student of Dezyne E'cole College ,fashion design department ,www.dezyneecole.com. this is a portfolio of final year work of her in fashion Design

1. FASHION HISTORY
Varsha Karadia
2nd Year Diploma In Fashion Design
Conforming To NSQF Level 6 Of NSDC
Dezyne E’cole College , Ajmer

2. A Project On
FASHION
HISTORY
Submitted To
Dezyne E’cole College,
Civil Line,
www.dezyneecole.com
By Varsha Karadia
2nd Year Diploma In Fashion Design
Conforming to NSQF Level 6 of NSDC

3. Dezyne E’cole College
106/10 Civil Lines
Ajmer-305001, Raj
Tel. 0145-2624679
www.dezyneecole.com
This project report of Ms. Varsha Karadia student of 2nd Year Fashion Design Diploma, NSQF Level 6 of NSDC, has been
checked and has been graded as ______________________________________________________________
____________________________________
Thanking you,
Principal
(seal & signature)

4. I am Varsha Karadia, student of Fashion Design department of Dezyne E’cole College. I would
like to thank to all the mentors who had helped me to complete this project.
I also thank Dezyne E’cole College for giving me this opportunity to make this project and
helped me to understand the working of fashion designing
Acknowledgement

6. ANCIENT WORLD
The clothing used in the ancient world strongly reflects the technologies that these
peoples mastered. Archaeology plays a significant role in documenting this aspect of
ancient life, for fabric fibers, and leathers sometimes are well-preserved through time. In
many cultures the clothing worn was indicative of the social status achieved by various
members of their society.

7. ANCIENT HISTORY
• EGYPT
• MINION CULTRE
• CLASSICAL GREECE
• ROMANS
• BYZANTINE STYLE

8. EGYPT

9. CLOTHING
ANCIENT EGYPT
Men’s wear
• Loin cloth
• Schenti
Women’s wear
• Kalasiris
• Tunic
• Bead Dress
Main Fabric - Linen

10. CLOTHING
ANCIENT EGYPT
Main Fabric - Linen
All clothes were almost always made of linen which is made
from flax. Growing flax was a job for men only.
The fibres were twisted into strong thread. The weaving was
done on a loom. White linen had to be washed a couple of
times.
The linen was also define the class of the people. The finer
and translucent linen was only worn by the royalties and the
corse linen worn by the common people.

11. CLOTHING
ANCIENT EGYPT
Men’s wear
Loin cloth
A triangular piece of cloth worn by commoners, nobilities and royalties.
Slaves were only allowed to wear it after the formation of new kingdom.
Schenti
A skirt which is pleated in front worn by nobilities and royalties. The
schenti was use to tie at the waist and wrap around the thigh
Till knee level Till thigh level in the old kingdom. 3000 B.C. to 2000 B.C.

12. CLOTHING
ANCIENT EGYPT
Women’s wear
Tunic
A rectangular piece of cloth with a hole in the centre for the neck worn
by pharaohs after conquering Ceria.
Bead Dress
Bead dress was worn by the dancers of Egypt. This dress is made from
cylindrical beads in green, blue, red, turquois etc. colour. And fringes are
attached at the hem.
Kalasiris
Worn by women. Sheath or a tube dress with straps. 2 or one strap
going over the shoulder. Mid-calf or ankle length. Starched and pleated.

13. ACCESSORIES &
MAKE UP
ANCIENT EGYPT
Accessories
• Aegis – Disc shape Necklace
• Headgear
• Footwear
• Postiche - wooden beard
• Gold jewellery
Make Up
• Kohl eyes
• Heena as nail paint
Aegis
Kohl eyes
Postiche

14. MINONIAN CULTURE

15. CLOTHING &
ACCESSORIES
MINONIAN CULTURE
• Long dresses
• Decollate neckline
• Loin cloth
• Headgear

16. CLOTHING &
ACCESSORIES
MINONIAN CULTURE
• Early in the culture, the loincloth was used
by both sexes..
• Dresses were long and low-necked, like
those of the 19th century. They were so low
that the bodice was open almost all the way
to the waist.
• All men wore a loincloth as a short skirt or
apron, ending in a point sticking out similar
to a tail.

