techniques, Hamlyn Publishing, 1986
• Fischer, Construction, AVA Publication, 2009
• Liechty, E.G., D.N. Potterberg, and J.A. Rasband, Fitting and Pattern Alteration: A Multi- method approach,
Fairchild Publication, New York, 2010
• Singer Sewing, Creative Publication International, 1999
• Vilcox, Clair and Menes, Valerie, Modern fashion in detail, 1998
Web Sources
• http://pinterest.com/pin/259731103479446856/
• www.perestroika.ca/html2/vest/handstitching.php
• http://en.wikipedia.org/wiki/Sewing_machine
http://www.coletterie.com/tutorials-tips-tricks/tutorial-basic-hand-stitches

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 KFD355 DYEING AND PRINTING 0L:1T:2P 3 Credits
Objectives

• To familiarize with various classes of dyes and suitability of dyeing different fabrics with them
• To introduce various laboratory methods for determining the fastness properties of dyed material
• To introduce various techniques of surface enhancement through dyeing and printing
• To enhance the creative skills through innovative use of dyeing and printing techniques for
designing
Learning Outcomes

• Be able to understand and appreciate the compatibility of various dyes with specific fabrics
• Be aware of methods to check colour fastness of fabrics
• Be able to practice the techniques of tie-dyeing, batik, block and screen printing for surface ornamentation
• Have knowledge of traditional art of using these techniques to develop contemporary designs
• Be able to combine different techniques and create innovative designs

Unit Topics Lectures

INTRODUCTION TO DYEING TECHNIQUES: Dyeing of different
fabric types (cotton, wool and silk) with different classes of dyes (direct,
I reactive, naphthol, acid, Sulphur etc.). Development of shade cards of 8
different dye classes on different fabrics. Dyeing of different non-fabric
material: Fibers; Yarns; Laces; Zippers; Elastics; Plastic buttons etc.

EVALUATION OF COLOR FASTNESS: Sunlight, Rubbing / crocking,

II Wash fastness. 8

INTRODUCTION TO RESIST DYEING TECHNIQUES: Tie – Dye:

Marbling, ruching, knotting, fan-folding, tritik, clamping, circular binding,
spiral tying, shibori etc.; Traditional techniques – bandhej and leheriya from
III Rajasthan and bandhani from Gujarat etc. Batik: Exploration with different 8
proportions of bee’s wax and paraffin wax; Traditional techniques batik from
West Bengal, Indonesian batik, African batik etc. Product development.

INTRODUCTION TO PRINTING TECHNIQUES: Block printing -

IV buti, buta, bel, jaal, border. Screen printing. Stencil printing. Product 8
development.

Suggested Assignments
PROJECT – 1

• Maintain a file of swatches dyed with different dye classes and their shade cards.
• Also document the results obtained from the various color fastness tests on these dyed fabrics
• Develop swatches of the various tie-dyeing techniques
• Develop swatches of various batik techniques
• Develop swatches of different printing techniques
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 PROJECT – 2

• Use combination of tie-dye and batik techniques and taking inspiration from the traditional designs, adapt,
innovate and contemporaries to create a product - stole, dupatta, any apparel product, bag, cushion covers,
table linen, wall hanging etc. Get the product dyed from a local roadside dyer and document the process
• Use a combination of the printing techniques to develop any one product – t-shirt, skirt, wrap around, file
folders, cushion covers etc.
NOTE: The students are required to maintain a portfolio of the work done during the module and submit at the end
of the semester.

Suggested Visits

• Local roadside dyers

• Dyeing units
• Block printing units
• Screen printing units
• Pilkhuwa (U.P.) – for block and screen printing
• Jaipur (Rajasthan) – for tie-dye and block printing
• Dhamadka Village (Gujarat) – for Ajrakh printing
• Shanti niketan (West Bengal) – for batik
Reference Material

• Befler Nancy, Batik & Tie-Dye Techniques (3rd Edition), Dover Publications
• Kafka, Fracis J., Hand Decoration of Fabrics, Dover Publications, 1973
• Polak off, Claire, African textiles and dyeing techniques, Routledge & Kegan Paul Ltd., 1980
• Naik, Shailaja D. and Wilson, Jacquie, Surface Designing of Textile Fabric, New Age International, 2006
• Gale, Colin and Kaur, Jasbir, The Textile Book, Berg, 2002
• Allison, Sandy, Block Printing: Basic Techniques for Linoleum and Wood, Stackpole Books, 2011
• Thimou, Paul, Home Screen Printing Workshop: Do It Yourself Techniques, Design Ideas and Tips for
Graphic Prints, Quarry Books, 2006
Web Sources

• http://www.jenny-wren-crafts.co.uk/Crafts/tie-die.htm
• http://www.favecrafts.com/Tie-Dye/Swirl-Tie-Dye-Technique-from-Tulip
• en.wikipedia.org/wiki/Batik
• www.youtube.com/watch?v=A1fs0YZIwl8
• en.wikipedia.org/wiki/Wood block printing
• www.somashop.com/blockprinting.html
• en.wikipedia.org/wiki/Screen-printing
• https://en.wikipedia.org/wiki/Stencil

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 KFD356 MARKET SURVEY 0L:0T:2P 2 Credits
After the completion of the first year, individual students are expected to conduct a market survey during
the annual summer break. The survey has to be conducted as follows:
Unit Topics Lectures
DESIGN

Retail chain stores for both men’s and women’s apparel:

Sportswear/ casual wear: Brands – Reebok, Adidas, Nike, Puma etc.; Product
I categories – jeans, t-shirts, casual shirts, trousers, shorts. 8
Study the above in terms of design features, colours, fabrics, design composition,
embellishments, cost etc.

Indian wear- study in terms of styles, fabrics, colours, embellishments, cost etc.

FABRICS: Menswear, Womenswear, Kid swear. Sleepwear. Study the above in

II terms of composition, colour, design and cost 8

ACCESSORIES (Men and women): Bags – study in terms of material (leather,

fabric, straw, plastic etc.), colour, design / style, cost etc. Footwear – study in terms
of material (leather, fabric, straw, plastic etc.), colour, design / style, cost etc.

III Apart from the above market survey, the students are also required to observe 8
fashion in: Latest films Amongst youth - in colleges and university campuses
Public places like malls, fairs, exhibitions etc.

The students are required to maintain a field diary although the duration of the course, recording every detail and information
observed and experienced during the course of the survey. The collected information should be documented through visuals,
samples, comparative studies and analysis of the conducted survey.

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 KFD357 INTEGRATED DESIGN PROJECT-I 0L:1T:3P 4 CREDITS

During the first three semesters the students have been exposed to various fundamentals of design and have therefore
acquired the ability to integrate the learning to be able to conceptualize an idea and have the confidence to interpret
the same into a product based on their personal design philosophy. The students have received inputs through various
subjects like:

Unit Topics Lectures

Design Philosophy – Concept Development: Computer applications – I, II and III.
I Craft appreciation. Material studies – I and II. Elements of design. Fashion model
drawing. Communicating fashion. Design process. Dyeing and printing.

Skills Acquired: Basic drawing. Material studies – I and II. Computer

applications – I, II and III. Environmental Studies. Research skills for design.
Fashion model drawing. Textile analysis. Fundamentals of photography. Design
II process. Fashion illustration – I. 8

Patternmaking – I. Construction techniques. Dyeing and printing. Advanced

photography.

Knowledge Gained: Introduction to apparel and textile industry. Cultural studies.

Computer applications – I, II and III. Research skills for design. Environmental
studies. Textiles – I and II. History of art and art appreciation – Indian and Western.
III History of costumes – India and World. Introduction to fashion. Textile analysis.
8
Communicating fashion. Fundamentals of photography. Traditional Indian
textiles.

Product Development: Computer applications – I, II and III. Material studies – I

IV and II. Fashion model drawing. Design process. Fashion illustration – I. 8
Patternmaking –I. Construction techniques. Dyeing and printing

Based on all the above inputs received during Semesters – I, II and III, each student has to work on an Integrated
Design Project. Each student has to design and develop a womenswear ensemble (skirt and top, A-line dress etc.) based
on his or her design philosophy, for a well-

defined customer profile. The only limitation would be the use of cotton or c o t t o n -like

fabrics. Techniques of fabric development (weaving, macramé, crochet etc.) and / or fabric enhancement (dyeing and
printing) have to be used to create an exclusive style. The student also needs to accessorize the ensemble
to achieve a complete look.

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 BFAD 2nd Year
IV Semester
Syllabus

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 KFD401 TEXTILES-III 3L:0T:0P 3 CREDITS
Objectives

• To familiarize with the various types of natural and synthetic fabrics with reference to their structure,
handling and apparel design
• To understand the potential and limitations of various fabrics from a fashion designer’s perspective
• To provide knowledge about non-textile materials with reference to their properties and end use for
apparel
• To identify the application of various trims, fasteners, facing, interfacings, linings, interlinings, closures
and elastics etc.
• To learn about the fundamental properties of technical and smart textiles and their applications for apparel
Learning Outcomes
• Be able to identify various fabrics within the categories of natural and synthetic ibers
• Become aware of fabric sources in local, national and international markets
• Understand the suitability of fabrics for different styles, age groups and uses
• Be able to identify and understand the usage of non-textile material along with textiles
• Awareness about the cost factor specially when working for export of competitively priced garments
• Understand the applicability of technical and smart textiles in everyday life
Unit Topics Lectures
MARKET SOURCING: Introduction to sourcing. Sourcing – local/national:
I Handloom / Khadi; Powerloom; Millmade. Sourcing – international. 08

TYPES OF FABRICS, HANDLING AND USAGE (With reference to finishes /

textures / colours / performance / durability): Cotton – buckram, cambric, canvas,
cheesecloth, muslin, seersucker, poplin, organdy, voile, denim (heavy, medium and
light weight) etc. Wool & wool blends – gabardine, suitings, tweeds, flannel,
houndsthooth etc. Silk – crepe, plisse, ottoman, silk jacquard, shot silk, charmeuse
II silk, noile, dupion silk, chanderi silk, tussar, eri, muga, matka silk, organza etc. 08
Viscose – chiffon, georgette, net lace, shantung, glass nylon,satin, taffeta etc.
Polyester – chiffon, georgette, art silk etc. Pile fabrics (cotton and synthetic) velvet,
velveteen, corduroy etc. Double jersey knit – knits, lycra etc. Non- woven fabrics –
suede, napa, rexine etc. Fake fabrics. Embroidered fabrics. Heat-set fabrics. Foil
printed fabrics.

NON-TEXTILE MATERIAL (Types and usage): Leather. Fur. Feather. Skins of

III 08
hairless species (eg. snakes, crocodiles etc.).

GARMENT TRIMMIMGS (Types and usage): Facings, interfacings. Linings.

IV Interlinings Trims and laces. Closures – zippers, buttons, hooks, buckles, rivets 08
etc. Elastics etc.

TECHNICAL AND SMART TEXTILES (Overview and usage): Protech

V (Protective textiles). Clothtech (Clothing Textiles). Geotech (Geo-textiles). 08
Hometech (Domestic Textiles). Oekotech or Ecotech (Environmentally friendly

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 textiles). Packtech (Packaging textiles). Sporttech (Sports textiles). Medical textiles.
Smart textiles.

FABRIC INNOVATIONS FOR DESIGNERS: Heat setting. Printing and painting

VI in small quantities. Surface development. Novelty yarn usage. Weave development.

Suggested Assignments
• Conduct a market survey and collect various fabric swatches of same colour but different fiber
content/fabric categories/designs/texture etc. and catalogue the same.
• Analyze the sourced fabric swatches (any ten) on the basis of: Fiber content; Yarn count; Weave/knit
analysis; Fabric detail (light, medium, heavy weight); Cost etc.
• Review atleast four research articles on any new fiber or fabric (technical or smart textiles) introduced in
the market/industry and make a presentation on the same.
Suggested Visits

• Local market
• Boutiques
• Old city market
• Tailors’ shop
• Mill showrooms (Raymond, Bombay dyeing, OCM, etc.)
Textbooks
• Kadolph, Sara J., Textiles (10th Edition), Dorling Kindersley (India) Pvt. Ltd., 2009
• Clarke, Sarah E. Braddock, Techno Textiles – 2, Thames & Hudson, 2007
• Quilleriet, Anne-Laure, The Leather Book, Assouline Publications, 2004
• Khatwani, P.A., Technical Textiles, NCUTE, 2002
• Aldrich, Winifred, Fabric, Form and Flat Pattern Cutting, Blackwell Science Inc., 1996
Reference Materials
• Textile View
• Clothing & Textile Research Journal
• Textiles Reports
• Textile International
Web Sources
• http://blog.oregonlive.com/homesandgardens/2009/06/cotton_fabric_types.html
• http://info.fabrics.net/fabric-facts/glossary-of-cotton-fabrics-and-weaves/
• http://en.wikipedia.org/wiki/Leather
• http://en.wikipedia.org/wiki/Fur
• http://en.wikipedia.org/wiki/Technical_textile
• http://en.wikipedia.org/wiki/E-textiles

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 KFD402 CONTEMPORARY ART APPRECIATION 2L:1T:0P 3 Credit
Objectives

• To understand contemporary art practices

• To understand contemporary practices at the backdrop of past art practice
• To appreciate experimentation of contemporary artists with a variety of materials to make their art works
• To understand the influence of political, social and economic situations of a country on art practices in a
specific time period
• To understand how the technical development and modernization influenced artists and their artworks
from time to time
Learning Outcomes

• Understand that art is the product of the culture that produces it

• Be able to appreciate art by learning how to observe and analyze different works of art
• Be able to judge their own art works
• Understand the relation between art and life
• Be able to develop a sense of creativity

Unit Topics Lectures

ART STYLES OF FORTIES & FIFTIES: Abstract Expressionism. Action
I Painting. 08

ART STYLES OF SIXTIES & SEVENTIES: Pop Art. Op Art. Kinetic Art.
II Minimal Art. Photorealism. Conceptual Art. 08

ART STYLES OF EIGHTIES & NINETIES: Abstraction. Neo- expressionism.

III Performance. Environmental Art. Installation and Combination. 08

ART FROM NINTEENTH CENTURY ONWARDS: Kalighat Paintings. Raja

IV Ravi Verma. Bengal School Renaissance. Progressive Artists Group. Calcutta / 08
Madras Schools.

V INDEPENDENT DEVELOPMENTS IN CONTEMPORARY INDIAN ART 08

Suggested Assignments

• Study expressionism and action painting and collect visuals of it and submit with their write-up
• Make an illustrated presentation with suitable examples of different styles of the late 20th century Western
contemporary art and present in a form of portfolio
• Develop some designs of your own inspired by Pop art and present in a portfolio
• Collect various materials such as newspaper or magazine cuttings, any waste materials, etc. and make a
presentation on installation and combination and present in a 3-D form
• Make an illustrated presentation on Bengal School art and submit in a form of portfolio
• Study the Kalighat paintings in detail and submit a portfolio with illustrations and write-up
• Write an assignment on progressive artists group naming at least five artists and their works. Collect visuals
of their work and submit with the write-up
• Write an assignment on the works of Indian Masters like Abnindarnath Tagore, Rabindranath Tagore, Nandalal

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 Bose, Ramkinkar Baij and Jamini Roy. Collect visuals of their work and submit with the write-up

Suggested Visits

• Libraries
• Museums and Galleries
• National Gallery of Modern art, Delhi

Textbooks

• Smith, E. L., Art Today: From Abstract Expressionism to Superrealism, Phaidon,1983

• Faulkner, R. N., Art Today: An Introduction to the Fine and Functional Arts, Holt, Rinehart and Winston, 1963
• Read, H., Art Now: An Introduction to the Theory of Modern Painting and Sculpture, Faber, 1968.
• Parimoo, R. & Sarkar, S., Historical Development of Contemporary Indian Art- 1880- 1947, Lalitkala Academy,
2009
• Khanna, B. & Kurtha, A., Art of Modern India, Thames and Hudson, 1998
• Archer, M., Art Since 1960, Thames & Hudson, 1997
Reference Materials

• Stangos, N., Concept of Modern Art, Thames &Hudson, 1995

• Subramanian, K.G., Moving Focus, Lalitkala Academy, 2006
• Hillier, B., Austerity Binge: The Decorative Arts of the Forties and Fifties, Studio Vista, 1975
• Mark Getlein, Living With Art, Amazon, 2009
• Dalmia, Y., Contemporary Indian Art: Other Realities, Marg Publication, 2002
• Dalmia, Y., Making of Modern Indian Art: The Progressives, Oxford Univ., Press, 2001
• Kurtha, A. and Souza, F. N., Bridging Western and Indian Modern art, Mapin Publication Pvt. Ltd.,
2006
Web Sources

• http://en.wikipedia.org/wiki/Contemporary_art
• http://en.wikipedia.org/wiki/Abstract_expressionism
• http://en.wikipedia.org/wiki/Action_painting
• http://www.britannica.com/EBchecked/topic/4477/Action-painting
• http://en.wikipedia.org/wiki/Pop_art
• http://en.wikipedia.org/wiki/Op_art
• https://en.wikipedia.org/wiki/Minimalism
• http://understandingminimalism.com/introduction-to-minimal-art/
• https://en.wikipedia.org/wiki/Abstract_art
• http://en.wikipedia.org/wiki/Neo-expressionism
• http://en.wikipedia.org/wiki/Performance_art
• https://en.wikipedia.org/wiki/Installation_art
• http://www.medicinemangallery.com/gallery/Contemporary
• http://www.artflute.com/
• http://www.artinvestgallery.com/artistlist.aspx

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 • http://www.chennaigallery.com/gallery.aspx
• http://parsareport.blogspot.in/2012/05/kalighta-paintings-confusing.html
• http://en.wikipedia.org/wiki/Raja_Ravi_Varma
• http://www.britannica.com/EBchecked/topic/129596/Company-school
• http://www.ngmaindia.gov.in/sh-company-period.asp
• http://en.wikipedia.org/wiki/Bengal_School_of_Art
• http://www.indianetzone.com/50/painters_bengal.htm
• http://en.wikipedia.org/wiki/Bombay_Progressive_Artists%27_Group
• http://www.artnewsnviews.com/view-article.php?article=progressive-artists- groupof-bombay-an-
overview&iid=29&articleid=800
• http://en.wikipedia.org/wiki/Modern_Indian_painting

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 KFD403 CONTEMPORARY FASHION STUDIES 2L:1T:0P 3 Credit
Objectives

• To understand the growth of the fashion industry in more recent times

• To understand the historical factors affecting fashion trends across the world
• To understand the current developments in the fashion industry and the factors and people that influence
these
• To understand the Indian dress in the modern context
• To familiarize with the famous designers and fashion icons of the 20th and 21st Century
Learning Outcomes

• Understand the growth of fashion industry post World War – II

• Become aware of the historical factors affecting fashion and lifestyles of various regions of the world
• Be able to appreciate various fashion movements and lifestyle choices affecting fashion trends in the
20th Century
• Understand the use of fashion as a tool for communication
• Understand fashion as a socio-cultural phenomenon.
• Get an insight into the more recent developments in the field of global fashion and fashion trends.
• Understand the traditional and global styles and trade influences over the modern Indian dressing and costume
designs
Unit Topics Lectures
INTRODUCTION TO CONTEMPORARY FASHION: Concept. Period.
Historical background – international developments in Eastern and Western Europe,
I The Middle East and Asia, The Soviet Union, The United States. Influences on the 08
fashion trends.

IMPORTANT FEATURES – TWENTIETH CENTURY: Fashion Movements –

II punks, hippies, minimalists, grunge, gothic, heavy metal. Prominent designers. 08
Fashion icons.

THE PRESENT SCENARIO: Fashion for creative and artistic expression. Fashion
III for functional requirements. Fashion and technology. Fashion for social and 08
environmental consciousness.

FASHION PROMOTERS IN THE TWENTY FIRST CENTURY: Famous

IV designers and brands. Fashion icons. Fashion going global. Films. 08

UNIVERSALIZATION OF FASHION: Influence of travel, lifestyle, media etc.

V Influence of tradition on contemporary emerging styles. Influx of western influence 08
against the backdrop of globalization. Role of the export industry.

Suggested Assignments
• Make a group presentation (two students) on the historical fashion trends of any one region mentioned in
Unit-I.
• Make a group presentation (three students) on any one of the fashion movements mentioned in Unit-II.

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 • Make an individual presentation on the works of any one prominent designer/ fashion icon of the 20th
Century / 21st Century.
• Make an individual presentation on any one Indian designer who is working towards the universalization
of fashion (Manish Arora, Ritu Kumar etc.)
Reference Material
• Tortora, Phyllis G. and Eubank, Keith, Survey of Historic Costumes – Fifth Edition, Fairchild Books, New
York, 2010
• Fringes G.S., Fashion from Costumes to Consumer, 4th Edition, Prentice Hall Career & Technology, 1994
• Barnard, Malcolm, Fashion As Communication, Routledge, 1996
• Shoeffler, O.E., and Gale, William, Encyclopedia of Twentieth Century Men’s Fashion, McGraw Hillbook Co.,
1973
• Tolkien, Tracy, Vintage : The Art of Dressign Up, Pavilion Books Ltd., 2000
• Clancy, Deirdre, Costume Since 1945 – Couture, Street Style and Anti-Fashion, Herbert Press, 1996
• Weinstein, Dina, Heavy Metal : The Music and Its Culture, Da Capo Press, 2000
• Tom Inns (ed.), Designing For The 21st Century : Interdisciplinary Methods And Findings, Ashgate Publishing
Company, 2010
Web Sources
• en.wikipedia.org/wiki/Punk_fashion
• en.wikipedia.org/wiki/Hippie http://www.styleandminimalism.com/
• en.wikipedia.org/wiki/Grunge http://fashiongrunge.com/
• en.wikipedia.org/wiki/Gothic_fashion
• http://gothfashion.tumblr.com/
• http://en.wikipedia.org/wiki/Heavy_metal_fashion
• http://www.taschen.com/pages/en/catalogue/fashion/all/44917/facts.100_contemporar
y_fashion_designers.html
• http://fashionhistory.zeesonlinespace.net/c21st.html
• http://www.hercampus.com/school/ufl/fashion-icons-21st-century-0

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 KFD404 Fashion and Sustainability 3L:0T:0P 3 Credit
Sustainable fashion is a fast-growing trend and this is an exciting time for brands and retailers. However, if not
carefully managed, sustainability can become just a trend without a real benefit in terms of reducing the environmental
impact of the fashion industry. This module looks at many ways in which you can learn and look towards fashion
design from the view of sustainability.
Objectives

• Learning the systems and management practices needed to foster truly sustainable fashion brands.
• Explore the possibilities of sustainable and ethical practices in fashion through the way we design,
produce and consume clothes.
• Discussing the impact, we have through our choices and look at values and quality in contemporary
fashion items.
• Overview of the considerations to be made in the current scenario for professionals and fashion start-
ups alike.
Learning Outcomes

• Developing a thorough understanding of sustainability and responsible sourcing in the fashion

industry.
• Developing a good understanding of sustainable design inspirations.
• Gaining a developed understanding of the issue of sustainability in relation to the fashion industry
• Exploring if sustainability can create a competitive advantage for a brand.
• Investigating how sustainability issues are being communicated to the public
• Understanding consumer attitudes towards sustainability and how this can impact a fashion brand
Unit Topics Lectures
Fashion and sustainability in the changing world:

• The impact of textile and fashion industry on the environment

• Current and emerging alternatives, design approaches and business strategies
relevant to the environment.
I • Discussing the complex nature of sustainability through Fashion, Business, 08
Design and Communication
• Developing innovative approaches to fashion that can contribute to ecological
resilience.
• Considering how fashion and sustainability relate to different roles in the
industry.
Introduction to sustainable fashion for professionals and brands :

• Introduction to Fast Fashion

• Materials
II • Labour conditions 08
• Transparency and challenges
• Waste in production
• Product life cycles

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 • Business models

Communicating sustainability in fashion

• Introduction to global sustainability challenges and fashion sustainability.

• Circular economy and sharing economy
• Business structures and business models
III • What sustainability issues are being covered, using what channels? 08
• Marketing communications: tools and challenges
• Greenwashing and Green hushing
• CSR marketing and how it effects brands in crisis situations.
• Changing consumer demand
Recent trends in sustainability

• Sustainability initiatives and developments that are currently available for our use
• Consumer sustainability attributes
• Sustainable fibres and finishes/treatments
• Environmental sustainability
IV • Social sustainability 08
• Chemical compliance
• Animal friendly attributes
• Contribution to the community
• Sustainability trends: examples from some brands/retailers and their
sustainability initiatives
Sustainable fashion sourcing

• Naturally sustainable fibres

• Sustainable and responsibly sourced options for Cotton and other natural fibres,
Polyester and other synthetic fibres, Viscose and other manmade fibres.
• More about sustainable cotton: key cotton certifications, standards and sources.
(ex: BCI, Organic cotton, Faire trade etc.)
V • More about recycled polyester and saving our oceans! 08
• What we should know about sustainability standards, certifications and the
verification processes when claiming sustainability attributes on our products.
• Sustainable design inspirations
• Minimising waste
• Reduced chemical impact
• Promoting reusability and longevity.

Reference Material
• Tyler little in “the future of fashion: understanding sustainability in the fashion industry” (2018)
• Tara button in “a life less throwaway: the lost art of buying for life” (2018)
• Magdalena schaffrin and ellen köhrer in “fashion made fair: modern- innovative- sustainable” (2016)
• Safia minney in “slow fashion. Aesthetics meets ethics” (2016)
• Michael lavergne in ” fixing fashion” (2015)
• Timo rissanen and holly mcquillan in “zero waste fashion design” (2015)

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 • Alison gwilt: a practical guide to sustainable fashion”(2014)
• Lucy siegle in “we are what we wear: unravelling fast fashion and the collapse of rana plaza” (2014)
• Kate fletcher in “sustainable fashion and textiles. Design journeys” (2014)
• Sass brown in “refashioned. Cutting-edge clothing from upcycled materials” (2013)
• Safia minney in “naked fashion: the new sustainable fashion revolution” (2012)

Web Sources
Unit 1

https://currentboutique.com/blogs/cravingcurrent/how-sustainable-fashion-is-changing-the-world

https://www.genevaenvironmentnetwork.org/resources/updates/sustainable-fashion/

https://www.futurelearn.com/info/courses/sustainable-fashion-ecologies/0/steps/259976

Unit 2

https://corporatefinanceinstitute.com/resources/knowledge/other/fast-
fashion/#:~:text=Fast%20fashion%20is%20an%20expression,technique%20creates%20a%20competitive%20adva
ntage&text=Fast%20fashion%20produces%20cheaper%20clothing,trends%20that%20are%20constantly%20chang
ing.

https://www.fibre2fashion.com/industry-article/8586/six-organic-fabrics-every-sustainable-fashion-designer-
should-use

https://goodonyou.eco/transparency-fashion-industry/

https://doodlage.in/blogs/journal/how-much-does-garment-industry-actually-
waste#:~:text=The%20fashion%20industry%20is%20one,wasteful%20industries%20in%20the%20world.&text=Ho
w%20much%20waste%20does%20the,could%20be%20reused%20or%20recycled.

https://style2designer.com/apparel/history/aspect-design/what-is-fashion-life-
cycle/#:~:text=Every%20fashionflows%20in%20five%20stages,Out%2Dof%2Dfashion%20stage.&text=This%20stag
e%20defines%20how%20long,ten%20years%20for%20some%20products.

Unit 3

http://www.theideatree.ca/the-difference-between-the-sharing-economy-and-the-circular-economy/

https://www.businessnewsdaily.com/10946-greenwashing.html

https://www.investopedia.com/ask/answers/042215/why-social-responsibility-important-
marketing.asp#:~:text=Social%20responsibility%20in%20marketing%20involves,via%20beneficial%20services%20
and%20products.

https://www.mckinsey.com/industries/retail/our-insights/survey-consumer-sentiment-on-sustainability-in-
fashion

Unit 4

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 https://www.fibre2fashion.com/industry-article/8442/top-5-sustainability-trends-for-apparel-and-fashion-
industry#:~:text=Recycling%20and%20Upcycling%3A&text=As%20consumers%20are%20becoming%20more,is%2
0the%20newest%20of%20trends.&text=Recycling%20can%20reduce%20the%20consumption,before%20recyclin
g%20is%20even%20better.

https://hej-support.org/the-sustainability-of-fashion-what-role-can-consumers-play/

https://textilevaluechain.in/in-depth-analysis/articles/textile-articles/eco-friendly-textile-finishes-finishes-for-
well-being/

https://en.wikipedia.org/wiki/Sustainability

Unit 5

https://www.frontiersin.org/articles/10.3389/fmats.2019.00226/full

https://www.commonobjective.co/article/cotton-and-sustainable-cotton-key-world-commodity

https://www.sustainyourstyle.org/en/recycled-
polyester2#:~:text=Recycled%20polyester%2C%20often%20called%20rPet,and%20generates%20fewer%20CO2%
20emissions.&text=It%20also%20still%20releases%20plastic%20microfibers.

https://www.hisour.com/sustainability-standards-and-certification-
40436/#:~:text=Normally%20sustainability%20standards%20are%20accompanied,in%20a%20consumer%2Dfacin
g%20label.

https://motif.org/news/top-sustainable-fashion-designers/

https://calpirg.org/blogs/blog/cap/what-fashion-five-ways-reduce-fashion-industry%E2%80%99s-overstock-waste

https://www.transparency-one.com/regulating-reducing-chemicals-fashion-industry/

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 KFD451 FASHION ILLUSTRATION-II 1L:3T:0P 2 Credits
Objectives

• To develop understanding and visualization for theme-based illustration for both figures and garments
• To understand designing through illustration
• To design and illustrate garments on fashion figures based on various themes, lifestyles and
occasions
•To enhance student’s ability to transfer his or her ideas into visual form
Learning Outcomes

• Be able to develop visual language and creativity

• Understand theme-based illustration of garments
• Be able to differentiate between the clothing requirements for different occasions, lifestyles and seasons
• Be able to differentiate between the look of garments for teenagers and adult men and women
• Be able to design and illustrate fashion clothing on fashion figures

Unit Topics Lectures

THEME BASED IIIUSTRATION OF GARMENTS: Illustration of Garments
will be done on fashion figures: Lifestyle - urban, rural, tribal, hippy, retro etc.
I Seasons - winter, summer, rainy, spring etc. Occasions –wedding, formal 8
meeting, party, holiday etc.

DESIGNING FOR TEENAGERS: Clothing and accessories: Casual

II wear. Sportswear. Beachwear. Nightwear. Party wear. 8

III DESIGNING FOR ADULTS - MEN: Clothing and accessories: Casual wear. 8
Executive wear. Sportswear. Beachwear. Nightwear. Bridal wear. Party wear.
DESIGNING FOR ADULTS – WOMEN: Clothing and accessories: Casual wear.
Executive wear. Sportswear. Beachwear. Nightwear. Bridal wear. Party wear.
IV 8

Suggested Assignments
PROJECT-1
• Draw five rendered illustrations of garments on fashion figures based on each of the sub- categories of
following themes:
Lifestyle
Seasons
Occasions
PROJECT-2
• Design and illustrate at least ten garments on fashion figures along with the suitable accessories for
adult-men based on the following categories (two each):
Casual wear
Sportswear

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 Beachwear
Nightwear
Party wear
PROJECT-3
• Design and illustrate at least ten garments on fashion figures along with the suitable accessories for adult
men based on the following categories (two each):
Casual wear
Executive wear Sportswear
Beachwear
Nightwear
Bridal wear
Party wear
PROJECT-4
• Design and illustrate at least ten garments on fashion figures along with the suitable accessories for adult women
based on the following categories (two each):
Casual wear
Executive wear Sportswear
Beachwear
Nightwear
Bridal Wear
Party wear

NOTE: All work to be presented in a portfolio with proper mounting and due labelling

Suggested Visits
\endash
Design Studios
Textbooks
• Wesen, M., Fashion Drawing, Pearson Prentice Hall, 2011
• Abling, B.,Fashion Sketchbook , Fairchild Publications, 2004
• Mckelvy, K., Fashion Source book, Fairchild Books, 2012
• Seaman, J., Professional Fashion Illustration, B. T. Batsford, 1995
• Ellinwood, Janice. G., Fashion by Design, Fairchild Books, 2011
• Tahmasebi, S., Figure Poses for Fashion Illustrator, Fairchild Books, 2011
• Donovan, B., Advanced Fashion Drawing, Laurence King Publishers, 2010
Reference Material
• 1. Jones, S. J., Fashion Design, Laurence King Publishing, 2005
• Laver, J., Costumre and Fashion, Thames & Hudson, Limited, 2012
• Kyoto Shoin, Ethical U.S.A. (World textile collection), Kyoto Shoin International Co. Ltd.
• Shoin, K., World textile collection 6, Abstract Pattern, Kyoto Shoin International Co. Ltd., 1992
• Aicher, J. B., Evenson, S. L. & Lutz, H. A., The visible self, Fairchild Publications, 2008
• Braddock, SE and Mahony, MO, Techno Textiles, Thames & Hudson, Limited, 2006
• Peacock, J., Costume (1066 to present), Thames & Hudson, Limited, 2006
Web Sources
• www.en.wikipedia.org/wiki/Fashion_illustration
• www.hongiat.com/blog/showcase-of-beautiful-fashion-illustrations
• www.sketchesfashion.com
• www.fashionsketches.blogspot.com
• www.thepurplecarpet.webs.com
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 KFD452 PATTERN MAKING-II 0L:1T:3P 2 Credits
Objectives
• To introduce in detail the various components of garments and their pattern development
• To develop collar, sleeve and skirt variations from basic adult blocks
• To impart an in-depth knowledge of analysis in patternmaking
• To enable the students to analyse, understand and incorporate design details in upper and lower garments
Learning Outcomes
• Skills to develop patterns of collars, sleeves and skirts
• Ability to modify and adapt the patterns of collars, sleeves and skirts to various garment styles and
design
• Be able to develop combinations of different designs
• Be able to understand patterns for tailored garments (women)
• Be able to understand the layout of patterns pieces on fabrics with minimum consumption during
construction

Unit Topics Lectures

I INTRODUCTION TO GARMENT COMPONENTS (Types and terms): Collars. Necklines. 8

Lapels. Sleeves. Cuffs
COLLARS (Pattern development and test fit on muslin): Peter Pan. Mandarin. Shirt. Sailor.
II Shawl. Polo neck etc. 8

SLEEVES (Pattern development and test fit on muslin): Puff. Cap. Petal. Shirt maker.
III Lantern. Cowl. Bishop. Kimono. Raglan. Drop shoulder. Sleeve with gusset etc. 8

SKIRTS (Pattern development): Tiered. Peplum. Peg. Handkerchief (4-pointed hem). Pleated
IV (with yoke) – knife, box, inverted. Built up waist and built down waist. 8

TAILORED GARMENTS (WOMEN) (Pattern development and test fit on muslin):

V Jacket and its variations. Trouser and its variations. 8

NOTE: Students are required to maintain a portfolio of the patterns developed in all the units.
Every pattern will be supported by

•
Step by step process of pattern development
•
Layout for cutting of pattern on fabric (miniatures of the original pattern)
Suggested Assignments
The whole class can be divided into groups of four to five students and the groups can work on the
following:
• Sketch and collect pictures of various types of collars. Identify them and their usage for different age groups.
Also trace out the deviation through paper pattern in their styles from the basic block.
• Sketch and collect pictures of various types of sleeves. Identify them and their usage for different age groups.
Also trace out the deviation through paper pattern in their styles from the basic sleeve block.

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 • Sketch and collect pictures of various types of skirts. Identify them and their usage for different age groups.
Also trace out the deviation through paper pattern in their styles from the basic skirt block.
• Analysis of different types of cuffs and sleeve opening and development of the pattern
• Create innovative designs on paper patterns of cuffs/ collars/sleeves/skirts based on the knowledge gained
during the course
Suggested Visits

• Sampling department of any nearby garment manufacturing unit

• Pattern developers at local tailoring shops and boutiques
Textbooks

• Aldrich Winifred, Metric pattern cutting for women’s wear, 5th Edition, Blackwell publishing, 2008
• Armstrong H. J., Pattern Making for Fashion Design, Longman, 2003
• Shoben, M.M., Ward, J.P., Pattern cutting and Making up The Professional, Approach, CBS Publishers &
Distributors (P) Ltd., 1999
Reference Material

• Kopp E., et. al., How to Draft Basic Patterns – 3rd Edition, Fairchild Publications, 1988
• Liechty E.G., et al., Fitting & Pattern Alteration: A Multi Method Approach, Fairchild Publications, 1986
• Attualitá Leri, The 20th C. History of Fashion; Skirts & More Skirts, Zanfi Editori, 1989
Web Sources

• http://my.safaribooksonline.com/book/design/9782940439072/patterncutting/dart_ma
nipulation#X2ludGVybmFsX0J2ZGVwRmxhc2hSZWFkZXI/eG1s
• aWQ9OTc4Mjk0MDQzOTA3Mi8zMQ==
• http://wps.prenhall.com/chet_armstrong_pattern_5/134/34385/8802714.cw/-
/8802717/index.html

• http://houseofjo.wordpress.com/2012/02/04/pattern-drafting-mandarin-polo-collar/
• http://www.craftstylish.com/item/7864/create-a-custom-sleeve-pattern/page/all
• http://my.safaribooksonline.com/book/design/9782940439072/patterncutting/collars?r
o eader=pf&readerfullscreen=&readerleftmenu=1

• http://www.ca.uky.edu/hes/fcs/factshts/ct-lmh.185.pdf

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 KFD453 ADVANCED GARMENT CONSTRUCTION 0L:1T:3P 2 Credits

Objectives

• To impart skill of finishing different components of a garment

• To impart the construction techniques for various women’s wear garments
• To understand calculation of material required for constructing women’s wear
• To develop skill of handling various fabrics for garment construction
• To learn cutting and stitching of womenswear garments
Learning Outcomes

• Be able to design and construct garments for womenswear

• Be able to calculate fabric material required for construction of garments
• Be able to stitch, finish and check fit of the stitched garments and make necessary changes
Unit Topics Lectures
COMPONENTS OF GARMENTS: Cuffs- shirt cuffs, cuffs with cut construction,
I frilled cuffs. Zipper- lapped, centred, concealed 6

COLLARS (Construction and finishing of collars): Mandarin; Peter pan; Shirt;

II Shawl; Sailors; Polo neck; Coat/ jacket. 10

SLEEVES (Construction and finishing of sleeves: Plain): Puff; Flared; Petal; Shirt
III makers; Kimono; Raglan; Lantern; Cowl; Sleeve with gusset etc. 8

SKIRTS (Construction and finishing of skirts): Fitted. Flared. Circular. Gored. Wrap
IV skirt. Pleated (with yoke) – knife, box, inverted. Tiered. Peplum. Handkerchief (4 8
pointed hem).

TAILORED GARMENTS (WOMEN) (Construction and finishing of

V 8
garments): Trouser. Jacket.
Suggested Assignments

• Develop samples in half scale for different types of skirts, collars, pockets, sleeves and cuffs. Present the
constructed samples in a portfolio (file)
• Market survey of women’s wear stores to study styles in vogue with details of features in fabric
Suggested Visits

• Garment manufacturing unit specializing in women’s wear.

• Boutiques
• Women’s wear stores
Textbooks

• Aldrich, Winifred, Pattern Cutting for Women’s Tailored Jackets, Classic and Contemporary,
Blackwell Publishing Company, New Delhi, 2010
• Claire & Shaffer, Couture Sewing Techniques, Taunton Press, 1993
• Cooklin, A.G., Pattern Cutting for Women’s Outerwear, Oxford University Press, New Delhi, 2005

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 • Crawford, C. A., A Guide to Fashion Sewing, Fairchild Publications, 2008
• Reader’s Digest Association, New Complete Guide to Sewing: Step by Step Techniques for
Making Clothes and Home Accessories, 2005
• Shoben, M. M. & Ward, J. P., Pattern Cutting and Making Up: The Professional Approach, CBS
Publishers & Distributers (P) Ltd., New Delhi, 1997
• Winifred A., Metric Pattern Cutting for Women’s Wear, Malden M A, 2008
Reference Material

•Cooklin, A.G., Garment Technology For Fashion Designers, Black well Science,1997
•Cooklin. G., Introduction to Clothing Manufacture, Blackwell Scientific Publication, 2000
•Crawford, C. A., A Guide to Fashion Sewing, Fairchild Publications, 2008
•Fischer, Construction, AVA Publication, 2009
•Liechty, E.G., D.N. Potterberg, and J.A. Rasband, Fitting and Pattern Alteration; A Muti-method
approach, Fairchild Publication, New York, 2010
• Singer Sewing, Creative Publication International, 1999
Web Sources

• http://pinterest.com/pin/259731103479446856/
• www.perestroika.ca/html2/vest/handstitching.php
• http://en.wikipedia.org/wiki/Sewing_machine
• http://www.coletterie.com/tutorials-tips-tricks/tutorial-basic-hand-stitches
• http://www.burdastyle.com/techniques/constructing-the-basic-bodiceblockhttp://
• www.amazon.com/Couture-Sewing-Techniques-Claire Shaeffer/dp/B0047GNCYO#reader_B0047GNCYO

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 KFD454 FABRIC ORNAMENTATION-I 0L:0T:3P 2 Credits

Objectives

• To develop skills of surface adornment on textile material

• To familiarizes with various techniques of surface decoration and ornamentation
• To appreciate the traditional embroideries of different states of India – their traditional usage and
contemporarisation in the modern context
• To make aware of the latest developments in the methods of surface embellishment

Learning Outcomes

• Become aware of and understand handcrafting techniques, materials and processes.

• Understand the scope for design intervention and innovation in using these techniques for creative and
contemporary product development.
• Be able to develop skills to enhance the aesthetic value of any fabric through ornamentation
• Enhance the creative skills in developing new designs based on the traditional design repertoire
• Be aware of the new developments in technology and processes of fabric ornamentation

Unit Topics Lectures

INTRODUCTION TO EMBROIDERY: Definition of embroidery. Types of
I embroidery –hand and machine. Tools and equipment. Tracing tools and 8
techniques.
HAND EMBROIDERY: Basic stitches – running and variations, back, double
running, chain and variations, blanket, herringbone, cross, stem, couching, satin,
II French knots, bullion stitch etc. Specialty embroideries – black work, hardanger, 8
needlepoint, drawn thread etc. Mirror work, sequin work, bead work etc.
Appliqué and patch work. Quilting. Smocking. Lace work crochet, macramé.
TRADITIONAL INDIAN EMBROIDERIES: Kantha, phulkari, kasuti,
III kashida, banjara, patti ka kaam, zardozi etc. – traditional usage. Innovative 8
product development through contemporarisation.