17. CLASSICAL GREECE

18. CLASSICAL GREECE
Main Garments
Chiton
Himation
Peplos
Chlamys
Main Fabric – Linen & Wool
CLOTHING

19. CLASSICAL GREECE
• Chiton – One or two rectangular piece fabric,
knotted at the shoulder and A belt was also worn
with the chiton.
• Himation - It represented a form of outdoor wear.
• Peplos - The peplos consisted of a tubular shaped
cloth—this was folded from the inside out
• Chlamys - The chlamys was used as a cloak and
was pinned at the right shoulder.
Main garments
CLOTHING

20. ACCESSORIES AND
HAIRSTYLES
CLASSICAL GREECE
• Bracelets, earrings and necklaces.
• Make up—pale or light skin
• Long hair

21. ACCESSORIES AND
HAIRSTYLES
CLASSICAL GREECE
• Greece loved to wear all sorts of jewellery with their flowing
garments—bracelets, earrings and necklaces.
• Ancient Greek women also used make up—pale or light skin was
considered a status symbol for women
• Long hair was typical for Greek women; only slave women would
wear their hair short

22. ROMAN

23. CLOTHING &
ACCESSORIES
ROMAN
• The Toga
• The Warfare Dress Code Armour

24. CLOTHING &
ACCESSORIES
ROMAN
• Toga - The most significant item in the ancient Roman wardrobe was
the toga, a one-piece woollen garment that draped loosely around
the shoulders and down the body. Togas could be wrapped in
different ways.
• The warfare dress code and the armour
• Various armour were:-
Scale armour, Lamellar armour, Mail armour, Plate armour, Mail and
plate armour, Leather and fabric armour, Brigandine armour

25. BYZENTINE STYLE

26. CLOTHING
BYZENTINE STYLE

27. MEDIVIAL TRADE
& ROMANCE

28. Medieval trade and romance- 600- 1449
• Age of migrations- 600- 1100
• Courtly love and crusades- 1100- 1200
• Priests and the people- 1100- 1450
• The east in the west- 800- 1450

29. CLOTHING
Age Of Migrations
600 - 1100

30. CLOTHING
Age Of Migrations
600 - 1100
Western empire collapsed people started migrating to new areas
needed warmth , water rippling clothes in cold climate so wool was
main cloth. Men and women wore loose tunic based on rectangles
sewn together in different styles and tie with belts they were
draped.

31. CLOTHING
Courtly Love And
Crusades- 1100 - 1200
• Clothing became more fitted,
• Accessories
• pointed Pauline shoes
• long hair
• trailing hems

32. CLOTHING
Courtly Love And
Crusades- 1100 - 1200
• Fashion became increasingly flamboyant in the 12th century. A
time of crusades, romance and chivalry. Fashion cultivated in
south spread north from Mediterranean shores
• Clothing became more fitted, seductively showing body’s
shape for first time figure hugging silk gowns, revealed
embroidered chemises beneath the laced sides. Garments were
still based on rectangular and triangular fabric cuts but with
lacing to crush straight shapes against the curved figure.
• Ordinary women wore fitted tunic more closely over waist,
arms and hips. Accessories were long , pointed Pauline shoes
and long hair with trailing hems.

33. CLOTHING
Priests And The
People- 1100 -1450
• simple clothes
• Garment as aprons to carry tools
• tippet sleeve
• pleated leather purse.
• buttons on dress,
• frayed hems
• brimmed hats.