IV MACHINE EMBROIDERY 8

Suggested Assignments

PROJECT - 1

• Prepare a catalogue of swatches of all the learnt embroidery stitches with proper mounting and due
labelling
• Prepare a portfolio of creative explorations in motif development using motifs from different traditional

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 embroidery techniques
• Market survey and cataloguing (through photographs, sketches, fabric swatches etc.) of various types of
fabric ornamentations (at least five) available in the local market
PROJECT - 2

• Design a fashion apparel / accessory / home furnishing product. Use contemporary adaptation of any one of
the traditional Indian embroideries on the product for ornamentation

NOTE: All assignments are to be done by individual students. The students will have to prepare a portfolio of all
work done during the course and submit at the end of the semester.
Suggested Visits

• Craft exhibitions
• Craft bazaars
• Local craft centers
• Machine embroidery unit
• Local markets

Reference Material

• Lawther, Gail, Inspirational Ideas for Embroidery, Search Press Ltd., 1993
• Kamaladevi Chattopadhyay, Indian Embroidery, Wiley Eastern, 1977
• Usha Shrikant, Ethnic Embroidery Of India, Sole Distributers, Design Point, 1998
• Barbara Snook, The Creative Art of Embroidery, London, Numbly Publishing Group
• Judy Brittain, Step-by-step Needlecraft of Encyclopedia, Dorling Kindersley Publishers Ltd.,
Revised Edition, 1995
• Christine Risley, Creative Embroidery, Watson-Guptill, 1969
• Jennifer Campbell and Ann-Marie Bakewell, Complete Guide to Embroidery
• Stitches: Photographs, Diagrams and Instructions for Over 260 Stitches, Reader’s Digest, Readers
Digest, 2006
Web Sources

• http://en.wikipedia.org/wiki/Embroidery
• http://www.berlinembroiderydesigns.com/
• http://www.needlecrafter.com/articles/art01_00.html
• http://www.berlinembroidery.com/prickandpounce.htm
• http://www.marthastewart.com
• www.embroiderersguild.com

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 KFD455 INTRODUCTION TO DRAPING 0L:1T:3P 2 Credits

Objectives

• To introduce the art of draping

• To acquaint with the basic principles of draping
• To develop the skill and ability to design and develop patterns for different garments based on body
measurements and adaptations
• To interpret and transform the given design into a draped garment
• To enable students to create their designs on a three-dimensional form using draping method

Learning Outcomes

• Be able to convert flat fabric into a garment using the principles of draping
• Be able to understand the sense of proportions and placement of style lines
• Be able to understand and analyze proper fit
• Be able to appreciate the importance of the grain of the fabric in relation to design
• Be able to translate a design into a finished garment

Unit Topics Lectures

INTRODUCTION TO DRAPING: Basic draping tools. Draping terminology.
I Landmarks on a dress form. Preparation of fabric for draping. Draping principles 8

BASIC PATTERNS: Basic two dart bodice – front and back. One dart bodice.
II Basic sleeve. Basic skirt- front and back. 8

BODICE VARIATIONS: Dart manipulation- conversion of darts into gathers,

III 8
tucks and pleats. Princess bodice and its variations. Bodice with yoke.
VARIATION OF COLLARS: Mandarin. Convertible – shirt collar. Peter pan.
IV Shawl. Notched collar. 8

V VARIATION OF YOKES: Shoulder. Midriff. Hip. 8

VARIATION OF SKIRTS: A-line skirt. Flared skirt. Circular skirt. Pleated skirt-
VI knife and box pleats. Skirt with yoke. 8

Suggested Assignments

• Select any design and see the drape obtained by using different cotton fabrics (for example stripes,
checks, colour etc)
• Innovative draping with different types of non-textile material (newspaper, foils, non-woven etc
Suggested Visits

• Sampling section of garment manufacturing unit

• Studio of a local designer
Textbooks

1. Amaden Conie, The Art of Draping, Fairchild, 1994

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 2. Bray Natalie, Dress Fitting, Om Book Services, 1999
3. Annette Fischer, Construction, AVA Publication, 2009
4. Jaffe Hilde, Draping for Fashion Design, Prentice Hall Inc.,1993

Reference Material

1. Fischer, Construction, AVA Publication, 2009

2. Shoben, M. M. and Ward, J. P., Pattern Cutting and Making Up- The Professional Approach, CBS
Publishers & Distributors, New Delhi, 1987
3. Cooklin, A.G., Garment Technology For Fashion Designers, Black well Science,1997
4. Crawford, C. A., A Guide to Fashion Sewing, Fairchild Publications, 2008
5. Singer Sewing, Creative Publication International, 1999
6. Cooklin. G., Introduction to Clothing Manufacture, Blackwell Scientific Publication, 2000
7. Liechty, E.G., D.N. Potterberg, and J.A. Rasband, Fitting and Pattern Alteration; A Muti-method
approach, Fairchild Publication, New York, 2010
Web Sources

1. http://www.scribd.com/doc/8000105/Draping
2. http://www.scribd.com/doc/32332885/Art-of-Fashion-Draping
3. http://cactusfashion.wordpress.com/2009/07/18/principles-of-draping- for balancedpatterns/
4. http://fashionbook.forza6.com/catalogo/categoria_033.html
5. http://sewchicago.wordpress.com/2010/09/19/draped-to-fit/

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 KFD456 FABRIC STUDIES 0L:0T:2P 1 Credits

Objectives
• To understand the sewing behaviour of various fabrics
• To learn the finishing techniques for garments viz a viz the physical properties of fabrics
• To acquire knowledge of various types of seams, seam finishes and hem finishes etc. viz a viz their
suitability for different fabrics
• To understand the suitability of different fabric closures and their application for various fabrics
• To learn the causes of sewing defects and their rectification
Learning Outcomes
• Be able to handle different types of fabrics
• Understand the finishing techniques in a garment with regard to the physical properties of the
fabrics
• Be able to apply appropriate seam and hem finishes in various types of fabrics and garment components
• Acquire the skill of producing finished seams
• Be able to identify different types of sewing defects and their possible solutions

Unit Topics Lectures

HAND STITCHES: Padding stitch – to attach interfacing to the outer fabric.

Slip basting- for matching of plaids, checks, strips and large prints. Heavy duty
basting- for joining different sections of heavy garment such as denim,
gabardine, tweeds, flannel, hounds’ tooth etc.
I 8
Faggoting stitch- for joining two fabric sections with a space in between. French
tack- for linking two separate garment sections. Hem stitch- for linens
and handkerchiefs

SEAMS: Cornered - corner finishing of light weight fabrics such chiffon,

georgette, shantung etc., medium weight fabrics such as seersucker, poplin,
tussar silk etc. and heavy weight fabrics such as suede, corduroy etc. Bias bound-
for unlined garments. Hong Kong- for heavy fabrics. Net bound- for fabrics such
as velvet or chiffon etc. Flat felled – for sports and children’s wear. French- for
sheer fabrics. Self-bound- for light fabrics. Hair line- for collars, cuffs and
II 8
facings in sheer fabrics. Zigzag- for fur and fake fur fabrics. Double stitched
seam- for very textured sheers such as heavy lace, also for knits- tricot and jersey
etc. Over lock stitch- for knits. Lapped- for eliminating bulk especially on
interfacing and interlining. Corded- for fabrics used in apparel and home
furnishings. Seaming pile fabrics- fabrics of short pile and long pile. Joining
unlike fabrics- such as knits to woven, pile to smooth, etc. etc.

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 HEMS: Turned up hems. Uncovered hem edges: Turned and stitched edge
(suitable for light weight fabrics); Stitched and pinked edge (suitable for fabrics
that fray little or not at all); Stitched and overcast edge (suitable for medium -
heavy to heavy weight fabrics that fray); Zigzagged edge (suitable for knits).
Covered hem edges: Seam binding (for fabrics that fray); Bias tape (for garments
III with a flared shape); Hong Kong finish (suitable for heavy or bulky fabrics). 8
Double-stitched hem- for very heavy fabrics. Fusing a hem with fusible web (a
sheer nonwoven material that melts). Stiffened hemlines- suitable for velvet and
satin fabrics. Faced hems (for garments with minimal flare). Enclosing a hem
edge with binding. Mitering: Mitering turned-up hems; Mitering a flat trim;
Mitering a bias facing; Mitering bindings.

SEWING DEFECTS: Skip or slipped stitches. Staggered stitches.

IV 8
Unbalanced seams. Variable stitch density. Thread breakage. Puckering, etc.

WORKING WITH TRIMS AND FASTNERS: Application of different trims

V and fasteners on different fabrics. Application of laces. Hook and eye. Snap 8
fastener. Button and button hole. Button loops. Shank buttons, etc.

Suggested Assignments
• Develop fabric samples of various types of hand stitches (as mentioned in Unit –I) using appropriate fabric
for each stitch (minimum two types of fabric samples for each stitch).
• Develop fabric samples of different types of seams and seam finishes (as mentioned in Unit-II) using suitable
fabric for each seam (minimum two types of fabric samples for each seam).
• Develop samples of different types of hems using appropriate finishing techniques on suitable fabrics
(minimum two samples from each category given in Unit- III).
• Finish samples of different types of fabrics using appropriate techniques of mitering (as mentioned in Unit
III).
• Observe and document sewing defects in garments and suggest solutions for each defect.
• Develop samples of different types of fasteners and trims on various types of fabrics (minimum two types
of fabric samples for each fastener and trim).
NOTE: All assignments to be submitted in the form of a portfolio. All swatches should be properly mounted and
labelled.
Suggested Visits
• Market
• Boutiques
• Old city market
• Tailors’ shop
Textbooks

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 1. Carr H. &, Latham, B., The Technology of Clothing Manufacture, Blackwell Scientific
Publication, 1984
2. Crawford, C. A., A Guide to Fashion Sewing, Fairchild Publications, 2008
3. Reader’s Digest Association, New Complete Guide to Sewing: Step by Step Techniques for
Making Clothes and Home Accessories, 2005
4. Shoben, M. M. & Ward, J. P., Pattern Cutting and Making Up: The Professional Approach, CBS
Publishers & Distributers (P) Ltd., New Delhi, 1997
Reference Material
1. Clair, B. S., The Complete Book of Sewing Short Cut, Sterling Publication, 1981
2. Cooklin, A.G., Garment Technology For Fashion Designers, Black well Science, 1997
3. Cooklin. G., Introduction to Clothing Manufacture, Blackwell Scientific Publication, 2000
4. Eaton, J., The Encyclopedia of Sewing Techniques, Hamlyn Publishing, 1986
5. Raoul Jewel, Encyclopedia of Dress Making, APH Publishing Corporation, 2000
6. Shaeffer, G., Fabric Sewing Guide, Krause Publications, 2008
7. Singer Sewing, Creative Publication International, 1999
8. Kadolph, Sara J., Textiles (10th Edition), Dorling Kindersley (India) Pvt. Ltd.,
2009
Web Sources
1. http://www.simplicity.com/t-teaching-tools-seam-basics.aspx
2. http://www.threadsmagazine.com/item/3702/seam-finishes-for-silks
3. http://gorgeousfabrics.com/blog/2010/10/22/tips-and-tricks-for-sewing-with-
knitsrevisited/
4. http://www.threadsmagazine.com/item/4584/a-primer-on-sewing-knits
5. http://www.afashionablestitch.com/2011/sewing/self-finished-seams-pt-ii/

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 KFD457 INTEGRATED DESIGN PROJECT-II 0L: 1T: 3P 2 Credits
Having learnt some more and gained proficiency in earlier skills, the students have also been given more advanced
and specific inputs on:

Unit Topics Lectures

Design Philosophy –Concept Development: Fabric ornamentation.
I 8
Introduction to draping.

Skills Acquired: Fashion illustration – II. Fabric studies. Patternmaking – II.

II 8
Garment construction – I. Fabric ornamentation. Introduction to draping.

Knowledge Gained: Textiles – III (Fabric research and sourcing).

III Contemporary art appreciation. Contemporary fashion studies. Fabric 8

studies. Introduction to draping.

Product Development: Fabric studies. Garment construction – I.

IV Fashion illustration – I. Patternmaking –II. Introduction to draping. 8

Based on all the above inputs received during all the four semesters, two students are required to work together
to conceptualize and develop a mini collection of four garments with each one developing two garments. The
collection must be targeted towards a particular lifestyle customer. Some elements of traditional textiles, history
of Indian and world costumes as well as fabric ornamentation is to be applied depending upon the customer
profile, style and occasion. The students are also required to accessorize the collection to achieve a complete
look.

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KFD – 501: QUALITY CONTROL IN GARMENTS
Objectives
To familiarize students about the importance of quality in today’s world in general and apparel industry in
specific and its relevance to apparel production and merchandising
To get well versed with the various methods of ensuring the quality of the final product
To understand and classify various inspection processes To understand
different care label systems
To develop an understanding of the importance of eco labels

Learning Outcomes
Understand the importance of quality in various processes and departments of garment
manufacturing units
Learn the importance and types of quality control Become
aware of customer perception of quality Get well versed with
the quality control tools
Understand the concept and importance of care labels Become aware
of eco labels

COURSE CONTENT

UNIT- I INTRODUCTION TO QUALITY CONTROL

Concept of quality & quality control

Importance & type of quality control Total

Quality Management
Target markets
Product attributes
Quality costs
Consumer satisfaction- customer perception of quality

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 Quality and consumer safety
QUALITY CONTROL ORGANIZATIONS, STANDARDS AND REGULATIONS
UNIT- II Importance of quality testing & analysis
National and International organizations involved in textile testing AATCC, ASTM,
ISO, BIS, INDA, GINETEX, etc.
Regulations on Apparel Labelling, Eco-labels, silk mark, wool mark, care labels, other
international labels
Regulations on Apparel Safety
Need for ISO 9000 and other quality systems, ISO 9000-2000 quality system

ASSURANCE OF QUALITY IN FABRICS

Quality control instruments
UNIT- III Compactness of fabric structure
Strength properties- tensile, bursting and tear strength
Colour fastness to washing, dry cleaning, light, perspiration, crocking and
hot pressing
Dimensional stability
Performance properties- resistance to abrasion, pilling, wrinkling,
flammability
Quality parameters for fabrics suitable for various end uses-apparel, household textiles,
industrial textiles.
QUALITY CONTROL IN APPAREL
Quality of design- style, utility and durability
UNIT- IV Raw material inspection- fabric (four point system and ten point system), linings,
interlinings, sewing threads, zippers, buttons, trims, etc.
In-process inspection- partially finished components of garments Final inspection-
completely finished garments in relation to some standards, specifications or
requirements, size measurement, etc.

MANAGING QUALITY
Tools for managing quality
Evaluating Garment quality
UNIT- V Critical control points

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 Components of garments
Suggested Assignments
Assignment 1: Study of a textile manufacturing or processing unit with respect to quality control
methods practiced by either a textile or an apparel industry. OR
Write a report on the market survey of eco-friendly materials, processing techniques and packaging material
for different apparel brands (evaluate at least five brands)

Assignment 2: Collect different types of care labels and eco-labels. Prepare a portfolio
analysing and interpreting each of the labels collected.
Suggested Visits
Textile research organization
Garment manufacturing unit
Textile manufacturing / Processing unit
Guest Lectures
Industrial experts from research centre or textile testing laboratory
Textbooks
Anita, A. Stamper, Sue Humphries Sharp, Linda B, Donnel, Evaluating Apparel Quality, Fairchild
Publications, 1988
Brown, P. & Rice, J., Ready-to-wear Apparel Analysis, Prentice Hall, Inc., New Jersey, 2001
Kadolph, S. J., Quality Assurance for Textiles and Apparel, Fairchild Publications
Mehta, P, An Introduction to Quality Control for Apparel Industries, ASQC-Quality Press Mared Dekker,
Inc.
Mehta, P. V. and Bharadwaj, S. K., Managing Quality in the Apparel Industry, New Age International (P)
Limited, Publishers,1998
Stamper, A. A. & Linda B. D., Evaluating Apparel Quality, 2nd edition., 2005.
Reference Material
Chavan, R. B. & Sen, K., Eco Friendly Apparel and Analytical Techniques for Assessing Eco
Standards, an article published in proceedings of workshop on Quality Control for Textiles and Apparel
Industries, organized by the Department of Textile Technology, IIT, 3-5 October, 1996, pg. 6.1-6.9
Chopra, K., Quality Apparel- A Challenge, an article published in proceedings of workshop on Quality
Control for Textiles and Apparel Industries, organized by the Department of Textile Technology, IIT, 3-5
October, 1996, pg. 7.1-7.9
Consumers see little change in product quality, Quality Progress, Dec. 1988, ASQC/Gallup Survey
ISDS study material (Textile Committee, Ministry of Textiles)
Juran, J.M, Gryana, F. M., and Bingham, R. S., Quality Control Handbook, 4th ed., McGraw-Hill New
York, 1988
Sarkar, D., Handbook of Total Quality Management, Infinity Books, New Delhi, 2000.
Saville, B. P., Physical Testing of Textiles, Textile Institute, 2000.
Shaikh, I. A., Pocket Textile-Testing and Quality, Textile Info Society, Pakistan,

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Web Sources
http://www.fibre2fashion.com/industry-article/8/800/quality-systems-for-garment- manufacture1.asp
http://www.acginspection.com/Standard_4.html
http://www.indiantextilejournal.com/articles/FAdetails.asp?id=4664
www.fabricinspection.com. http://www.scribd.com/doc/22893611/Inspection
www.acginspection.com/Standard_4.html
www.asiathai.com/images/fabric_inspection1.jpg
www.textilesindepth.com/index.php?page=fabric-selection-inspection
http://www.statsoft.com/textbook/quality-control-charts/
http://asq.org/learn-about-quality/seven-basic-quality-tools/overview/overview.html
http://www.isixsigma.com/methodology/total-quality-management-tqm/eight- elements-tqm/
http://www.aatcc.org/technical/test_methods/scopes/tm158.cfm
http://www.astm.org/Standards/D2061.htm
http://textilelearner.blogspot.in/2012/02/determination-of-fabric-crease- recovery.html
http://www.scribd.com/doc/73185924/Color-Fastness-to-Washing
http://www.manufacturingsolutionscenter.org/colorfastness-to-laundering- testing.html
http://www.indiantextilejournal.com/articles/FAdetails.asp?id=3927
http://www.astm.org/Standards/D204.htm http://www.fibre2fashion.com/industry-article/textile-
industry-articles/quality- assessment-of-sewing-threads/quality-assessment-of-sewing-threads1.asp

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 KFD – 502: PRODUCTION TECHNIQUES

Objectives
To provide a comprehensive overview of the production process of garment manufacturing
To understand the technique of mass production of ready-to-wear apparel and evaluation of their quality
To develop the understanding of relationship of cost to quality of readymade garments
To understand the preparation required for mass production of garments
To understand the various assembly line options in garment manufacturing units
Learning Outcomes
Become aware of the industrial process of mass production of clothing Understand the
importance of researcher, designer and merchandiser in the production of ready-to-wear garments
Understand the need of production planning for optimum utilization of resources and be able to appreciate
its relationship to cost reduction and increase of profit margin in the apparel production units
Be able to understand how quality and cost of production are balanced
Become aware of preparatory steps, production processes and post production operations of the
apparel industry

COURSE CONTENT

UNIT I: GARMENT INDUSTRY

Overview of the garment industry

Main sectors of the garment industry

UNIT II: PRODUCTION PLANNING

Evaluation of the previous line and trend analysis
Design, sourcing and costing
UNIT III: PRE-PRODUCTION
Fabric testing and approval Garment
specifications Approval of colour and
shades
Care label and other label approval Making
preproduction garments Making production
patterns Grading
Marker making- Marker planning and production, requirements of marker planning,
methods of marker making

UNIT IV: PRODUCTION

Spreading- requirements of spreading, methods of spreading, nature of fabric packages
Cutting – objectives, methods of cutting, cutting systems
Preparation of cut work for the sewing room- bundling, ticketing Fusing-
advantages, requirements and methods of fusing Assembly (sewing) of production
garment - progressive bundle

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 system, unit production system, modular manufacturing, flexible manufacturing
Sewing-stitch types, seam types, types of sewing needles, types of sewing threads

UNIT V: POST PRODUCTION

Wet processing- garment softening, colour removal, colour addition, wrinkle
prevention, etc.
Pressing- purpose of pressing, pressing equipment and method Garment finishing-
adding finishing details, trimming, inspecting, repairing and rework of any defects,
pressing, folding and packing

Suggested Assignments
Assignment 1: Case study of a garment manufacturing unit.
Assignment 2: Take any 5 ready-to-wear garments from your wardrobe. Compare and contrast the
following in selected garments-
o fabric and fabric structure
o type of stitches
o embellishment
o price
o label
o garment details
Assignment 3: Prepare a marker plan of a men’s shirt for a plain solid colour fabric. Utilize fabric optimally
with least fabric wastage.
Assignment 4: Prepare a marker plan of a ladies top for a unidirectional fabric. Utilize fabric optimally
with least fabric wastage.
Suggested Visits
Garment manufacturing units Garment
trade fairs
Retail outlets

Guest Lectures
Industrial expert from garment manufacturing units
Educational Tour
Panipat Ludhiana
Okhla, Delhi and Noida
Textbooks
• Carr, H., Latham, B., The Technology of Clothing Manufacture, 2nd Edition, Blackwell Science
Publication
• Cooklin, G., Introduction to Clothing Manufacture, Blackwell Scientific Publication
• Cooklin, G., Garment Technology for Fashion Designer, Blackwell Publishing, 2008.
• Brown , P. & Rice, J., Ready-to-wear Apparel Analysis, Prentice Hall, Inc., New Jersey, 2001.

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Reference Material
Hayes, S., McLoughlin J., and Fairclough, D., Cooklin’s Garment Technologyfor Fashion Designers,
2nd Edition, Wiley India Pvt Ltd. 2012
Tate, S.L. and Edwards, M.S, The Complete Book of Fashion Design, New York, Harper & Row
Publication, 1982.
Fringes G. S., Fashion from Concept to Consumer, 6th edition, Prentice Hall, New Jersey, 1994.
Web Sources
http://articles.textileclass.com/process-flow-chart-of-garments-manufacturing/
http://textilelearner.blogspot.in/2012/02/process-flow-chart-of-garments.html
http://en.wikipedia.org/wiki/Fashion_forecasting
http://wiki.answers.com/Q/What_is_fashion_forecasting
http://www.onlineclothingstudy.com/2011/01/apparel-manufacturing- overview.html
http://www.wisegeek.com/what-does-a-sample-machinist-do.htm

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KFD – 551: FASHION ILLUSTRATION-III

Objectives
To develop the ability to work on designs through various stages from preparation of basic
designs to a complete look with all the garment details etc. To understand the brief and look of the
envisaged design
To learn to communicate design ideas in a format to be understood by the production team
To understand the 2D and 3D rendering of embellishments like embroidery, beadwork, zardozi,
etc.
To learn to develop flat sketches with correct measurements
To learn to read, interpret and prepare design sheets for manufacturing To learn to create
promotional material for the designs
to display the understanding of the design process through mood board, colour board, fabric
board, range plan sketches and specification drawings for production or industry
Learning Outcomes
To be able to understand and convey the look of the garment and style features to the production
team
To be able to create the variations / options in overall design
To be able to provide options in terms of colour combinations and colourways To be able to render
different fabric features like prints, woven textures and embellishments both 2D and 3D in the
sketches
To be able to highlight the garment details
To be able to prepare flat sketches of the garments for effective use for product development
COURSE CONTENT

The course includes extensive research in terms of historical development, design evolution, relation between
original fabrics, trims and manufacturing processes and contemporary availability of the same. This has to be
done for each of the following units. Based on the research a range of garments (a collection) has to be developed.
A lot of exploration is expected out of which a range of 7 to 8 garments will be finalized. The collection should
include garments for both men and women. The students are required to illustrate their 7-8 garments with proper
rendering. For each collection a document has to be produced. Starting from initial doodling to finalization of
designs, development of flat sketches along with the embroidery and motif details for the production.
UNIT I - FORMAL WORKWEAR
UNIT II - ACTIVEWEAR
UNIT III - FESTIVE INDIAN WEAR
UNIT IV - DENIMWEAR
UNIT V – CASUALWEAR
UNIT – VI - WESTERN FORMALWEAR
UNIT VII - BRIDALWEAR
Note: The art work and photographs have to be preserved and digitized for compilation towards the development of the
Art Portfolio (Semester VIII).

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Textbooks
Wesen, M., Fashion Drawing, Pearson Prentice Hall, 2011 Abling, B.,Fashion
Sketchbook , Fairchild Publications, 2004 Mckelvy, K., Fashion Source book ,
Fairchild Books, 2012 Seaman, J., Professional Fashion Illustration, B. T. Batsford,
1995 Ellinwood, Janice. G., Fashion by Design, Fairchild Books, 2011
Tahmasebi, S., Figure Poses for Fashion Illustrator, Fairchild Books, 2011
Donovan, B., Advanced Fashion Drawing, Laurence King Publishers, 2010
Reference Material
Jones, S. J., Fashion Design, Laurence King Publishing, 2005 Laver, J., Costumre and
Fashion, Thames & Hudson, Limited, 2012
Kyoto Shoin, Ethical U.S.A. (World textile collection), Kyoto Shoin International Co. Ltd.
Shoin, K., World textile collection 6, Abstract Pattern, Kyoto Shoin International Co. Ltd., 1992
Aicher, J. B., Evenson, S. L. & Lutz, H. A., The visible self, Fairchild Publications, 2008
Braddock, S. E. and Mahony, M. O., Techno Textiles, Thames & Hudson, Limited, 2006
Peacock, J., Costume (1066 to present), Thames & Hudson, Limited, 2006
Web Sources

http://www.dummies.com/how-to/content/a-womans-guide-to-businessformal- dress.html
http://www.pinterest.com/nyusternccwp/women-s-business-formal/ www.activewearusa.com
www.lightactivewear.com
www.peakperformance.com http://en.wikipedia.org/wiki/Casual
www.utsavfashion.com/fashion/indian-festival-outfits.htm
en.wikipedia.org/wiki/Denim
www.sonascouture.com www.greatindianwedding.com

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 KFD – 552: PATTERNMAKING AND CONSTRUCTION OF KIDSWEAR AND MENSWEAR

Objectives
To develop different variations in design from basic patterns
To enable them to make patterns for all kind of designs for kids wear and menswear
To enable the students to analyse, understand and incorporate design details in upper and lower
garments for kids and men
To enable them to construct and finish the garments
Learning Outcomes
Skills to develop patterns for various designs for kids wear and menswear Be able to incorporate
different design features
Be able to understand the most economic layout of pattern pieces on fabric Be able to construct
and finish these garments

COURSE CONTENT

UNIT-I KIDSWEAR AND MENSWEAR – measurement method, standard body measurement

and basic blocks
Measurement methods
Standard body measurements
Basic blocks for kids Infants (0-
2 years age) Toddlers (2-6
years age)
Preteens (6-12 years age) - boys and girls
both Basic block for men

Front and back bodice Sleeve

Trouser block

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 UNIT-II KIDSWEAR – INFANTS (0-2 year age)
Pattern development Snow suit
with hood Romper
Construction of any one infants garment
KIDSWEAR- TODDLERS (2-6 year age)
UNIT-III Pattern development for boys garments
- T-shirt with raglan sleeve
- Jeans
Pattern development for girls garments
- Frocks- frock with yoke and petals sleeve, frock with shoulder
string, Pinafore / sleeveless dress with shoulder knot, etc. (any one)
- Skirts- tiered, divided skirt, cascade, etc. (any one)
- Hot pants
Construction of any one garment either for boys or girls
KIDSWEAR- PRETEENS (6-12 year age)
UNIT-IV Pattern development for boys garments
- Knee length pants
- Jacket
Pattern development for girls garments
- Empire line dress with flare
Construction of any one garment either for boys or girls
MENSWEAR- UPPER GARMENT
UNIT-VI
Shirt- formal and casual Coat
with lapel
Construction of any one upper garment
MENSWEAR - LOWER GARMENT
UNIT-VII
Trouser Jeans
Construction of any one lower garment

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Suggested Assignments
Prepare a catalogue of swatches of various types of fabrics suitable for kids and menswear
Market survey of kids wear and menswear stores to study styles in vogue with details of features in
fabric
Suggested Visits
Designer’s studio
Local tailoring shops and boutiques
Garment manufacturing units specialized in kids wear and menswear Retail shops
specialized in kids wear and menswear

Guest Lectures
Fashion designer specialized in kids wear and menswear
Industry expert from garment manufacturing units specialized in kids wear and menswear
Textbooks
Aldrich, W., Metric Pattern Cutting for Children’s Wear and Babywear, Third edition, Blackwell
Publishing, Om Books International, Delhi, 2007
Aldrich, W., Metric Pattern Cutting for Menswear, Fifth Edition, Wiley India Pvt. Ltd., Delhi, 2011
Aldrich, W., Metric Pattern Cutting for Menswear, Fourth Edition, Blackwell Publishing, Om Books
International, Delhi, 2007
Annette Fischer, Construction, AVA Publication, 2009
Armstrong H. J., Pattern Making for Fashion Design, Fourth Edition, Doorling Kindersley India,
2011
Bergh, R., Kids’ Clothes Sew Easy, New Holland Publishers, UK, 2003 Bray Natalie, Dress
Fitting, Om Book Services, 1999
Khan, A. P., Men’s Wear Pattern Making, Pankaj Publication International, Delhi, 2007
Reference Material
Armstrong H. J., Draping for Apparel Design, Fairchild Publications, Inc., New York, 2008
Bane, A., Creative Clothing Construction, Mc Graw-Hill Book, 1966
Carr H., & Latham B. , The Technology of Clothing Manufacture, 2nd edition, Blackwell Sc., 1994
Clair, B. S., The Complete Book of Sewing Short Cut, Sterling Publication, 1981 Crawford, C. A., A Guide to
Fashion Sewing, Fairchild Publications, 2008
Ireland, P. J., Fashion Design Illustration for Children, Cambridge University Press, 1979
Ireland, P. J., Fashion Design Illustration for men, M/s Om Book International, 1979
Knowles, Lori A., Practical Guide to Patternmaking for Fashion Designers: Menswear,
Bloomsbury Academic, 07-Sep-2005
Kopp E., et. al., How to Draft Basic Patterns – 3rd Edition, Fairchild Publications, 1988
Reader’s Digest Association, New Complete Guide to Sewing: Step by Step Techniques for Making
Clothes and Home Accessories, 2005
Shoben, M. M. and Ward, J. P., Pattern Cutting and Making Up- The Professional Approach, CBS
Publishers & Distributors, New Delhi, 1987

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KFD – 553: DESIGN AND DEVELOPMENT OF KIDSWEAR
Objectives
To familiarize with the growing kids, wear market, with special reference to local, national &
international brands
To understand different categories of kids wear
To conduct a market survey viz a viz contemporary design in terms of style details, colours, fabrics,
trims, sizes and price
To understand the usage of appropriate textile materials for the development of kids wear
To understand design details and special features for kids of different age groups To acquire
construction and finishing techniques for kids wear
Learning Outcomes
Be able to understand the socio-economic-cultural factors that contribute to the expansion of the
kids wear market
Be able to co-relate textile properties like fabric construction, texture and design with garment design
Be able to design and adapt according to market requirements and latest trends Be able to draft patterns
and incorporate appropriate construction and finishing techniques
COURSE CONTENT
AIM
To create a range of garments after thoroughly understanding the market and the needs ofcustomers. It should
be a mini collection of four or five complete outfits based upon a theme developed and researched by the
group. The outfits should be well supported by suitable accessories.
BRIEF
The objective is to explore and develop a range of kids wear based on the following:
Research on trends in the past and present scenario, textile materials, embellishments, construction and
finishing details etc.
Selection of a theme which inspires or excites Preparation
of a story board
Initial design explorations Final
Illustrations
Formulation of specification sheet
Development of paper patterns
Development of toiles in muslin
Sourcing of materials required (fabrics, trimmings and accessories) Construction and
finishing of garments
Accessorizing the collection
Presentation of the group collection to ajury
METHODOLOGY
The class will be divided into groups of four or five students. They will interact and support each other in
the investigative research in the market, library and the forecast. At the end a common theme should emerge.
The group will next create a colour palette and story board based on the theme that should comprise of
visual references and a fabric story.
Each individual student develops a number of design sketches for garments around the theme

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 Individual design sketches and ideas must be developed ensuring that silhouettes and design details are
suitable for kids wear. Also ensure that while designing separates, equal attention is given to tops and
bottoms. Also designing for both boys and girls must be attempted.
The range must consist of a number of garments which can be put together to form a mini collection of
four to five outfits.
All garments must be illustrated as accurate working/specification sheets.
A complete labelled paper pattern for the same needs to be developed with all instructions and symbols
etc. mentioned
The toiles for each group member’s final garment should also be developed
Each student in a group is expected to make one final finished garment.
The group will also create a brand name and a logo for their group’s collection. They will also design
an individual font for their designer label.
During the final presentation to the jury the complete outfit (prepared by all the group members)
should be displayed along with the suitable accessories.
Suggested categories
Formalwear
Party wear
Playwear
Holiday / resort wear
Sleepwear
School wear
Outerwear
Note: The art work and photographs have to be preserved and digitized for compilation towards the
development of the Art Portfolio (Semester VIII).
Textbooks
Aldrich, W., Metric Pattern Cutting for Children’s Wear and Babywear, Third edition, Blackwell
Publishing, Om Books International, Delhi, 2007
Annette Fischer, Construction, AVA Publication, 2009
Armstrong H. J., Pattern Making for Fashion Design, Fourth Edition, Doorling Kindersley India,
2011
Bergh, R., Kids’ Clothes Sew Easy, New Holland Publishers, UK, 2003
Bray Natalie, Dress Fitting, Om Book Services, 1999
Reference Material
Armstrong H. J., Draping for Apparel Design, Fairchild Publications, Inc., New York, 2008
Bane, A., Creative Clothing Construction, Mc Graw-Hill Book, 1966
Carr H., & Latham B. , The Technology of Clothing Manufacture, 2nd edition, Blackwell Sc., 1994
Clair, B. S., The Complete Book of Sewing Short Cut, Sterling Publication, 1981 Crawford, C. A., A
Guide to Fashion Sewing, Fairchild Publications, 2008
Ireland, P. J., Fashion Design Illustration for Children, Cambridge University Press, 1979
Kopp E., et. al., How to Draft Basic Patterns – 3rd Edition, Fairchild Publications, 1988
Reader’s Digest Association, New Complete Guide to Sewing: Step by Step Techniques for Making
Clothes and Home Accessories, 2005
Shoben, M. M. and Ward, J. P., Pattern Cutting and Making Up- The Professional Approach, CBS
Publishers & Distributors, New Delhi, 1987

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 KFD – 554: DESIGN AND DEVELOPMENT OF MENSWEAR

Objectives
To familiarize with the growing menswear market, with special reference to local, national &
international brands
To understand different categories of menswear
To conduct a market survey viz a viz contemporary design in terms of style details, colours, fabrics,
trims, sizes and price
To understand the usage of appropriate textile materials for the development of menswear
To acquire construction and finishing techniques for menswear To develop the
skill for creating a menswear collection

Learning Outcomes
Be able to understand the socio-economic-cultural factors that contribute to the expansion of the
menswear market
Be able to co-relate textile properties like fabric construction, texture and design with garment design
Be able to design and adapt according to market requirements and latest trends
Be able to draft patterns and incorporate appropriate construction and finishing techniques

COURSE CONTENT
AIM
To create a range of garments after thoroughly understanding the market and the needs of customers. It should
be a mini collection of four or five complete outfits based upon a theme developed and researched by the
group.
BRIEF
The objective is to explore and develop a range of menswear based on the following:
Research on trends in the past and present scenario, textile materials, embellishments, construction
and finishing details etc.
Selection of a theme which inspires or excites Preparation of a
story board
Initial design explorations Final
Illustrations
Formulation of specification sheet
Development of paper patterns
Development of toiles in muslin
Sourcing of materials required (fabrics, trimmings and accessories) Construction and
finishing of garments
Accessorizing the collection
Presentation of the group collection to a jury
METHODOLOGY
The class will be divided into groups of four or five students. They will interact and support each other in
the investigative research in the market, library and the forecast. At the end a common theme should
emerge.

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 The group will next create a colour palette and story board based on the theme that should comprise of
visual references and a fabric story.
Each individual student develops a number of design sketches for garments around the theme
Individual design sketches and ideas must be developed ensuring that silhouettes and design details are
suitable for menswear. Also ensure that while designing separates, equal attention is given to tops and
bottoms.
The range must consist of a number of garments which can be put together to form a mini collection of
four to five outfits.
All garments must be illustrated as accurate working/specification sheets.
A complete labelled paper pattern for the same needs to be developed with all instructions and
symbols etc. mentioned
The toiles for each group member’s final garment should also be developed
Each student in a group is expected to make one final finished garment.
The group will also create a brand name and a logo for their group’s collection. They will also design
an individual font for their designer label.
During the final presentation to the jury the complete outfit (prepared by all the group members)
should be displayed along with the suitable accessories.

Suggested categories
Formalwear
Outerwear
Leisurewear
Active wear/ Sportswear
Holiday / resort wear Party
wear
Sleepwear
Note: The art work and photographs have to be preserved and digitized for compilation
towards the development of the Art Portfolio (Semester VIII).

Textbooks
Aldrich, W., Metric Pattern Cutting for Menswear, Fifth Edition, Wiley India Pvt. Ltd., Delhi, 2011
Aldrich, W., Metric Pattern Cutting for Menswear, Fourth Edition, Blackwell Publishing, Om Books
International, Delhi, 2007
Annette Fischer, Construction, AVA Publication, 2009
Armstrong H. J., Pattern Making for Fashion Design, Fourth Edition, Doorling Kindersley India,
2011
Bray Natalie, Dress Fitting, Om Book Services, 1999
Khan, A. P., Men’s Wear Pattern Making, Pankaj Publication International, Delhi, 2007

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126
 Reference Material
Armstrong H. J., Draping for Apparel Design, Fairchild Publications, Inc., New York, 2008
Bane, A., Creative Clothing Construction, Mc Graw-Hill Book, 1966
Carr H., & Latham B. , The Technology of Clothing Manufacture, 2nd edition, Blackwell Sc., 1994
Clair, B. S., The Complete Book of Sewing Short Cut, Sterling Publication, 1981 Crawford, C. A., A
Guide to Fashion Sewing, Fairchild Publications, 2008 Ireland, P. J., Fashion Design Illustration for
men, M/s Om Book International, 1979
Knowles, Lori A., Practical Guide to Patternmaking for Fashion Designers: Menswear, Bloomsbury
Academic, 07-Sep-2005
Kopp E., et. al., How to Draft Basic Patterns – 3rd Edition, Fairchild Publications, 1988
Reader’s Digest Association, New Complete Guide to Sewing: Step by Step Techniques for Making
Clothes and Home Accessories, 2005
Shoben, M. M. and Ward, J. P., Pattern Cutting and Making Up- The Professional Approach, CBS
Publishers & Distributors, New Delhi, 1987

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 KFD – 555: ADVANCED DRAPING
Objectives
To improve the skill of draping for dress designing To enable
students to handle various types of fabrics
To be able to develop their own designs into a draped garment
To enable students to develop garments with good fit
Learning Outcomes
Be able to convert flat fabric into a garment with proper fit
Be able to appreciate the importance of the grain of the fabric in relation to design Be able to translate a
design into a finished garment
Be able to express design ideas through draping and dress designing
COURSE CONTENT
UNIT - I VARIATIONS OF BASIC BODICE
Halter
Wrap front bodice
Waistline variations- lowered or raised Boned
bodice
Cowls

UNIT - II VARIATIONS OF SKIRT

Dirndle skirt
Dome skirt
Gored skirt Peg
skirt
peg skirt and sarong skirt Skirt with
built up waistline Fitted midriff
Bodice yoke
UNIT – III SHIFT
Straight shift
Sheath
A-line shift
Blouse Princess
dress
UNIT - IV SLEEVE
Basic dolman sleeve
Raglan sleeve Kimono
sleeve

UNIT - V PANTS
Basic straight trouser
Jeans
Suggested Assignments

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 Select a theme and design a garment based on the same. Construct designed garment using
draping technique.
Select any one garment (such as circular skirt, cowl neck top, etc.). Drape fabrics of different material (poplin,
denim, chiffon, satin, etc.) and thickness on the chosen garment and make visual comparison of difference in
the draping style.