34. CLOTHING
Priests And The
People- 1100 -1450
• Priest and the people : ordinary people wore simple
clothes which allowed them to do their work. Their
clothes were shorter plain and Corse often home
produced fabric.
• Garment were made such as aprons to carry tools.
Church people used best quality clothes with finest
embroidery and weaving to dress Bishop
• We see the use of tippet sleeve , pleated leather purse
from belt. Use of buttons on dress, frayed hems (
dagging) liripipe wide brimmed hats.

35. CLOTHING
The East In The
West- 800- 1450
• .Expensive textiles came from
china along the ancient Silk Road.

36. CLOTHING
The East In The
West- 800- 1450
• In medieval times the Mediterranean basin was the most
advanced center in the world Of learning, Technology
and trade .
• Expensive textiles came from china along the ancient
Silk Road, the great trade route running through Central
Asia

37. CLOTHING
SOCIAL STATEMENT
1200 - 1300
• Voluminous garments
• Surcoat
• Beginning of tailoring

38. CLOTHING
SOCIAL STATEMENT
1200 - 1300
In 13th century clothes became voluminous and the shape
of the garments were changed of both men and women.
Tunic sleeves had tight lower arms, but more fabrics around
the armhole, and the Surcoat (sleeveless overtunic) became
a wardrobe stable.
The biggest development of the 14th century was the
move from flat, draped garments belted for shape to the
cutting of curved pieces with more complex court. To fit the
body- the beginning of tailoring.

39. HEAD COVERINGS
Medieval trade and
romance
• Hats
• Veils
• Head Coverings

40. HEAD COVERINGS
Medieval trade and
romance
Hats, Veils, and Head Coverings
The wimple, a style brought back from the Middle East during the Crusades
caught on. A wimple is a piece of cloth worn over the head and around the face
and neck. A wimple would be worn under a veil called a couverchef. The style can
still bee seen today on some Muslim women and on a few Catholic nuns, though
not as ornate as the stylish wimples of the Late Middle Ages.
Although a wimple was a garment used for modesty, women in the upper classes
decorated their wimples and added padded rolls of fabric to create interest.

41. HOUPPELAND
Medieval trade and
romance

42. SURCOAT
Medieval trade and
romance

43. RENAISSANCE
SPLENDAR

44. CLOTHING
RENAISSANCE
SPLENDAR
•Fitted garments
•Art of tailoring
•Detachable sleeves,
•Sleeveless jerkins
• Breeches
•Wide shoulders,
•Codpieces
Codpieces Wide shoulders

45. CLOTHING
RENAISSANCE
SPLENDAR
• This was the period when fashion finally moved from draped clothing
to fitted garments and the art of tailoring came into its own.
• Clothing now consisted of a greater number of parts including
detachable sleeves, under and overskirts, sleeveless jerkins and
breeches of different lengths.
• The masculine form was enhanced by the latest clothing, with its
wide shoulders, codpieces strong legs and bellies.

46. RENAISSANCE
SPLENDAR
FROM DRAPE TO SHAPE
1500-1560
Soft draped lines began to disappear as the century went on the. Women’s
dress has two main parts bodice and skirt and sleeves were often separate too.
Full skirts widened with gathered and pleated waistlines. Outer skirts were
opened up in front to reveal a petticoat or forepart underneath. The Spanish
farthingales created a bell shaped and defined the century’s silhouette. Bodice
became smooth and fitted by adding stiff materials inside.

47. RENAISSANCE
SPLENDAR
ELEGANT FORMALITY
1560-1590
As the century progressed so the gradual stiffening of women’s dress
continued. Linear bands and braids followed the clothing’s sharp lines
and emphasized its control of body shape. Necklines were either at bust
level or up to the chin. The silhouette stayed triangular with narrow
waists ending in sharp points and full skirts. The top of the sleeves of
women’s dresses started to be styled into puffs, tabs, and rolls.
HAIRSTYLES:- Renaissance love of finery, women’s hair during the 16th
century was parted in the center, swept over the temples, curled
crimped arranged over pads to keep shape, frizzled, bewigged, piled
into high peaks or hidden.