Suggested Visits
Sampling section of garment manufacturing unit Studio of a local
designer
Guest Lectures
Fashion designer
Industry expert from garment manufacturing units

Textbooks
Amaden Conie, The Art of Draping, Fairchild, 1994 Annette Fischer,
Construction, AVA Publication, 2009
Armstrong, H.J., Draping for Apparel Design, Fairchild Publications, Inc, New York, 2008
Bray Natalie, Dress Fitting, Om Book Services, 1999
Jaffe, H. & Relis, N., Draping for Fashion Design, Prentice Hall Inc., 1993
Reference Material
Aldrich, W., Fabric, Form and Flat Pattern Cutting, Blackwell Science, London, 1996
Cooklin, A.G., Garment Technology For Fashion Designers, Black well Science, 1997
Cooklin. G., Introduction to Clothing Manufacture, Blackwell Scientific Publication, 2000
Crawford, C. A., A Guide to Fashion Sewing, Fairchild Publications, 2008 Fischer, Construction, AVA
Publication, 2009
Liechty, E.G., D.N. Potterberg, and J.A. Rasband, Fitting and Pattern Alteration; A Muti-method
approach, Fairchild Publication, New York, 2010
Shoben, M. M. and Ward, J. P., Pattern Cutting and Making Up- The Professional Approach, CBS
Publishers & Distributors, New Delhi, 1987
Singer Sewing, Creative Publication International, 1999

Web Sources
http://www.scribd.com/doc/8000105/Draping http://www.scribd.com/doc/32332885/Art-of-Fashion-
Draping http://cactusfashion.wordpress.com/2009/07/18/principles-of-draping-for-balanced- patterns/
http://fashionbook.forza6.com/catalogo/categoria_033.html
http://sewchicago.wordpress.com/2010/09/19/draped-to-fit/

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129
 KFD–556: FABRIC ORNAMENTATION - II
Objectives
To enhance the skills of surface adornment on textile material To understand the
nuances of visualization and ideation process
To get introduced to various techniques of fabric deconstruction, layering, combining and
texturing for surface regeneration
To develop the ability to interpret, articulate and represent emotive qualities in surfaces through
application of different techniques and material
Learning Outcomes
Become aware of and understand various techniques of fabric deconstruction and reconstruction for
surface development
Be able to develop skills to enhance the aesthetic value of any fabric through ornamentation
Enhance the creative skills in developing new concepts through visualization and ideation to replicate an
inspiration
Understand the scope for design intervention and innovation in using these techniques for
creative and contemporary product development
COURSE CONTENT
BRIEF
The objective is to explore and develop a range of textile surfaces based on the following:
Research on general history of different techniques and materials, traditional application, contemporary
trends in surface development and a sense of future perspective
Selection of a theme to derive interesting surfaces Articulation of
keywords and techniques Exploration of different material

METHODOLOGY
Major part of learning in this course would be through assignments, explorations and innovations with different
material. The students will follow a stepwise process to develop their concepts.
Each student will work individually on every project
Based on the latest forecast, each student will identify one trend / theme and list out the related keywords
for the same
Based on the keywords, every student will source four visuals related to the theme
Using one visual each as inspiration for every project, the student will source appropriate material to
work on their surface development concepts
Using different material, the students will create their surfaces to identify with the selected visual
The students will document all explorations and stages of work
Identify appropriate end use in apparel for each developed final concept (four final concepts) and present
through appropriate illustrations

UNIT-I LAYERING OF FABRICS

Project – 1 Students are required to explore the various techniques of layering using different types of fabrics
in at least ten different ways. The developed swatches should be properly mounted, labelled and presented in the
form of a portfolio.

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UNIT II- DECONSTRUCTION
Project – 2
Students are required to explore the various techniques of deconstruction of fabrics (pulling out yarns, cutting in
places, developing empty areas etc.) in at least ten different ways. The developed swatches should be properly
mounted, labelled and presented in the form of a portfolio.
UNIT III - COMBINING / JOINING FABRICS
Project – 3
Students are required to explore the various techniques of combining or joining surfaces using different types
of fabrics in at least ten different ways. The developed swatches should be properly mounted, labelled and
presented in the form of a portfolio.

UNIT IV - TEXTURED SURFACES

Project – 4
Students are required to develop at least ten different textures on various types of fabrics using different
techniques (puckering, pleating, stitching, couching, quilting, 3D textures etc.). The developed swatches should
be properly mounted, labelled and presented in the form of a portfolio.

UNIT V - FINAL PROJECT

Using a combination of any two or more of the above explored techniques, the student is required to design and
develop one fashion accessory product for a hypothetical client, keeping in mind the consumer dynamics, price
and other related factors. The design process should be completely followed and properly documented and
submitted in the form of a project report along with the developed product at the end of the project.
NOTE:
1. All projects are to be done by individual students. The students will have to prepare a portfolio of all
work done during each project and submit for evaluation and the complete portfolio should be
submitted at the end of the course for final evaluation.
2.
The art work and photographs have to be preserved and digitized for compilation towards the
development of the Art Portfolio (Semester VIII).
Suggested Visits
Craft exhibitions
Craft bazaars Design
studios
Local export houses
Guest Lectures
Fashion designer
Industry expert from garment manufacturing units Craftsmen
Reference Material
G
BoinnanM
ie .LB
yrnoM
wnc,C1a0ff0e0ryA,rti
FasnatnasTyexFtaile
brsic,sQ
, uM
ararrytinBgoaolek,s,12909190

Claire B. Shaeffer, Couture Sewing Techniques, The Tounton Press, 2007

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131
 Ruth Rae, Layered, Tattered and Stitched: A Fabric Art Workshop, Library of Congress
Cataloguing – in, 1966
Linda F. McGehee, Creating Texture With Textiles, Krause Publications, 1998
Web Sources
http://www.threadsmagazine.com/item/5059/textures-from-photo-to-fabric/page/all
http://www.ehow.com/list_7416279_fabric-texturing-techniques.html http://postmarkdart.com/featured-
technique/layering-with-sheets/
http://blog.themcmullindesigngroup.com/design-ed-101/how-to-combine-fabrics- to-get-that-designer-look/

Curriculum & Evaluation Scheme Page

132
 KFD N 557: CAD PROJECT (TUKATECH)
Objective - :

Pattern-making software by advanced functionality and process engineering to empower accurate pattern
building, bespoke grade rules, and marker nesting for every style conceived.

Unit-1: PATTERN MAKING AND GRADING

1. Measurement chart, pattern card and cutter’s must

2. Before and after wash shrinkage
3. Integration of art work and logos
4. Yield reports with costing
5. Adobe PDF plot format
6. Multiple sizes grading with automatic half size creation
7. Angel grading for curved contours
8. Block libraries with master grading
9. Automatic grading update with pattern changes
Unit-2: MARKER MAKING

1. Manual or automatic marker making

2. Stripe and plaid matching( with image view)
3. Merge pattern pieces and marker for efficient result
4. Dynamic blocking and measuring functions
5. Call up additional pieces or complete sizes
6. Create and edit cut path for cnc cutters
7. Edit or alter patterns while making markers
8. Add buffers during marking at selected segments of patterns for quality cutting Unit -
3: TAILOR EDITING
1. Import or key in body scanned measurements
2. Find closet size from standard size ranges
3. Automatically see differences between the customer and chosen size measurements
4. Generate XML file for trial on done by customer
5. Maintaining history of a particular customer’s pattern file
6. Create template for various fits allowances.

Unit-4: INDUSTRIAL EDITION

1. Create single excel report for multiple markers

2. Generate weight and yield report
3. Send marker files to plotters and cutters
4. Generate pdf file of markers
5. Generate excel report for weight, cost and tome calculations.
Curriculum & Evaluation Scheme Page
133
 Reference-:

1. https://www.google.com/amp/s/tukatech.wordpress.com/2011/11/21/tukatech-now-offer s- video-
tutorials-in-vietnamese/amp/
2. https://youtu.be/1tEflNEG_CE
3. https://youtu.be/jTWtQNTJt_A
4. https://youtu.be/ELECPhdfsiI
5. https://youtu.be/Tgxwg7E9gsc
6. https://youtu.be/jTWtQNTJt_A

Book references-:

1. https://www.academia.edu/ 5
302760/TUK

2. http://jrbud.esy.es/597013b/t u
ka-cad.pdf
3. http://www.ftik.usm.ac.id/tuk
a_cad.pdf
4. https://www.universityoffashi o
n.com/lessons/introduction- to-
tukacad-1/

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 KFD - 558: INTEGRATED DESIGN PROJECT-III
Context of the Project
The integrated design project should incorporate and integrate the understanding of basic design, elements
of design, design process, fashion illustration, pattern making, garments construction, draping and surface
ornamentation thereby creating a meaningful correlation and application within the context of fashion. This
is done by attempting to evolve an aspired image and then creating a garment, which represents the image for a
target customer.
The project will concentrate on encouraging a mature and self-motivated approach towards the final product
and completion of work on a creative, original and technically sound either a kids wear or menswear.

Having gained proficiency in earlier skills, the students have also been given more advanced and
specific inputs on:

II. Design Philosophy

Concept Development
Design and development of kids wear and menswear Fashion
illustration
Computer Aided Designing
III. Skills Acquired
Fashion
illustration

Advanced draping Fabric

ornamentation
IV. Knowledge Gained
Quality control in garments
Production techniques
V. Product Development
Pattern making of kidswear and menswear

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135
 Project Methodology
Based on all the above inputs received during all the five semesters, two students are required to work together
to conceptualize and develop a mini collection of three kidswear or menswear outfits each (two for kids and
one for men or one for kids and two for men). An element of fabric ornamentation to be suitably introduced.
The collection should be based on the criteria of:
- Season
- Categories
- Target market
- Customer profile / psychographics (age group, income, attitude etc.)
The students are also required to accessorize the collection to achieve a complete look.

Note: The art work and photographs have to be preserved and digitized for compilation towards the
development of the Art Portfolio (Semester VIII).

Learning Outcome
Be able to plan and produce a menswear and kidswear collection that demonstrates expertise in all methods
of construction and knowledge of technical data for structural components, stitch methods, pressing,
finishing and presentation
Be able to evaluate, analyze and summarize the collection through appropriate styling and
accessories.
Develop an ability to produce a two-dimensional portfolio of work that projects the collection theme and
exhibits the evolution of the theme and finalization of the product design and developing of kidswear and
menswear

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136
 KFD - 601: KNITTING TECHNOLOGY
Objectives:
To create awareness about the knitting innovations leading to new garment concepts

To understand the new knitting machinery and mechanisms

To understand characteristics of garment from design, handling problems and seam characteristics to quality
control
To understand the reasons leading to modification to frames and diversification of product

Learning Outcomes:

Become aware of history and development of knitted garments

Become aware of types of knitted garments in relation to cutting and production techniques
Understand the advancement in knitting concepts
Be able to understand the various finishing techniques for knitted garments Be aware of various
quality parameters of knitted garments
COURSE CONTENT

UNIT-I INTRODUCTIONTO KNITTING

History
Warp and weft knitted fabrics Types
of knitted garments

Fully cut
Stitch shaped cut
Fully Fashioned
Integral

UNIT-II PRODUCTION, SPREADING AND CUTTING OF KNITTED GARMENTS

Fully-Cut
Cut Stitch-Shaped Fully-
Fashioned Integral
garments

UNIT-III STITCH GEOMETRY, SEAMS AND

SEAMING In terms of Single
chain stitch Double chain
stitch
Over-chain stitch
Multi-thread chain stitch
Lockstitch

UNIT-IV MACHINERY FOR DEAMING KNITTED GARMENTS

(With reference to the following factors)

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137
 Supporting and advancing the work Stitch
formation
Type of machinery Ergonomic
considerations

UNIT-V HANDLING CONCEPTS

Traditional production systems
Conveyor systems
Humanization of work
Automation

UNIT-VI QUALITY CONTROL OF KNITTED GARMENTS [4 Hours]

In terms of
Fabric quality Knitted
faults Stains and pilling
Garment quality
Assessment-Yarn and fabric
Suggested Assignments
Make a group presentation (at least three students in a group) on any one knitting machine and give
details about its working, stitch formation etc.
Make a group presentation (at least three students in a group) on any one parameter of quality control of
knitted garments
Suggested Visits
Knitwear manufacturing unit Textile
testing laboratory Trade fair

Guest Lectures
Fashion designer
Industry expert from knitwear manufacturing units
Educational Tour
Ludhiana Manipur

Textbooks

Brackenbury, Terry, Knitted clothing technology, Blackwell publishing, 1992

Spencer David J., Knitting Technology: A Comprehensive Handbook and Practical Guide, Technomic
publishing, 2001
Scissons Juliana, Basics Fashion Design 06: Knitwear, AVA Publishing, 10-Nov- 2010

Reference Material
Spencer D J, Knitting technology: A comprehensive handbook and practical guide (Third edition)
Curriculum & Evaluation Scheme Page
138
 Billie J. Collier, University of Tennessee & Phyllis G. Tortora, Queens College. Understanding
Textiles, (Sixth Edition)
Deborah Newton, Designing Knitwear, Taunton Press, 1998
Paden Shirley, Knitwear Design : A Comprehensive Guide to Hand knits, Interweave Press,
12-Jun-2012
Web Sources
http://textilefashionstudy.com/knitting-technology-definition-and-types-of-knitted- fabrics-produced-in-
knitting-mills/ http://www.woodheadpublishing.com/en/book.aspx?bookID=538#sthash.CQjXPUa
v.dpuf http://www.knittingtogether.org.uk

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 KFD-602: FASHION MERCHANDISING AND MANAGEMENT
Objectives

To develop an understanding of fashion merchandising and role of merchandisers in the fashion industry
To learn technical skills, sharpen creativity and develop business understanding for working in the fashion
industry
To understand the importance of visual merchandising in retail and the visual merchandising
process
To understand various merchandising systems

To get introduced to the various methods of fashion promotion

Learning Outcomes
Be able to acquire a thorough background in the business aspects of the fashion industry
Understand fashion merchandising, its scope and the role of merchandisers in the fashion industry
Understand visual merchandising as a tool for effective retailing
Be able to develop competencies in fashion theory and marketing of fashion goods Understand the basics of
fashion promotion
COURSE CONTENT

UNIT-I INTRODUCTION TO MERCHANDISING

Definition of merchandising
Understanding fashion merchandising
Scope of merchandising Types
of merchandisers
Characteristics of a merchandiser Role of
a merchandiser Fundamentals of Supply
chain

UNIT-II VISUAL MERCHANDISING

History of visual merchandising
Principles for visual merchandising Techniques of
visual merchandising Colour & Texture in visual
merchandising Types of displays and display settings

UNIT-III MERCHANDISING SYSTEMS

Business to business relationships – wholesaling
Business to consumer transactions - retailing Types of
retailing / retail stores

UNIT-IV FASHION MERCHANDISE MANAGEMENT [8 Hours]

Forecasting sales

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 Developing a line concept- creative and technical design Merchandise
management process- organizing and managing the line
Developing an Assortment plan

Buying Preparations – Merchandise Plan, Buying Plan

UNIT-V FASHION PROMOTION

Marketing – Theories and Principles
Planning and Direction
Fashion Advertising, Kinds of Advertising Publicity
Special Events – Fashion Shows, Trade Shows
Market Evaluation

Suggested Assignments

Conduct a classroom quiz on basics of fashion merchandising

Conduct a detailed comparative study between a branded and local retail store studying their
background, product line, location, customer profile, sales, marketing and promotion etc.
Visit any local market and compare and analyse the visual merchandising outside and inside the stores of
three different brands of any one particular product
Make a 3-D model of a store for a specific product, depicting a visual merchandising environment for
the same.
Suggested Visits
Any local buying house or buying agency Any trade
show or trade fair in near vicinity
Guest Lectures
Merchandiser from export or buying house
Textbooks
Gini Stephens Fringes, Fashion from Concept to Consumer, Prentice Hall Grace Kunz,
Merchandising Third Edition – Theory, Principles and Practice, Fairchild Books
Tate S.L, Inside Fashion Design, Harper and row Publishers, New York, 3rd Ed.
Reference Material

Ellen Diamond (Second Edition), Fashion Retailing

Donnellan John, Merchandise Buying and Management, Fairchild Publications Inc. Dickerson Kitty,
Inside the Fashion Business (7th Ed.), Pearson education Inc. Pg 224, 2007
Rosenau Jeremy, Wilson David, Apparel Merchandising- The Line starts Here (2nd Ed.), Fairchild Books,
NY, Pg 168,2006
P.S. Ravichandran, Textile Marketing Merchandising 2005, SSMITT & PC Co. Op. Stores,
Komarapalayam
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 Levyeweit 6th Edition, Retail Management
Web Sources
www.wisegeek.org/what-is-fashion-merchandising.htm
http://degreedirectory.org/articles/What_is_Fashion_Marketing_and_Merchandisin g.html

http://www.ehow.com/about_4608516_what-fashionmerchandising.html#page=6

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 KFD – 651: PATTERN GRADING

Objectives

To develop an understanding of grading

To sensitize towards the need and importance of grading
To enhance the knowledge of different methods and types of grading To gain appropriate
skills of grading
To acquire a sound knowledge of different software used for grading
To familiarize with the effective use of Pattern Making, Grading and marker planning software
Learning Outcomes

Be able to use different methods of grading

Be able to use the acquired skills for grading any flat pattern
Be able to explore the dynamics of fashion for domestic and overseas size ranges Be able to gain
technical versatility combined with a practical understanding of accurate sizing and maintenance of
design proportions
Be able to perform grading for all garment styles
Be able to perform grading using computer grading techniques
Be able to understand the concept of pattern making, grading and marker making on computers
COURSE CONTENT

UNIT-I INTRODUCTION TO GRADING

Grading Concept and Importance

Grading Terminology Sizes
and Measurement Methods of
Grading
Stack method
Track Method
Types of Grading
Horizontal
Vertical
Diagonal

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 UNIT-II GRADING OF MASTER GRADES
Basic Bodice
Front Back
Basic Sleeve
Basic Collar
Torso

GRADING OF ADULT SLEEVE BLOCK

UNIT- III
Set-in sleeve
Set-in sleeve with elbow dart Set-in
sleeve with cuff dart
Grown on sleeve
Kimono Raglan
Magyar

UNIT IV GRADING OF COLLARS AND LAPELS

Tailored Collar
Tailored Lapel
Shawl Collar

UNIT V GRADING OF SKIRTS AND TROUSERS

Straight Skirt
Front Back
Flared Trousers

APPLICATION TO STYLED GARMENTS

UNIT VI Paneled jacket
Shirt
Ladies top with tucks/gathers/ pleats

UNIT VII DEVELOPING GRADIENT

Develop pattern of small and medium size with the available extra small and
large size pattern
Basic Bodice
Basic Sleeve
Basic Skirt

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 UNIT VIII COMPUTERISED PATTERN Development and GRADING

Pattern development
Grading patterns
Making marker

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145
Suggested Assignments
Execute grading of front and back for a basic knee length dress
Develop pattern of small and medium size with the available extra small and large size pattern of the
following
Basic collar
Set-in sleeve (any one) Grown on
sleeve (any one)
Develop gradient of double breasted jacket

Make a visit to an export house to observe grading and submit an illustrated report.

Suggested Visits

Export house

Guest Lectures
Industry CAD expert from garment manufacturing units
Textbooks
Cooklin, Gerry, Pattern Grading For Women’s Clothes, Om Books International, 2009
Cooklin, Gerry, Pattern Grading For Men’s Clothes, Om Books International, 2009
Cooklin, Gerry, Garment Technology For fashion Designer’s, Om Books International, 2009
Bray, Natalis, More Dress Pattern Designing, Beekman Books Inc, 1974
Prics, Jeanne & Zamkoff, Bernard, Grading Techniques for Modern Design”, Fairchild Publications, New
York, 1996

Reference Material
Carolyn L. Moore, Kathy K. Mullet, Margaret B. Prevatt Young, Concepts of Pattern Grading 2nd Edition:
Techniques for Manual and Computer Grading, Om Books International, Bloomsbury Academic, 2008
Jack Handford, Gerry, Professional Pattern Grading for Women's, Men's, and Children's Apparel,
Fairchild Publications, 2003
Jack Kirschner, Pattern Grading, Simplified: A Manual for Grading Women's Misses', Juniors' and
Children's Dresses, Suits and Coats, Fairchild Publications, 1950
Patrick J. Taylor, Martin M. Shoben, Patrick S. Taylor, Grading for the Fashion Industry: With
Children's Wear and Men's Wear, Nelson Thornes Limited, 1990

Web Sources
http://www.threadsmagazine.com/item/4368/making-sense-of-pattern- grading/page/all
http://en.wikipedia.org/wiki/Pattern_grading
http://www.textileschool.com/School/Apparel/ApparelManufacturing/PatternGradi ng.aspx

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 http://www.craftsy.com/article/pattern-grading
http://www.britannica.com/EBchecked/topic/446807/pattern-grading

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 KFD – 652: PATTERNMAKING AND CONSTRUCTION OF INDIANWEAR
Objectives
To develop different variations from basic pattern
To enable them to make patterns for all kind of designs for Indian wear
To enable the students to analyse, understand and incorporate design details in upper and lower garments
for men and women
To enable them to construct and finish Indian wear
Learning Outcomes
Skills to develop patterns for various designs for Indian wear Be able to
incorporate different design features to basic pattern
Be able to understand the layout of patterns pieces on fabrics with minimum consumption during
construction
Be able to construct and finish garments for men and women
COURSE CONTENT

UNIT-I WOMENS INDIANWEAR – UPPERGARMENT

Blouses – four dart, choli cut, katori, princess line, long blouse,
with lining, with collar, with yokes– shoulder, midriff, hip yokes (any four)
Kurta / Kamiz

Fitted - with dart, princess line, sheath – straight and

with dart

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 Semi-fitted - straight with slit, A-line, panelled, with yoke, with neckline
and style line variations
Construction of any one upper garment using traditional Indian fabric
mention in unit - V
UNIT-II WOMENS INDIANWEAR – LOWER GARMENT
Petticoat – 8 panel, 6 panel, with hip yoke, bias
Salwar - with and without belt, Patiala (semi and full) Tight Pyjama
- Churidar (with and without belt)
Long Skirts/Lehenga – paneled, flared, gathered, circular, wrap- a-round, divided
(with or without yoke)

UNIT-III Construction of any one lower garment using traditional Indian fabric mention
in unit - V

MENS INDIANWEAR - UPPER GARMENT

Kurta – short/long, panelled (with gusset), Bandi
Achkans - short and long
Angrakhas

Jacket - Waistcoat (jawahar cut), long/short jacket (over garment)

UNIT-IV
Construction of any one upper garment using traditional Indian fabric mention
in unit - V

MENS INDIANWEAR - LOWERGARMENT

Pyjama
Straight
Churidar
UNIT-V Aligarh
Dhoti (stitched also)
Construction of any one lower garment using traditional Indian fabric mention
in unit - V

FABRICS FOR INDIANWEAR

Embroidered - Hand embroidered and machine embroidered Painted –
Kalamkari, Pichhwai, Madhubani
Printed – Block and Screen, Warak, Tinsel, Ajrakh, Rogan etc.
Woven – brocades, jamdani, baluchari, tangail, kota doria, chanderi,
maheshwari, muga silk, muslin etc.
Resist dyed –

Tie-dyed : bandhej, lehariya, batik

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 Ikat – patola, mashru, bandhas, pochampalli and telia rumal
Suggested Assignments
The whole class can be divided into groups of four to five students. Each student will sketch and collect pictures
of various types of silhouettes and design styles of the following categories:
Women
Kurta/ kamiz along with salwaar/ tight pyjama Blouses
Long skirts
Petticoat
Men
Kurta with pyjama or dhoti Achkans
with pyjama or dhoti Angrakhas with
pyjama or dhoti Jacket

Analyse fabrics, design details and embellishments of the collected pictures. Also trace out the deviation
through paper pattern in their styles from the basic skirt block.

Suggested Visits Craft

Museum National
museum
Dastkar craft bazaar State
Emporiums Indian Designer’s
studio
Local tailoring shops and boutiques
Textbooks
Armstrong, H. J., Patternmaking for Fashion Design, Pearson Education/Prentice Hall, 2010
Kumar, Ritu, Costumes and textiles of royal India, Antique Collectors' Club, 2006
Knowles, Lori A., Practical Guide to Patternmaking for Fashion Designers: Menswear,
Bloomsbury Academic, 07-Sep-2005
Michael Boroian, Alix de Poix, India by Design: The Pursuit of Luxury and Fashion, John
Wiley & Sons, 2009
Das, Shukla, 1992, Fabric Art- Heritage of India, Abhinav Publications, New Delhi Gillow, J. & Barnard,
N., Indian Textiles, Thames & Hudson, London, 2008 Bhatnagar, P., Traditional Indian Costumes and
Textiles, Abhishek Publications., 2004
Reference Material
Mehta, RustamJ., Masterpieces of Indian Textiles, , D.B. Taraporevala Sons & Co.
Kum r, Ritu, Costumes and textiles of royal India, Antique Collectors' Club, 2006
Pvt. Ltd., Bombay, 1970
Irwin, J., and Hall, M., Painted and printed fabric, Ahmedabad: Calico Museum of Textiles
Ghurye, Govind Sadashiv, Indian Costume, Popular prakashan pvt. Ltd., Delhi

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 Web Sources

http://www.celebritysaree.com/p/designer-blouses.html http://boutiqueblouses.com/latest-blouse-design-
catalogue-2013/ http://en.wikipedia.org/wiki/Petticoat
https://www.google.co.in/search?q=petticoat&biw=1366&bih=673&noj=1&tbm=is
ch&tbo=u&source=univ&sa=X&ei=W6FwUue- LMbDrAfUywE&ved=0CDsQsAQ

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 KFD – 653: DESIGN AND DEVELOPMENT OF INDIANWEAR
Objectives

To familiarize with the growing Indian wear market, with special reference to local & international brands
To understand the different categories of Indian wear
To understand the methodology of conducting a market survey viz a viz contemporary design in terms of
style details, colours, fabrics, trims, sizes and price
To understand the usage of appropriate textile materials for development of Indian wear
To develop an understanding of developing patterns for Indian wear To acquire
construction and finishing techniques of Indian wear
Learning Outcomes
Be able to understand the socio-economic-cultural factors that contribute to the expansion in the
Indian wear market
Be able to understand the transformation in Indian wear from earlier to contemporary times
Be able to co-relate textile properties like fabric construction, texture and design with garment design
Be able to design and adapt according to market requirements and latest trends Be able to draft patterns
and incorporate appropriate construction and finishing techniques for all designs

COURSE CONTENT
AIM
To create a range of garments after thoroughly understanding the market and the needs of customers. It should
be a mini collection of four or five complete outfits based upon a theme developed and researched by the group.
BRIEF
The objective is to explore and develop a range of Indian wear based on the following:

• Research on trends in the past and present scenario, textile materials, embellishments,
construction and finishing details etc.
• Selection of a theme which inspires or excites
Preparation of a story board
• Initial design explorations Final
Illustrations
• Formulation of specification sheet
Development of paper patterns
Development of toiles in muslin
• Sourcing of materials required (fabrics, trimmings and accessories) Construction
and finishing of garments
• Accessorizing the collection
• Presentation of the group collection to ajury

METHODOLOGY
The class will be divided into groups of four or five students. They will interact and support each other in
the investigative research in the market, library and the forecast. At the end a common theme should emerge.

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 The group will next create a colour palette and story board based on the theme that should comprise of
visual references and a fabric story.
Each individual student develops a number of design sketches for garments around the theme
Individual design sketches and ideas must be developed ensuring that silhouettes and design details are
suitable for Indian wear. Also ensure that while designing separates, equal attention is given to tops and
bottoms. Also designing for both men and women must be attempted.
The range must consist of a number of garments which can be put together to form a mini collection of
four to five outfits.
All garments must be illustrated as accurate working/specification sheets.
A complete labelled paper pattern for the same needs to be developed with all instructions and symbols etc.
mentioned

The toiles for each group member’s final garment should also be developed Each student in a group
is expected to make one final finished garment.
The group will also create a brand name and a logo for their group’s collection. They will also
design an individual font for their designer label.
During the final presentation to the jury the complete outfit (prepared by all the group members)
should be displayed along with the suitable accessories.

Note: The art work and photographs have to be preserved and digitized for compilation towards the
development of the Art Portfolio (Semester VIII).
Textbooks
Armstrong, H. J., Patternmaking for Fashion Design, Pearson Education/Prentice Hall, 2010
Kumar, Ritu, Costumes and textiles of royal India, Antique Collectors' Club, 2006 Knowles, Lori A.,
Practical Guide to Patternmaking for Fashion Designers: Menswear, Bloomsbury Academic, 07-Sep-
2005
Michael Boroian, Alix de Poix, India by Design: The Pursuit of Luxury and Fashion, John
Wiley & Sons, 2009
Das, Shukla, 1992, Fabric Art- Heritage of India, Abhinav Publications, New Delhi Gillow, J. & Barnard, N.,
Indian Textiles, Thames & Hudson, London, 2008
Bhatnagar, P., Traditional Indian Costumes and Textiles, Abhishek Publications., 2004
Jaitly, Jaya, Embroidery in Asia: Sui Dhaga : Crossing Boundaries Through Needle and Thread Wisdom
Tree in collaboration with India International Centre, 2010

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 Reference Material
Kumar, Ritu, Costumes and textiles of royal India, Antique Collectors' Club, 2006
Mehta, Rustam J., Masterpieces of Indian Textiles, , D.B. Taraporevala Sons & Co. Pvt. Ltd., Bombay, 1970
Irwin, J., and Hall, M., Painted and printed fabric, Ahmedabad: Calico Museum of Textiles

Ghurye, Govind Sadashiv, Indian Costume, Popular prakashan pvt. Ltd., Delhi

Web Sources

http://www.celebritysaree.com/p/designer-blouses.html http://boutiqueblouses.com/latest-blouse-design-
catalogue-2013/ http://en.wikipedia.org/wiki/Petticoat
https://www.google.co.in/search?q=petticoat&biw=1366&bih=673&noj=1&tbm=is
ch&tbo=u&source=univ&sa=X&ei=W6FwUue- LMbDrAfUywE&ved=0CDsQsAQ

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 KFD-654: LEATHER SOURCING & DEVELOPMENT OF LEATHER PRODUCTS
Objectives
To learn the different aspect of fashion leather/non leather To develop the
techniques of leather handling.
To study the present trends in the market and then interpret it and create your own concepts
Learning Outcomes
Be able to develop the skills of leather products design Be able to create
new designs with different leathers

Be able to make the design according to the theme/market.

COURSE CONTENT

UNIT- I TYPES OF LEATHER

Properties of leather
Leather/skin-different country

UNIT-II BASIC TANNING PROCESS

Chemical composition
Colouring
Finishing

UNIT-III UTILIZING TECHNIQUES

Understanding the basic tool kit to handing leather/skin
UNIT-IV STUDY OF BAGS, BELTS & HOUSE HOLD PRODUCTS

Design, Research Experiment

with materials.

UNIT-V STUDY OF SHOES AND APPARELS

Design, Research
Experiment with materials.

UNIT-VI REPORT PREPARATION

Market surveys
Tannery visits
Leather Products Industry visits
Suggested Assignments
PROJECT-1
Use different leather materials and develop different designs
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 PROJECT-2
Theme based leather products development

Suggested Visits

Leather product Export houses/buckle factory/market visit

Note: The art work and photographs have to be preserved and digitized for compilationtowards
the development of the Art Portfolio (Semester VIII).

Textbooks
The leather book [ Quilleriet, Ann-Laure] Complete leather
work [ Pogson, Katgerine] Leather fashion design [ Sterlacci,
Francesca ]

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 KFD 655: ADVANCED PHOTOGRAPHY & STYLING

Objectives:
• To develop an understanding of personal styling, clientele aspirations, social engagement and
its application in different professional environments
• To understand the interrelation of, photography, art direction, makeup,
hairstyling and garments to build a concept and cohesive storytelling

Learning Outcomes:
•
Ability to deliver concept/image /story that aligns with the brand DNA, personality or
campaign
• Ability to decode stereotype and think image positioning from a different perspective
to discover own unique personal style
COURSE CONTENT
UNIT-I INTRODUCTION

• Understanding dynamics of the Image making Industry

• Introduction to media & design culture

UNIT-II VISUAL VOCABULARY, MOOD & STORY TELLING

• Process of client aspiration to concept building
• Harmony of styling with body types, age, occasion and culture
• Fundamentals of cosmetics, make- up, hair Styling and accessorizing

UNIT-III WARDROBE STYLING VS STYLING FOR FASHION BRAND CAMPAIGNS

o Wardrobe styling for occasion & identity creation
o Fashion styling for brand communication and presentation
o Art direction and styling resource management

UNIT-IV- PROJECT 1- WORK SHOP

• Workshop to be conducted by a fashion stylist with the students, culminating in a project based
upon styling for a well-known personality.
• Make a final report based on the workshop for the same and final presentation to a jury

UNIT-V PROJECT 2- Styling for a brand campaign

Collection and brand identity brief will be given, below listed are the steps to complete the project
• Build a camping story and style concept to align with collection brief
• Selection of location for shoot & creation of a suitable ambience / backdrop for the shoot
• Sourcing and coordination of clothes and accessories according to collection brief
• Selection of model for communication and presentation, coordination of movement, mood and
image of model and apparel
• Hair & make-up
• Photo shoots in the context of camera, lens, light etc
• Selection of final photographs
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 REFERENCE MATERIAL
• The triumph of individual Style: Carla Mason Mathis & Helen Villa
• Connor - Style: Elsa Klensch
• Black Style: Edited by Carol Tulloch
• Fantasy campaigns imaginary advertising by Carine Roitfeld spring summer 2015 Marketing
Fashion, Second edition: Strategy, Branding and Promotion by Harriet Ponser

WEB RESOURCE
• www.stylesight.com,
• www.thehairstyler.com,
• https://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-advertising

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 KFD-656: DESIGN AND DEVELOPMENT OF KNITWEAR PRODUCTS
Objectives:
To research and analyze fashion trends of existing knitwear patterns To make them
handle different knitted fabrics
To analyze design concepts and prepare knit patterns for range development and production
To develop and produce knitwear fashion products To develop the
skill for creating knitwear Collection
Learning Outcomes:
Be able to explore different types of knitted fabrics Develop stylized
drawing of designing knitwear patterns
Develop design concepts and select initial concepts for ranges
Analyze design concepts and prepare knit patterns for range development and production
Be able to design and adapt according to market requirements and latest trends
COURSE CONTENT
AIM
To create a range of knitwear products after thoroughly understanding the market and the needs of
customers.
BRIEF
The objective is to explore and develop a range of knitwear products based on the following:
Research and sourcing of trends (past and present) knit fabrics, embellishments, construction and
finishing details etc.
Selection of a theme (based on inspiration and research) Preparation of a story
board
Initial design explorations
Final Illustrations
Formulation of specification sheets
Development of paper patterns
Sourcing of material required (fabrics, trimmings and accessories) Construction and
finishing of garments
Accessorizing the collection

Presentation of the group collection to ajury

METHODOLOGY
The class to be divided into groups of four to five students who will interact and support each other in the
development of concept ideas by individual research, understanding of technical parameters, market survey
and forecast
Based on the research, a theme should be selected

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 Collection of at least twenty swatches and selection of the same as per the theme Preparation of a
color board, story board and a fabric swatch board.
Development of design options by illustration (men, women and kids)
Development of paper patterns keeping the design and fabric structure characteristics in perspective
Development of one finished design with suitable accessories Development of care-label
for the garment keeping the fabric in mind
Development of a brand name and a logo for the group’s collection and individual font for their designer
label.
At the end the group will make a final presentation under one theme to a jury. The collection should be well co-
ordinated and should be well accessorized

Note: The art work and photographs have to be preserved and digitized for compilation towards the
development of the Art Portfolio (Semester VIII).
Textbooks

Donofrio-Ferrezza , Hefferen Marilyn, Designing a Knitwear Collection

Downey Gail, Conway Henry, Knit Couture: 20 Hand-Knit Designs from Runway to Reality, St.
Martin's Press, 26-Dec-2007
Karapetyan Berta, Runway Knits: 30 Fashion-Forward Designs, Potter Craft, 2007
Buller Kate, Hatton Sarah, Fresh Fashion Knits, Crown Publishing Group, 2010
Reference Material
Spencer D J, Knitting technology: A comprehensive handbook and practical guide (Third edition)
Newton Deborah, Designing Knitwear, Published by The Taunton Press Inc., 1998 Sissons Juliana,
Basics Fashion Design 06: Knitwear, AVA Publishing, 2010 Okey Shannon, The Knitgrrl Guide to
Professional Knitwear Design, Cooperative Press, 2010
Threads Magazine, Colorful Knitwear Design, Published by The Taunton Press Inc., 1994
Brown Carol, Knitwear Design, Laurence King Publishers, 2013

Web Sources
http://textilefashionstudy.com/knitting-technology-definition-and-types-of-knitted- fabrics-produced-in-
knitting-mills/ http://www.woodheadpublishing.com/en/book.aspx?bookID=538#sthash.CQjXPUa
v.dpuf
http://www.knittingtogether.org.uk http://www.interweavestore.com/knitwear-design-
workshop http://www.fibre2fashion.com/machinery-yearbook/bierrebi/products.

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 KFD - 657: INTEGRATED DESIGN PROJECT-IV
Context of the Project
The integrated design project should incorporate and integrate the understanding of basic design, elements of
design, design process, fashion illustration, pattern making, garments construction, draping and surface
ornamentation thereby creating a meaningful correlation and application within the context of fashion. This is
done by attempting to evolve an aspired image and then creating a garment, which represents the image for a
target customer.
The project will concentrate on encouraging a mature and self-motivated approach towards the final product and
completion of work on a creative, original and technically sound either an Indian wear or Western wear.
Having gained proficiency in earlier skills, the students have also been given more advanced and specific
inputs on:

VI. Design Philosophy

Concept Development
Design and development of Indianwear Design and
development of knitwear products

VII. Skills Acquired

Advanced Photography
Pattern Grading

VIII. Knowledge Gained

Knitting technology
Fashion Merchandising & Management

IX. Product Development

Pattern making of Indianwear Pattern
grading

Leather sourcing & development of leather products

Project Methodology
Based on all the above inputs received during all the six semesters, two students are required to work together to
conceptualize and develop a mini collection of three Indian wear or Western wear outfits. An element of fabric
ornamentation to be suitably introduced.
The collection should be based on the criteria of:

- Season
- Categories
- Target market
- Customer profile / psychographics (age group, income, attitude etc.)

The students are also required to accessorize the collection to achieve a complete look.

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 Note: The art work and photographs have to be preserved and digitized for compilationtowards
the development of the Art Portfolio (Semester VIII).

Learning Outcome
Be able to plan and produce a Indian wear / Western wear collection that demonstrates expertise in all
methods of construction and knowledge of technical data for structural components, stitch methods,
pressing, finishing and presentation
Be able to evaluate, analyse and summarize the collection through appropriate styling and
accessories.
Develop an ability to produce a two-dimensional portfolio of work that projects the collection theme and
exhibits the evolution of the theme and finalization of the product design and developing of Indian wear /
Western wear

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 KFD - 658: EDUCATION TOUR
Objectives:
To explore different areas relevant to the course To gain
practical knowledge from the field study.
To enable the students to handle different situations in the practical frame work To be able to gain
knowledge and build their network.
To provide an exposure to students in different fields.
Learning Outcomes:
Be able to explore different types of culture & environment. Develop self-
confidence, social and lifestyle skills.
Be able to develop managerial attitudes and aptitude.
Be able to apply comprehensive knowledge in practical situations.

Be able to design and adapt according to market requirements and latest trends

Educational trip programme shall include Historical Places, Monuments, Destinations, Organization,
Museums, Archives of artistic, creative, aesthetics and of technologic importance etc. The students are
required to maintain a field diary all through the tour, recording every detail and information observed and
experienced during the course. The collected information should be documented through visuals, samples
and comparative studies and analysis of the same. After such a tour student shall submit a report to the
effect what he/she has learnt from the educational tour to the Head of the Department / Principal/ Director.

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 KFD-701: WORLD TEXTILES
Objectives:
• To create awareness and foster appreciation of textile masterpieces of the world
• To appreciate textiles of world vis-à-vis their material, colour and techniques
• To study the important textile arts in their historical perspective
• To assimilate and adapt this knowledge for creating design alternatives and inspiration

Learning Outcomes:
• Understand the development of textiles in the world ranging from the ancient to the contemporary
• Be able to appreciate the evolution of masterpieces of world textiles
• Be aware of the contemporization of textiles in different parts of the world
• Be able to draw inspiration for developing designs

COURSE CONTENT
UNIT-I INTRODUCTION

• Overview
• Sources of information
• Earliest findings with respect to different fibres and locations UNIT-II
WOVEN TEXTILES
• Tapestries (Coptic, Medieval Europe and China )
• Carpets ( Turkey, Persia and Central Asia )
•
Blankets and Rugs (Native American UNIT-III
PRINTED AND WOVEN TEXTILES
• Block Printing-Middle East

• Stencil Printing- African, Japanese UNIT-

IV RESIST DYED TEXTILES
• Ikats- (South East Asia, Central Asia and Africa, Japan and Indonesia)
• Tie and Dye (Shibori of Japan, Adire of Nigeria)

UNIT-V EMBROIDERED TEXTILES

• Overview
• Different stitches and motifs (Europe, South America, china, Southeast Asia etc.)
• Folk Embroiders
• Laces
• Pillow lace
• Reticelle
• Needle Point

Suggested Assignments:

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 • Make a presentation on any one given textile and give details about its history, construction, color,
design, motifs and techniques
• With reference to special design features (motifs, techniques, color and silhouette) from
different world textiles develop a portfolio, for use in contemporary styles for garments giving
at least five alternate design

Suggested Visits:
• Museum
• Trade fair
• Expo mart
• Exhibition

Textbook:
• Ginsburg Madeline, Illustrated history of Textiles, Published by Portland House,1991
• Garland, Madge,Black, J. Anderson, A History of Fashion
• Harris Jennifer, 5000 Years of Textiles, 1993
• Friedrich Fischbach, Historic Textile Patterns in Full Color: 212 Illustrations, 1992
• Gillow, John, printed and dyed textiles from Africa, The British Museum Press
• Knight Stella, Exotic Textiles in Needlepoint: Designs from Around theWorld, Guild of Master
Craftsman Publications
• Meryl Doney, Textiles (World Crafts Series), Published by Franklin Watts
• Schoeser Mary, World Textiles–A Concise History, Thames & Hudson Ltd, 2003
Web Sources:
• http://www.interlinkbooks.com/product_info.php?products_id=2891
• http://www.fultonschools.org/Dept/curriculum/Art/.../Basket%20Weaving
• http://www.islamicspain.tv/Arts-and-Science/The-Culture-of.../Textiles.htm
• http://www.vam.ac.uk
• http://www.tapestry-art.com/history.html
• http://www.bbc.co.uk/learningzone/clips/the-bayeux-tapestry/
• http://stitchusa.com/embroidery-history-to-modern-day.php
• http://www.metmuseum.org/research/libraries-and-study-centers/antonio-ratti-textile- center

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 KFD-702: CONSUMER BEHAVIOR AND FASHION MARKETING
Objectives:

• To create awareness about the people in the marketplace and their behaviour
• To learn and explore various fashion marketing ideas
• To become aware of various characteristics of consumer
• To understand the reasons leading to development of new products and marketing
strategies

Learning Outcomes:

• Be able to appreciate the nature and model of consumer involvement

• Be aware of the contemporary issues in fashion marketing
• Understand the reasons for marketing implications of consumer behaviour
• Understand the need of studying consumer behaviour and differentiate between organizational
buying behaviour and consumer buying behaviour

COURSE CONTENT
UNIT-I INTRODUCTION TO FASHION
In terms of
• Concepts
• Theories
• Marketing
• Consumer behaviour
• The Creation and Diffusion of Fashion Consumer Culture

UNIT-II CONSUMER CHARACTERISTICS AND FASHION IMPLICATIONS

• Individual consumer Dynamics: The Self, Motivation and values

• Demographic Subcultures: Age, Race, Ethnicity, Income and social class

• Psychographics: Personality, Attitudes and Lifestyle

UNIT-III FASHION COMMUNICATION AND DECISION MAKING

• Fashion Communication
• Fashion consumer decision-making
•
Sociological aspects of consumer behaviour UNIT-IV
FASHION MARKETING RESEARCH
• The fashion market: size and structure
• Marketing environment: Micro and Macro environment
• Research design and Data sources

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 • Role of Marketing research in new product development
•
Forecasting Fashion
UNIT-V TARGET MARKETING AND MANAGING THEFASHION MARKETING MIX

• Mass marketing and market segmentation

• The fashion marketing mix
• Designing and marketing fashion products
• The product mix and range planning
•Fashion and related life cycles UNIT-
VI PRICING AND PLANNING
• External and internal factors influencing price decisions
• Main methods of setting prices
• Pricing strategies in relation to new products and to match the competition
• planning process and objectives
• Marketing strategy
• The fashion marketing plan

Suggested Assignments:
• Make a report (at least three students in a group) on any one subculture of consumer studying in
detail their Age, Race, Ethnicity, Income and Social Class etc.
• Make a group presentation (four students) on any Indian or International Fashion market
studying in detail about their size and structure
Suggested Visits:
• Museum Local export house in near vicinity
• Trade fairs
• Fashion markets- Chandni chowk, Nehru Place, Karol Bagh etc
• Trade fair
GuestLecture:
• Marketing manager of any renowned brand

Textbook:
• Easey, M., Fashion Marketing, Wiley-Blackwell Publishing, 2009
• Posner, H., Marketing Fashion, Laurence King Publishing Ltd., 2011
• Rabolt, M. R., Consumer Behaviour in Fashion, Kindersley Publishing Pvt. Ltd.,2009
• Craik, J., Fashion: The Key Concepts, Berg Publishers, 2009
Reference Material:
• Kardes, F., R., Maria, C. L., Thomas Warren Cline, Consumer Behaviour, 2008
• Sidney, P., Abraham Raine, Consumer behaviour and fashion marketing, 1979
• Jennifer Y., Kim K. P. Johnson, Fashion and the consumer, 2010
• Russell W. Belk, Linda Scott, Søren Askegaard, Research in Consumer Behaviour, 2012
• Hines, T. and Bruce, M., Fashion Marketing, Elsevier Ltd. 2007

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 Web Sources:
• http://www.slideshare.net/tamana2223/7008203-consumerbehaviour
• http://www.academia.edu/1430234/CONSUMER_BEHAVIOUR
• http://www.pearsonhighered.com/Consumer-Behavior-in-Fashion/97801317
• http://wwwwww.gobookee.org/consumer-behaviour-in-fashion-solomon
• http://www.barnesandnoble.com/consumer-behavior-in-fashion.../11005081

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 KFD-751: CHOICE BASED ELECTIVE (ANY 2) KFD-751-1. FASHION ACCESSORIES (Elective)

Objectives:

• To learn the different aspect of fashion accessories

• To develop the techniques of accessory design and its commercial values
• To familiarize the students with various materials used in making jewellery.
Learning Outcomes:

• Be able to develop the skills of accessory illustration

• Be able to create new accessory designs
• Be able to make the design according to the garments

COURSE CONTENT
UNIT-I DESIGN INSPIRATIONS – JEWELRY

• Research
• Analysis of fashion forecasting
• Understanding the basic tool kit

UNIT-II HANDLING OF DIFFERENT MATERIALS

• Work with paper, fabrics, dried stuff, wood, glass, string beads etc.

UNIT-III BASIC JEWELRY TECHNIQUES

• Saw piercing, drilling, filling, soldering

• Working with wire ;Drawing, bending, cutting, spirals, forging jump rings, chains,
twisting

UNIT-IV SURVEY REPORTS

• Market surveys
• Design presentations
• Final concept

UNIT-V FINISHED PRODUCTS

• Sample Exploration
• Introduction to various raw materials
•Sampling
Suggested Assignments:
PROJECT-1

• Use different material and develop different accessory designs

PROJECT-2
• On a selected garment silhouette, and develop the accessory designs accordingly.

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 Note: The art work and photographs have to be preserved and digitized for
compilation towards the development of the Art Portfolio (Semester VIII).
Suggested Visits:
• Jewellery shops/workshop
Textbook:
• Gale, E. and Little, A. Jewellery Making, McGraw-Hill Companies, 1999
• Phyllis, G. T., Encyclopaedia of Fashion accessories, 2003
• Peacock, J., Fashion Accessories, Thames & Hudson, Limited, 2000
• Kathleen, B., Creative Clothes and Accessories for Children, Sally Milner Publications, 1998
Reference Material:

• Allison, S., Walker, T. and Wycheck, A. Basic Jewellery Making: All the Skills and Tools You Need
to Get Started, Stackpole Books, 2006
• Aristides, C., Bejewelled: Beautiful Fashion Jewellery to Make and Wear Using Crystals, Beads, and
Charms, St. Martin's Press, 2007
• Mizuno, K. I, Bead weaving Brilliance: Make Beautiful Jewellery as You Learn Off-Loom
Techniques, Japan Publications Trading Company, 2007
• Chasity, A., Basics Fashion Design: Fashion Jewellery, Ava Publishing SA, 2011

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 KFD-751-2. CREATIVE PATTERN MAKING (Elective)
Objectives:

• To conceptualize experimental interpretations and explorations of design.

• To innovative conventional precepts of pattern making by radically differentiating
apparel styling and detailing by manipulating basic patterns.
• To stimulate development of individual and original design from concept to finished garment.
• Understanding and visualizing design, proportion and styling
• Visual interpretation of existing collections of national and international designers
• Understanding various garment components which form the basis for more contemporary
creations
• Understanding unusual patterns and silhouettes and developing advanced interpretive skills
of draping and pattern making
Learning Outcomes:

• Visually interpreting any form or structure and conversion of the same into a garment.
• Creating/working out a new shape and then working it out with the 2D or 3D pattern adaptation.
• Jacket, using the insides of the jacket for a different feel and texture) to create a new garment.
• Creating an original design inspired by any designer.
• Innovative design elements e.g. collar placket, cuffs, gussets, pleats, sleeves, hems, waist band,
etc.
• Patterns inspired through costumes, personalities, drama or cinema
• Creating designs inspired by elements of traditional Indian costumes

COURSE CONTENT
UNIT-I DESIGN MANIPULATION
Through
• Creative Dart Manipulation
• Godet Method of pattern creation

UNIT-II INSPIRATIONAL DESIGNS

• Crushed Paper inspired

• Geometric shapes inspired
• Architecture inspired
• Origami inspired
• Nature inspired

UNIT-III INNOVATIVE WOMEN’S WEAR

• Innovative Skirts
• Innovative Trousers
• Innovative Sleeve
• Innovative collars

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 UNIT-IV INNOVATIVE MEN’S WEAR

• Innovative Skirts
• Innovative Shirt styles
• Innovative Trousers
• Innovative Jackets

Mandatory Assignments:
PROJECT-1
• Dart Manipulation inspired garment’s Muslin Test fit ( any 5) PROJECT-2
• Inspirational Designs inspired garment’s Muslin Test fit ( any 5) PROJECT-3
• Innovative Women’s wear considering unit III (Full garment two piece ) PROJECT-4
• Innovative Menswear considering unit IV (Full garment two piece )
Note: The creative work and photographs have to be preserved and digitized for compilation towards
the development of the Art Portfolio (Semester VIII).

Suggested Visits:
• Export house and designing house for Menswear and Women’s wear

Reference Material:
• Style.com
• Vogue
• Elle
• Collezioni
• Show Details

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KFD-751-3. VISUAL MERCHANDISING (Elective)
Objectives:

• To understand the impact of visual merchandising on the customer

• To appreciate display as a basic tool to promote a product image
•To apply knowledge of colours in window display in a manner that will appeal to customers
Learning Outcomes:

•
Be able to appreciate and understand Be able to put together the knowledge of basic elements and
principles of design for an attractive display
• Be able to understand the importance of display props, décor and visual merchandising elements
• Be able to use their creative skills for an appealing window display
COURSE CONTENT

UNIT-I INTRODUCTION TO VISUAL MERCHANDISING

• Concept and terminology of visual merchandising
• Types of visual merchandising
• Display concepts (seasonal, festival etc.)
• Significance of visual merchandising
• Understanding various exhibition and display concepts

UNIT-II BASIC TOOLS FOR VISUAL MERCHANDISING

• Furniture and fixtures
• Props
• Graphics and signage
• Mannequins etc.

UNIT-III THEORIES OF VISUAL MERCHANDISING

• Colour (colour schemes, colour stories & colour blocking)
• Texture
• Line and composition
• Lights and lighting systems
• Exhibition design with emphasis on stall design in trade fairs
UNIT-IV VISUAL ELEMENTS FOR STORE PLANNING AND DESIGN

• Store layouts and design

• Fonts
• Photographs
UNIT-V WINDOW DISPLAY AND THEME CHANGES
• Conceptualization of theme
• Mood Board

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 • Window display and in store display
Mandatory Assignments:
PROJECT-1
Conduct a market survey of window display and prepare a portfolio depicting photographs on various kinds visual
displays for apparel / accessories and analyse the following:

• Theme
• Floor plan
• Fixtures and display materials
• Props
• Light and lighting systems
• Colour
• Graphics and signage
• Mannequins etc.
Students are expected to visit malls/boutiques/markets/fashion studios/designer's outlet to conduct the same.

PROJECT-2
The objective is to design a 3D model for a brand based on any thematic scheme after conducting the market survey.
The display should be a miniature of actual window display developed and researched by the students

• The entire class will be divided into groups of two

• Each group will select a brand or can create their own brand
• Selection of a theme which inspires or excites
• Preparation of a mood board
• Concept presentation of different kinds of display using hand/computer CAD skill-illustration showing the display
in selected space
• Selection of final illustration to be displayed in the form of model
• Sourcing of materials required (prop, furniture, fixtures, mannequins etc)
• 3D model representation of final selected display
• Presentation of the display to a jury
Note: The art work and photographs have to be preserved and digitized for compilation towards the development of the Art
Portfolio (Semester VIII).
Guest Lecture:
• From an industry expert
Textbooks:

• Pegler. Martin M., Visual Merchandising and Display, Bloomsbury academic, 2011
• Jean-noel kapferer , Visual merchandising & display “Brand management“
• Weishar, Joseph .,The aesthetics of merchandise presentation, St Media Group, 2005
• Bell. Judith & Ternus. Kate, Silent Selling: Bes Practices & effective strategies in VM, Bloomsbury

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 Academic, 2011
•
Jay Diamond & Ellen Diamond, Contemporary Visual Merchandising & environmental design, Prentice
Hall, 2004 - Business & Economics
Reference Material:
• Bhalla Swati & S Anuraag, Visual Merchandising, Tata McGraw-Hill Education, 2003
• Laura L. Bliss, The Fashion Makers, Random House, 1978
• Roundy N. & Maid. D, Strategies for Technical Communication, Little Brown and Company Boston, 1985
• Walz B. & Morris, The Fashion Makers, Random House, 1978
• Catellino M., Fashion Kaleidoscope, Rup & Co., 1994

Web Sources:
• http://www.fibre2fashion.com/industry-article/6/547/the- art-of-visual- merchandising1.asp
• http://retailindustry.about.com/od/retailjobsprofiles/p/visualmerch.htm
• http://www.edexcel.com/migrationdocuments/BTEC%20Nationals%20fro
m%202010/Unit%2030%20Visual%20Merchandising%20in%20Retail%20Issue%202.pdf

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KFD751-4: DIGITIZATION IN THE FASHION INDUSTRY (ELECTIVE)

Objective-
• To help student adapt to large-scale changes due to the rise in technology and its impact on the fashion industry
• To generate awareness regarding the wearable technology to adapt to new consumer lifestyle Introduction to
global advancement- revolutionary e-textiles, advanced manufacturing and changing buying experience with
the help of technology
• Develop ability to understand and analyze the integrated dynamics of e-commerce, social-media trends, and
online communities
Learning Outcome-
• Students will be aware of digital tools and will be able to analyze data to keep their fashion product relevant in
global market
• Students will be able explore new fashion products and design scope in the fashion industry with the help of
technological awareness
• Students will develop the skills to efficiently communicate their brand, creativity and efficiency to the targeted
customers in the shortest time with usage of right digital resources
COURSE CONTENT
Unit-1 Introduction to the concept of fashion industry digitization also know as fourth Industrial revolution
• Basics of fourth industrial revolution and its impact on fashion industry
• Critical analysis of digital/virtual sales VS brick and mortar/ traditional sales
•
Recommended activity- Team debate on pros & cons of digital sales
Unit-2 Consumer digital behavior (data) analysis and implementation in product development

• Introduction to the concept of consumer behavior

• Process of converting data to consumer insight

• Recommended activity- Group brainstorming and presentation
Comparative data analysis of 2 recent fashion trends to conclude fashion product following which trend are more
likely to sell.
The activity needs to be performed in 2 separate groups and presented accordingly with a conclusion

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Unit-3 Fashion and technology integration
• Introduction to e-textiles also know as smart garments
• 3D printing to manufacture fashion garments and accessories
• Consumer interface and digital shopping experience- use of artificial intelligence, virtual reality,
body scanning and 3D merchandising
• Recommended activity- Brainstorming uses of e-textiles and survey on consumer preference

Unit-4 Digital age communication and marketing

• Difference between digital and conventional communication & marketing
• Role of #tag, feedback, rating, influencer vlog and blog in fashion marketing
• Strategic and collaborative digital communication
•
Recommended assignment- Case Study on any fast fashion or luxury brand- Transformation of
communication and marketing strategy in last 5 years and what it would be in next 2 years
Mandatory project- Personal interpretation and research paper on one of the below videos

• https://youtu.be/WquJ7PEqYi8
• https://youtu.be/uMOAbNfmEuo
• https://youtu.be/S_sPizunjOo
• https://youtu.be/yPWp9nkLhmA
Suggested Text books

• Fashion 4.0 - Digital Innovation in the Fashion Industry By Oliver Behr

• https://www.researchgate.net/publication/326263764_Fashion_40_-
_Digital_Innovation_in_the_Fashion_Industry
• Digitalization in the fashion industry Paperback – March 17, 2019 Digital
marketing 2020 by Danny Star
• Electronic Textiles: Smart Fabrics and Wearable Technology (Woodhead Publishing Series in
Textiles)
• https://www.amazon.in/Electronic-Textiles-Wearable-Technology-Publishing-
ebook/dp/B00X3JM846

Suggested web sources -

1. https://www2.deloitte.com/ch/en/pages/consumer-industrial-
products/articles/ultimate-challenge-fashion-industry-digital- age.html
2. https://www.credit-suisse.com/about-us-news/en/articles/news-and-expertise/how- will-
digitization-influence-fashion-and-the- way-we-shop-201605.html
3. https://medium.com/datadriveninvestor/physical-to-digital-disruption-in-the- fashion-
industry-1a88be78a3a5
4. https://sourcingjournalonline.com/mckinsey-cpo-survey-digitalize-die/

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 KFD-752: MANDATORYELECTIVE (ANY 1)

KFD-752-1. BUSINESS OF FASHION LUXURY (Elective)

Objectives:
• To give an overview of the business of luxury – India & International
• To define the concept of luxury products and consumer.
• To highlight the difference between old and new luxury

Learning Outcomes:
• An understanding of the phenomenon of luxury and the socio, economic and cultural aspects
associated with it.
• Understanding the psyche and motivations of the luxe consumer.
• Interrelationship of different facets of the luxe Industry.

COURSE CONTENT
UNIT-I INTRODUCTION TO THE CONCEPT OF LUXURY

• Understanding Dynamics of the Image making Industry

• Concept of Luxury
• Luxury products
• High net worth individuals
•
Luxury Segments
UNIT-II RELATION BETWEEN LUXURY AND ECONOMICAL DEVELOPMENT

• Real versus the imaginary

• Material versus the symbolic
• Social versus the self
• Desire versus satisfaction
• Relationality versus irrelationality
•
Materialism versus spiritualism
UNIT-III INTERNATIONAL AND NATIONAL LUXURY MARKET

• Real versus the imaginary

• International Trends
• Indian Trends
• Indian Consumer
•
Indian Market
UNIT-IV SWOT ANALYSIS OF LUXURY BUSINESS

•
Case Study of existing brand
Suggested Assignments:
PROJECT-1

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 Make a Presentation on Indian concept of luxury
Note: The art work and photographs have to be preserved and digitized for compilation towards
the development of the Art Portfolio (Semester VIII). Textbooks:

• The Cult of The Luxury Brand – RadhaChadha&PaulHusband,2006

• The Fashion Book, Phaidon Press, 1998
• A Century of Fashion, Francois Baudot , 1999
• Fashion Today, Colin McDowell, 2000
• 20th Century Fashion, Valerie Mendes & Amy de la Haye
• World Distribution of Swiss Watch Exports, “2005”, Federation of SWI FH, 2005
• Distinction: A Social Critique of the Judgment of Taste, Pierre Bourdieu, 1986
• China: The New Lap of Luxury, Earnest and Young, 2005
Reference Material:

• Internet sites on Fashion, wealth, luxury etc.

• http://www.ftconferences.com/luxury2010/

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 KFD-752-2. CORPORATE DESIGNS AND FASHION INDUSTRY (Elective)
Objectives:
• Introduce the role of corporate designs in fashion advertising and communication
in terms of past, present and futures.
• To conceptualize innovative modes of presentation.
Learning Outcomes:

• Upon the completion of the course the students shall be able to

• Demonstrate an understanding of materials, techniques, corporate design –
concepts in industry
COURSE CONTENT
UNIT-I INTRODUCTION OF CORPORATE DESIGN

• Type of Logo,
• • Letter Head of visitor

UNIT-II ANALYSIS OF EXISTING CORPORATE DESIGNS

(example: Leading fashion brand, fashion designer or fashion house )

• Company profile
• Historical background
• Brand Analysis
• Logo history and relevancy of logo

UNIT-III DESIGNING OF OWN BRAND

• Category of brand (Apparel, Accessory, cosmetic or corporate)

• Name own brand or modify existing brand
• Mini campaign for selected brand
• Business plane for selected brand

Suggested Assignments:
PROJECT-1
Research on existing corporate designs like history of logo
Note: The art work and photographs have to be preserved and digitized for compilation towards
the development of the Art Portfolio (Semester VIII). Reference Material:

• American showcase
• Advertising Art and Ideas. Dr. G.M. Rege
• Logo lounge (International identities by leading designer)
• Letterhead and logo design
• Los logos
• Fashion journals

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 KFD-752-3FASHION FORECAST FOR INDIAN RETAIL (Elective)
Objectives:

• To understand the relevance of fashion forecast in the Fashion Business

• To understand the prevalence of fashion forecasting in Indian markets
• To comprehend fashion forecasting as a tool to understand consumer behaviour in the
Indian scenario

Learning Outcomes:

• To study the growing Indian retail market in the context of fashion business
COURSE CONTENT

UNIT-I INTRODUCTION TO RETAIL IN INDIAN FASHION BUSINESS

• Fashion in the Indian context.

• How does Indian Fashion business understand ‘change’ in the
• context of fashion seasons, trends etc.
•
Techniques for detecting emerging trends.
UNIT-II DISTRIBUTION OF CONSUMER GROUP AND FASHION MARKETCONSUMER GROUP

• Psychographic
•
Demographic
UNIT-III FASHION MARKET AND CLOTHING CATEGORIESTOOLS OF FASHION
FORECASTING

• Consume Research and feedback

• Trend Spotting.
• Competitors style and data analysis
• Sales Tracking and Analysis.
• Observation posts.
• Fashion media, publication and websites/blogs.
• New Technology And other influences.

UNIT-IV ELEMENTS OF FASHION IN FORECASTING IN INDIA

• Colours
• Fabric
• Styles
• Fit

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 • Influence of media on markets
• Change in different aspectse.g.: economical, lifestyle, attitude Etc

Suggested Assignments

PROJECT-1 Psychographic, Demographic and Lifestyle study of one consumer group of any
Fashion Retail Brand in India.

PROJECT-2 Brand study and presentation of an International luxury brand

PROJECT-3 Using tools of fashion forecasting, develop a trend observation report for the chosen
target consumer group.