48. RENAISSANCE
SPLENDAR
FEMALE GEOMETRY
1590-1625
Fashion history’s most geometric period created unnatural
silhouettes made from straight lines, triangles and circles.
Huge ruffs isolated head from head from body, or open
collars revealed décolletages cut immodestly low.

49. BAROQUE & ROCOCO

50. CLOTHING
BAROQUE &
ROCOCO
• Buckles and straps evolved during this time.
• The farthingale petticoat vanished
• Softer silhouette.
• Mantua

51. CLOTHING
BAROQUE &
ROCOCO
Buckles and straps evolved during this time.
The farthingale petticoat vanished and people move towards
softer silhouette.
Mantua was a garment that was open from a front and gradually
the shape changed with the use of hooped petticoat and
underskirt of canvas or linen with rings made of whale bone or
cane

52. FROM REVOLUTION
TO FRIVOLITY

53. NEO CLASSICISUM
1790 - 1800
FROM REVOLUTION
TO FRIVOLITY
• It bought more informal dress influenced by
revolutionary women in France. Wrapping gowns in
striped silk and painted Chintzes.
• Indian calicos and muslin were popular for
neckerchief.
• High waisted simple dress, laced corsets were worn
over top of the dresses.

54. 1800 – 1809
FROM REVOLUTION
TO FRIVOLITY
• In France empire line become fashionable
from 1790.
• Waist line were high and skirts had short
trains.
• Corded corset were separated from the bust
and control the waist and hip.
• Accessories such as parasol and
embroidered shawl from India become
popular.

55. 1820 - 1830
FROM REVOLUTION
TO FRIVOLITY
• Pipin in the dresses appeared.
• Spenser jackets and beautiful hats appear during this
time period.
• Wide puff sleeve emphasize narrow waist.
• Low décolletage neckline emphasized the bottle
shaped neck off shoulder dresses appeared.

56. 1830 – 1851
FROM REVOLUTION
TO FRIVOLITY
• Industrial revolution sets in – Eli
Whitney invented the cotton
ginning machine In 1793.
• In 1804 we had the jacquard loom
after the name of Joseph Jacquard.
• In 1851 Issac singer brought the
sewing machine and the principle
of assembly line developed which
led to the mass production.
• Roller printing technique came
during this time.

57. 1856 - 1859
FROM REVOLUTION
TO FRIVOLITY
• Crinolines appeared, large frames were
abandoned after 1867.
• Skirt trailed were gathered internally with ties
forming a soft bustle.

58. 1870 - 1879
FROM REVOLUTION
TO FRIVOLITY
• Soft bustle and fishtails.
• Neckline were square with exposed
decollate for evening.
• Dress had there quarter sleeves with
lace cuffs and wore sleeveless for
evening.
• Pannier were used
• In 1876 princess line came in.

59. 1886 - 1888
FROM REVOLUTION
TO FRIVOLITY
• Fishtail trains were rejected.
• Extremely tight steel and boned corsets
came in the year 1883 – 1887 which looked
like a chicken tail.

60. LA BELLA EPOQUE &
JAZZ AGE

61. CLOTHING
LA BELLA EPOQUE &
JAZZ AGE
• less is more.
• Suits for city gentlemen.
• The flapper look

62. CLOTHING
LA BELLA EPOQUE &
JAZZ AGE
This time period focused on simplification of the dress. The idea
was “less is more”. The old way of dressing was abandon.
A corset known as swan bill was introduced in 1903.
Suits for city gentlemen.
The flapper look become famous.