Reference books

Reference Material

• Apparel online
• Images Retail
• Apparel India
• The stitch times
• Elle India
• Vogue India
• Femina

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 KFD – 753: BRIDALWEAR: DESIGN AND DEVELOPMENT
Objectives
• To familiarize with the growing Bridal wear market, with special reference to local &
international brands
• To understand the different categories of Bridal wear
• To understand the methodology of conducting a market survey viz a viz contemporary design
in terms of style details, colours, fabrics, trims, sizes and price
• To understand the usage of appropriate textile materials for development of Bridal wear
• To develop an understanding of developing patterns of Bridal wear To acquire
construction and finishing techniques of Bridal wear To develop the skill for
creating an Bridal wear Collection

Learning Outcomes
• Be able to understand the socio-economic-cultural factors that contribute to the expansion
in Bridal wear market
• Be able to understand the transformation in Bridal wear from earlier to
contemporary times
• Be able to co-relate textile properties like fabric construction, texture and design with
garment design
• Be able to design and adapt according to market requirements and latest trends
• Be able to draft patterns and incorporate appropriate construction and finishing
techniques for all designs
COURSE CONTENT

AIM
To create a bridal wear after thoroughly understanding the market and the needs of customers. It should
be a mini collection of four or five complete outfits based upon a theme developed and researched by
the group.
BRIEF
The objective is to explore and develop a range of Bridal wear based on the following:
▪ Research on trends in the past and present scenario, textile materials, embellishments, construction
and finishing details etc.
▪ Selection of a theme which inspires or excites
Preparation of a story board
▪ Formulation of specification sheet
▪ Final Illustrations Development of paper patterns Sourcing of materials required
▪ Construction and finishing of garments
▪ Presentation of final ensemble to jury METHODOLOGY
▪ The class will be divided into groups of four to five students. They will interact and support each
other in the investigative research in the market, library and the forecast. At the end a common
theme should emerge.
▪ Each individual student designs a range around the theme
▪ The group will also create a brand name. Each student will create a logo for the
brand name, colour palette and a fabric story. The group will create a story board based on the
theme that should comprise of visual references.
• Each student will sketch and develop a wide range of ideas ensuring that silhouettes and design
details are suitable for Bridal wear. Also ensure that while designing separate equal attention is
given to tops and bottoms.
Curriculum & Evaluation Scheme
Page 183
 • The range must consist of a number of garments which can be put together to form a mini
collection of four to five outfits.
• All garments must be illustrated as accurate working/specification sheets.
• A complete labelled paper pattern for the same needs to be developed with all instructions and
symbols etc. mentioned
• Each student in a group is expected to make one garment.
• During the final presentation to the jury the complete outfit (prepared by all the group members)
should be displayed along with the suitableaccessories.
Note: The art work and photographs have to be preserved and digitized for compilation towards the
development of the Art Portfolio (Semester VIII)

Textbook
• Kumar, Ritu, Costumes and textiles of royal India, Antique Collectors' Club, 2006
• Arendse, Margot, Couture Bridal wear: Pattern Layout and Design, Anova Books,
2000
• Couture Sewing Techniques, Taunton Press, 2001
REFERENCE MATERIAL:
o Khaeljve,nS
inugsawn,e aBr,riK
darlacuosue tP
uureb:lifcinaetiosnesw, in1g99tt7echniques for wedding gowns an
▪ Gibson, Clare, The Wedding Dress, Courage Books, 2001
▪ Emanuel, David; Emanuel Elizabeth, A Dress for Diana, Pavilion, 2006
Web Sources
• http://en.wikipedia.org/wiki/Wedding_dress
• http://en.wikipedia.org/wiki/Wedding_dress
• http://www.raymondindia.com/ss_wedg.asp
• http://en.wikipedia.org/wiki/Indian_wedding_clothes

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 KFD - 754: INTEGRATED DESIGN & DEVELOPMENT
Context of the Project
The integrated design project should incorporate and integrate the understanding of basic design,
elements of design, design process, fashion illustration, pattern making, garments construction,
draping and surface ornamentation thereby creating a meaningful correlation and application within the
context of fashion. This is done by attempting to evolve an aspired image and then creating a garment,
which represents the image for a target customer.
The project will concentrate on encouraging a mature and self-motivated approach towards the final
product and completion of work on a creative, original and technically sound either a sportswear or
institutional wear.
Having gained proficiency in earlier skills, the students have also been given more advanced and
specific inputs on:

Design Philosophy
▪ Concept development
▪ Design and development of Bridal wear
▪ Accessories design & development

Skills Acquired

• Visual Merchandising

Knowledge Gained

• World Textiles
• Consumer behaviour & fashion marketing
• Environmental concerns and sustainability
Product Development

• Internship
Project Methodology
Based on all the above inputs received during all the seven semesters, two students are required to
work together to conceptualize and develop a mini collection of three sportswear / institutional wear
outfits. An element of fabric ornamentation to be suitably introduced.

The collection should be based on the criteria of:

- Season
- Categories
- Target market
- Customer profile / psychographics (age group, income, attitude etc.)

The students are also required to accessorize the collection to achieve a complete look.
Note: The art work and photographs have to be preserved and digitized for
compilation towards the development of the Art Portfolio (Semester VIII).

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 Learning Outcome
• Be able to plan and produce a sportswear / institutional wear collection that
demonstrates expertise in all methods of construction and knowledge of technical
data for structural components, stitch methods, pressing, finishing and presentation
• Be able to evaluate, analyse and summarize the collection through
appropriate styling and accessories.
• Develop an ability to produce a two-dimensional portfolio of work that projects
the collection theme and exhibits the evolution of the theme and finalization of the
product design and developing of sportswear or institutional wear

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 KFD-755: INTERNSHIP
Objectives
▪ To appreciate the different aspects of the fashion and apparel industry To learn the functioning
of the industry and be able to work on a project assigned by the industry
▪ To study the current trends in the market, interpret the same to create own concepts
Learning Outcomes

▪ Be able to develop the skills to analyze the company profile

▪ Be able to compile the collected data of the company for presentation in the form of a
document
▪ Be able to create a collection based on the project by following the design process

INTERNSHIP BRIEF FOR THE STUDENTS

Unit I DESIGNING
▪ Components of a Business Oriented Collection
▪ Factors Contributing to a Commercial Collection
▪ Interpretation of Key Forecast
▪ Decision Making On Colours
▪ Trade Sketching
▪ Design Development Sheets
▪ Range Planning as a Synthesis Of Creativity & Utility
▪ Criteria for Mass Production / Prêt

Unit II SOURCING

• Methods of Sourcing
▪ Vendors – Terms, Conditions & Policies
▪ Fabrics
UNIT III – FABRICS
• Processing & Printing accessories
• Different Types of Fabrics – Developments & Production
• Different Types of Printing, Sampling & Production
• Different Types of Dyestuff & Applications
Unit IV SAMPLING
▪ Process Planning
▪ Selection & Managing Workforce Interaction, Communication & Coordination Pattern
Making
▪ Cutting
▪ Quality Measures
Fit
▪ Grading
▪ Finishing & Packing
Unit V OTHERS
• Background of the Organization

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 • Marketing Policies & Production
• Quality Assurance & Control
• Export Formalities & Shipping
• Overview of Export Potential

INTERNSHIP BRIEF FOR THE EDUCATIONAL INSTITUTE

▪ To have a continuous interaction with the industry by way of students visits,
special lectures by industry experts and industry sponsored projects
▪ To create a database of the industries willing to support student
internships
▪ To dedicate a faculty member to coordinate and facilitate student, internships from
identifiable industries to follow up during training and till the final presentations
▪ To allocate the industry unit for training to the students keeping in mind their
▪ preference and suitability
▪ To request the manager to nominate a mentor to oversee and co-ordinate the
training program of the student

Suggested Visits

Sourcing hubs for fabric, trims and accessories etc.

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Page 188
 KFD-801: ENTREPRENEURSHIP AND DESIGN MANAGEMENT

Objectives:
• To understand the concepts of entrepreneurship
• To know about the different types and kinds of entrepreneurship
• To inculcate knowledge about different barriers of entrepreneurship To gain
knowledge about methods of identifying and selecting entrepreneurial ideas
• To acquire financial management skills
• To gain knowledge about steps involved in developing a project proposal
Learning Outcomes:
▪ Understand the meaning and concept of entrepreneurship development Develop
appreciation for entrepreneurship as a career
▪ Develop the ability to identify and plan a project proposal
Develop skills in launching and managing an enterprise
▪ Be able to understand the nuances of financial management
COURSE CONTENT

UNIT-I INTRODUCTION TO ENTREPRENEURSHIP Concept

▪ Need and significance Classification of entrepreneur

▪ Types of enterprises classification based on capital, product and ownership
▪ Estimation and mobilization of resources Challenges
▪ Barriers

UNIT-II ENTREPRENEURIAL MOTIVATION AND IDEAS

• Meaning of Achievement motivation
• Motivating factors: Internal and External Creativity and idea
generation
• Selection of entrepreneurial ideas

UNIT-III ENTERPRISE MANAGEMENT

• Managing Production
• Managing marketing
• Financial management

UNIT-IV ENTERPRISE NETWORKING

• Enterprise resource planning- concept, dynamics and methods
• Role of institutions- CII, KVIC, NIESBUD, FICCI and NGOs

UNIT-V PROJECT PROPOSAL

• Swot Analysis
• Format Content
• Steps in its preparation Project
feasibility analysis
Suggested Assignments
SWOT analysis with respect to entrepreneurial competencies
Case profiling of successful entrepreneurs and enterprises
Preparation of business plan

Curriculum & Evaluation Scheme

Page 189
 Suggested Visits

▪ Visit to self-employed boutique owner or designer

Local export houses
▪ Craft bazaar
Guest Lectures
Experts from an organization working for young entrepreneur such as NIESBUD, KVIC, FICCI,
EDII, etc.
Textbooks
o Gundry Lisa K. & Kickul Jill R., Entrepreneurship strategy: changing patterns in
New Venture Creation, Growth and Reinvention, SAGE Publications, Inc 2007
o Taneja & Gupta, Entrepreneur Development- New Venture Creation, Galgotia Publishing
Company, 2001

Reference Material
o Bhatia B. S., Batra G. S., Entrepreneurship and Small Business Management Michele M.
Granger, Sterling Tina, Fashion Entrepreneurship: Retail Business Planning
o Uddin Sami, Entrepreneurship Development in India, Mittal Publications, 1989
o Saxena A., Entrepreneurship: Motivation, Performance and Rewards,2oo5
Web Sources

• http://www.trendhunter.com/slideshow/innovative-startups
• http://www.ait.org.tw/infousa/zhtw/docs/enterp.pdf
• www.marsdd.com/different-types-of-entrepreneurship-whats-best
• www.engineeredlifestyles.org/types-of-entrepreneur.html
• http://www.under30ceo.com/10-qualities-of-a-successful-entrepreneur
• http://wwwentrepreneuraffluence.com/articles/entrepreneur-characteristics

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 KFD-851: CHOICE BASED ELECTIVE (ANY 2) KFD-851-1.
FASHION ACCESSORIES (Elective)

Objectives:

• To understand and appreciate the design philosophy and market strategies of individual
company.

Learning Outcomes:

• Be able to understand and appreciate the design philosophy and market strategies of
individual company

COURSE CONTENT

Mandatory Project

• Attachment of three weeks to a manufacturing unit to access and report the company profile,
design focus, marketing and promotional strategies.

Make a final report for the same and presentation to a jury.

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Page 191
 KFD-851-2. CREATIVE PATTERN MAKING (Elective)

Objectives:

• Development of individual styles and processing if from concept to finished garment.

• Developing seamless patterns
• Altering and redefining the shape of the garments by shifting seems, adding or
reducing / removing volume.
• Deconstructing existing garment into new styles.

Learning Outcomes:

• Altering the shape of the garments to move away from body.

• Re-structuring an existing garment (e.g. taking an old jacket, opening it up and
understanding the engineering of the
• Unconventional positioning of seams as design details e.g. use of darts
To create a different bodice block using unconventional seams and
darts
To create skirts of different shapes using
unconventional seams and darts
To create sleeves of unconventional shapes Trousers with
unconventional seams

• Inventing innovative garment details such as pocket, fastening, closures, belt, placket etc. in the
context of any existing garment. These could be pattern making or construction based.
• Creating unstructured shapes / silhouettes through Origami – based folding and
seaming techniques

COURSE CONTENT

Mandatory Project

• Research based project on contemporary trends for innovative pattern making.

Make a final report for the same and presentation to a jury.

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 KFD-851-3. VISUAL MERCHANDISING (Elective)

Objectives:

• To understand elements and principles of layout for a specific display.

• To analyse market trends and formulate merchandising policies.

Learning Outcomes:

• Be able to create displays using appropriate props, light and sound for an effective display.
• Be able to create new marketing strategy based upon extensive market survey of various
brands.

COURSE CONTENT

Mandatory Project

• Comparative study of window display of any two categories of garments and accessories.

Make a final report based on the study for the same and final presentation to a jury.

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 KFD851-5 DIGITIZATION IN THE FASHION INDUSTRY (ELECTIVE)
Objective- To develop a holistic understanding of fashion digitization and its various steps from
conception of product idea to selling it to the end costumer

Learning Outcome-

Students will be able to cope with the future tech savvy fashion industry

COURSE CONTENT-

Mandatory Project- Prepare a detailed presentation along with supportive prototype (prototype
can be made with available material and use of technology/textile can be explained)

Follow below steps

• Conceptualize a fashion merchandise using e-textile/wearable technology/ 3D

printing (presentation needs to be detailed as designing a regular
garment/accessory)
• Select an existing brand which can sell the product and do product branding accordingly
• Market research and data analysis
• Formulate a marketing and communication strategy
• Finalize various digital platforms via which product can be sold

NOTE- Each step needs to be supported with relevant images, survey, research and analysis

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Page 194
 KFD-852: MANDATORYELECTIVE (ANY 1)
KFD-852-1. BUSINESS OF FASHION LUXURY (Elective)
Objectives:

• To introduce the students to various national and international luxury brands.

Learning Outcomes:

• Understanding the creation and positioning of brands.

• Understanding the marketing and promotion policies of brands.

COURSE CONTENT
UNIT-I ANALYTICAL STUDY OF TRADING UP TO NEW

• List of new luxury brands for apparel and accessories

• Process of brand creation
• Role of celebrities in promotion of luxury brands

Mandatory Project

• Research and compilation of at least six luxury brands of apparel and accessories. Make a
final report based on the Research for the same and final presentation to ajury
• Scrap book and final document of brand creation

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Page 195
 KFD-852-2. CORPORATE DESIGNS AND FASHION
INDUSTRY(Elective)
Objectives:

• Types of corporate designs, letterhead, logo, envelop and visiting cards, etc.
• Introduce the graphics and reprographic materials and techniques.
Learning Outcomes:

• Analyse and articulate designs concepts

• Strengthen presentation skill
• Demonstrate a practical understanding of corporate design – fashion industry

COURSE CONTENT
Mandatory Project

• Complete processed based documentation submission with mini campaign for

selected brand and business plane.

Curriculum & Evaluation Scheme

Page 196
 KFD-852-3. FASHION FORECAST FOR INDIAN RETAIL (Elective)
Objectives:

• To develop skills to interpret and apply forecasting at various levels in fashion business in
India.
Learning Outcomes:

• To familiar with various tools of fashion forecasting

• To understand the nuances of Indian fashion

COURSE CONTENT

UNIT-I PROCESS OF FASHION FORECASTING

• Market study and customer feedback.

• Lifestyle study
• Reporting
• Sales data analysis
• Fashion publication analysis
• International Trends
• Fashion meetings
• Shopping
• Common denominator analysis

Mandatory Project

• Research Using process of fashion forecasting, analyze the trend observation report
and develop a design report on forecasted styles, colours, details, prints etc. for the
chosen target consumer group.

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 KFD–853: ART PORTFOLIO
Course objective

• To develop a portfolio which is the reflection of an individual students design

philosophy
• To reflect the assimilation of various inputs received both creative and technical so far
• To display the various projects and assignments undertaken by the student
• To convey the specific area in which the students interest is reflected

Learning outcome

Be able to create a body of work which represents different areas of study ranging from
creative, technical, skill oriented and promotional

Methodology
• The students will refer to their work/projects/assignments undertaken during earlier
semesters. This work should be digitized and edited for preparation of final art portfolio.
• In addition, different projects, surveys and documents etc. too would be available for
reference. The industry internship experience too has to be included in the portfolio.
• The portfolio should have the resume/ biodata of the student.
• The design philosophy or preferences must be manifested in the form of an initial
write up.
• All design projects undertaken by the student must be included in a very brief and
comprehensive presentation.
• Effective presentation techniques must be employed along with suitable graphics and
visual references.
• Any promotional techniques material developed earlier or at present for various projects
must also be included.
• Competence in CAD must be demonstrated in relevant areas.
• Understanding of the industry must also be presented by special projects
undertaken for research, market survey and case studies etc.

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 KFD–854: DESIGN COLLECTION

Objectives
• To produce an innovative and appropriate portfolio which emphasizes an original yet commercially
realistic approach to the collection
• To source an innovative range of appropriate fabrics and trimmings
• To analyze and evaluate a range of design concepts from basic blocks into accurate production patterns
and toiled prototypes, showing technical expertise in construction and in aesthetic interpretation and
evaluation of two-dimensional concepts into three dimensional and visually appealing
• To apply effective time management and plan individual schedules for the production and completion of
work and demonstrate the ability to evaluate, analyze and verbally summarize the value of design and
technical work against self-determined criteria

Learning Outcomes
• Be able to demonstrate an ability to research, analyze, appraise and synthesize appropriate contextual
information related to one’s design collection
• Be able to identify and communicate clear aims and objectives related to the client and user requirements
for the proposed design collection through production of a well-conceived and structured working brief
• Be able to demonstrate the ability to follow the design process to develop a design collection showcasing
one’s design capabilities and prowess most effectively
• Be able to demonstrate an ability to evaluate and assimilate research findings into a well-structured and
professionally presented design collection befitting the client requirements
COURSE CONTENT

BRIEF
The design collection is the final result of assimilation of all the inputs received during the preceding
semesters. It is a creative presentation of the students design capabilities coupled with technical skills. It is an
opportunity to realize design potential within the parameter of a time-frame by dedicated research,
development and execution of a small, commercial or conceptual collection. This is to be supported by
evidence of research, analysis, ideation, conceptualization, effective sourcing, finishing and critical
presentation of the theme. The collection should preferably be targeted towards a specific season, customer
profile and price range. It is expected that the students will pursue
necessary steps in their design process and its evolution. It should be an independent endeavor of the student
with necessary support from the industry and the institute by way of sponsorship and encouragement.
Toiles should be constructed with a high level of insight and understanding of technical specification
requirements, showcasing skills in problem identification and solving. Emphasis should be laid on style
interpretation and decision making in all aspects of toile making i.e. silhouette, line and proportion, detail and
fitting.
Each student’s work should concentrate on encouraging a mature and self-
motivated approach towards the production of a creative and technically sound fashion collection.
METHODOLOGY
• Each individual student will develop a full range of 5-8 garments for their final design collection. Each
collection should ideally have a target market and could be visualized for a specific occasion from
any one of the categories –party wear, clubwear, sportswear, beachwear/resort wear,
uniform, casualwear, formalwear etc. for men or women or kidswear with presentation, promotional
planning and execution. Ensembles should be suitably accessorized.

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 • The students will follow the complete design process of research, concept development, sourcing, prototype
development, finishing, accessorizingand presentation.
• Each student will first select an inspiration from themes like festivals, photographs / paintings, ideology
(royalty / mughal / fine living / contemporary lifestyle etc.), emotion (anger / joy / frustration / companionship
etc.), current events, architecture or any other. Both the inspiration and the context need not be restrictive
since the theme provides for a wide scope ranging from the historical, contemporary to futuristic
interpretations and adaptations.
• They will then conduct indepth research on their selected inspiration and then develop their concept for the
collection. The research should have a focus in an aesthetic, technical, visual, marketing or historical point of
view and must demonstrate, the integration of knowledge with aspects of the course. Based on the theme,
research, analysis and concept, the students will then develop their mood board – two or three dimensional
and color board.
• Next, they will develop their fabric board / swatch board with different and appropriate textures, colors,
drapability / weight, transparency etc. They can also explore with various fabric development techniques for
their fabrics. The students will then develop sketches for garments for their collection (1520).
• Thereafter they will explore sampling of various seams / finishes / embroideries and other fabric /
surface developments for their range of garments
• Based on the theme and their fabric and sampling explorations, the students will source appropriate
material for their collection.
• Next, develop paper patterns and toile prototypes for the selected garments with proper labelling,
instructions and symbols etc. mentioned.
• Thereafter, they will develop their final finished garments. Attempt a good fit with a clean finish for an
impeccable design quality.
• All garments must be illustrated as accurate working/specification sheets.
• The students are also required to work out a promotional planning strategy for their collection.
• Professional photo shoot of each student’s collection to be organized
• At the end of the project, the students will present the complete ensemble with their portfolio of design
research and development work. Also submit the technical file and market research report.
• Final collection of garments to be displayed in a fashion show or well arranged static display
which would include
Art portfolio Research
process Design evolution
Sourcing Accessories etc.
Institutional Support

• Strong technical staff support to be provided by the institute

• Juniors should be attached to the seniors in their final collection work so that they get opportunity
to learn and seniors get some support but done with prior briefing what line of work.
• Practice of redoing should be encouraged to get perfection
• Lab. Assistants and tutors should not give contradictory information to the students

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