63. LA BELLA EPOQUE & JAZZ AGE
• PAUL POIRET
• COCO CHANEL
DESIGNERS

64. PAUL POIRET
LA BELLA EPOQUE &
JAZZ AGE
Paul Poiret was born on 20 April 1879 to a cloth merchant in the poor
neighborhood of les hells, Paris. Poiret’s route into couture followed the
common practice of shopping around one’s drawings in original fashion
designs.
In the early twentieth century. In the 1910s, he was known in America as
the king of fashion, with his achievements as a couturier, made Paul Poiret a
central figure in the artistic and creative development of Paris. His list of
accomplishments was spectacular, led by his championing of a revival of the
neoclassical style of 1790s France high waisted flowing clothes that followed
the fluid, natural lines of the body.

65. PAUL POIRET
LA BELLA EPOQUE &
JAZZ AGE

66. GABRIELLE CHANEL
(1883–1971)
LA BELLA EPOQUE &
JAZZ AGE
Gabrielle Bonheur “coco” Chanel was a French fashion designer and
a businesswoman. She was the founder and namesake of the Chanel
brand. Along with Paul Poiret, Chanel was credited in the post
World-War I era.
In the early 1920s, she was the arch exponent of the Garonne or
flapper look, the boyish style that dominated the decade. Her
women wore sweaters, short pleated skirts with dropped waistlines
and cloche hats. Boni de Castellane, a Parisian dandy, said: ‘Women
no longer exist. All that’s left are the boys created by Chanel.’ The
little black dress, a reaction to Paul Poiret’s orientalist colours and
derived from the chemise dress, was a signature piece.

67. COCO CHANEL
LA BELLA EPOQUE &
JAZZ AGE

68. FROM GLAMOUR TO
UTILITY

69. CLOTHING
FROM GLAMOUR TO
UTILITY
• DESIGNER - Elsa Schiaparelli
• During this time very simple
• dress code entered.
• Because this was the time of great
depression.
• The main feature that we see here is the
dress becoming longer at the hemline to the
floor length and roaring twenties came to a
hawlt.

70. CLOTHING
FROM GLAMOUR TO
UTILITY
• During this time very simple dress code entered. Because this was
the time of great depression.
• The main feature that we see here is the dress becoming longer at
the hemline to the floor length and roaring twenties came to a
hawlt.

71. FROM GLAMOUR TO UTILITY
• ELSA SCHIPARELLI
DESIGNERS

72. ELSA SCHIAPARELLI
(1890–1973)
FROM GLAMOUR TO
UTILITY
Elsa Schiaparelli, an Italian designer who came to fashion late and
proved a breath of fresh air in a world often caught up in its own
high seriousness. She was a surrealist by instinct with a playful
ability to change the predictable into the unpredictable.

73. ELSA SCHIPARELLI
FROM GLAMOUR TO
UTILITY

74. OPTIMISM & YOUTH

75. CLOTHING
OPTIMISM & YOUTH
The new word was come during this time (the
teenager they wanted clothes just for themselves
his was the Elvis wore leather flight jacket and
military surplus.

76. OPTIMISM & YOUTH
• CHRISTIAN DIOR
• CRISTOBAL BALENCIAGA
DESIGNERS

77. CHRISTIAN DIOR
OPTIMISM & YOUTH
From 1937, Dior was employed by the fashion designer Robert
Piguet, who gave him the opportunity to design for three Piguet
collections. Dior would later say that 'Robert Piguet taught me the
virtues of simplicity through which true elegance must come. One
of his original designs for Piguet, a day dress with a short, full skirt
called "Cafe Anglais", was particularly well received. Whilst at
Piguet, Dior worked alongside Pierre Balmain, and was succeeded
as house designer by Marc Bohan – who would, in 1960, become
head of design for Christian Dior Paris.

78. CHRISTIAN DIOR
OPTIMISM & YOUTH
Circular skirts , Wasp shaped skirt Christian Dior
introduced in 1954 Autumn Winter
Collection(classic look) the pencil skirt after seeing
the hobble skirt after seeing the hobble skirt of
Paul Poiret.

79. CHRISTOBAL
BALENCIAGA
FROM GLAMOUR TO
UTILITY
From 1937, Dior was employed by the fashion designer Robert
Piguet, who gave him the opportunity to design for three Piguet
collections. Dior would later say that 'Robert Piguet taught me the
virtues of simplicity through which true elegance must come. One
of his original designs for Piguet, a day dress with a short, full skirt
called "Cafe Anglais", was particularly well received. Whilst at
Piguet, Dior worked alongside Pierre Balmain, and was succeeded
as house designer by Marc Bohan – who would, in 1960, become
head of design for Christian Dior Paris.

80. CHRISTOBAL
BALENCIAGA
OPTIMISM & YOUTH
Designer from Spain . His creations had broad shoulders,
and he removed waist.

81. SWINGING
SIXTIES

82. CLOTHING
SWINGING SIXTIES

83. CLOTHING
SWINGING SIXTIES
Clothing styles have always mirrored the prevailing attitudes of
the time and this is certainly true of fashion in the 1960s. The
decade was marked by sweeping social; change and the
domination of youth culture- baby boomers were growing up and
demanded their own fashion style. Designers responded with
much more liberal, daring approach to fashion, boasting colourful
fabrics and bold designs. Clothing broke with social traditions that
dictated what could be worn when and by whom. In the past
attire had been divided n to ‘formal’ and ‘casual’ wear, and
distinct separations were made between the styles of clothing
worn by men and women.

84. MOD LOOK
SWINGING SIXTIES
Mod style first emerged in the late 1950s and was popularized
throughout the mid 60s. Short for “modernist” style.
miniskirts, bold colors and prints are all hallmarks of the style
with models like Jean Shrimpton and Twiggy who personified the
mod look..

85. SWINGING SIXTIES
• YVES SAINT LAURENT
DESIGNERS

86. YVES SAINT LAURENT
SWINGING
SIXTIES

87. THE DESIGNER
DECADE

88. CLOTHING
THE DESIGNER
DECADE
DESIGNERS
• Vivienne Westwood
• Jean Paul Gaultrier
• Bohochic and Vintage

89. The long lasting image of Jean Paul Gaultier as a perpetual
enfant terrible of French fashion took many years to lay to
rest. But now the great iconoclast of Modern French Fashion
has become part of establishment he once shunned. His
clothes made all the headlines but were considered
unwearable skirts for men. His experiments with sportswear,
stretch fabrics and underwear used as outerwear were
influencing all levels of the fashion market.
THE DESIGNER
DECADE
JEAN PAUL GAULTIER

90. THE DESIGNER
DECADE
VIVIENNE WESTWOOD
In terms of creativity and the ability to place fashion at the
heart of a vital popular culture, Vivienne Westwood may be
the greatest designer of the twentieth century. Her method is
not so very different from that of many designers, particularly
other British designers trained in an art-school tradition.
Clothing has always reconstructed and modified the structure
of the body and it still does today. What seems to surprise and
upset people is reconstructions that don’t accord with what
they consider to be the norm, the present accepted idea of
beauty. If you design a dress with a sellier, the padding that
gives it a rounded form has become a subversive act.

91. THE DESIGNER
DECADE
ISSEY MIYAKE
In the introduction to the first book on the work of Issey
Miyake, East Meets West, published in 1978, Diana Vreeland,
then retired from US Vogue and heading the Costume Institute
at the Metropolitan Museum of Art in New York, wrote, ‘His
clothes are totally his and his alone. Miyake’s vision is
unique. He was the precursor, leader and mentor of a new
school of Japanese design, which took the fashion world by
storm in the early 1980s. He was not the first Japanese
designer to find fame in the West, but he was the first to
create something new and revolutionary. He drew deeply on
both oriental and occidental traditions of dress to produce the
hybrid style that was to change everyone’s perceptions of
what clothing could be.

92. THANK YOU
Varsha Karadia
2nd Year Diploma In Fashion Design
Conforming To NSQF Level 6 Of NSDC
Dezyne E’cole College , Ajmer