FASHION PORTFOLIO BY:- GARIMA VAID
GARIMA VAID FASHION DESIGNER Phone no. : 9811936685 garimav35@gmailcom https://www.behance.net/garimavaide85c
OBJECTIVE
To apply concepts in real situations, enhance my skills and excel in my chosen field. Also getting exposure to the actual working scenarios and working under design professionals to acquire the required experience.
ACHIEVEMENTS
Represented my school in Cricket and Badminton ( Zonal Level). Won 2nd position in Cricket. Won a Gold medal in 100m race.
ABOUT ME
PROFESSIONAL SKILLS Adobe Photoshop Adobe Illustrator Adobe Indesign Draping Spec Drawing Microsoft Office
WORK EXPERIENCE INDUSTRAIL VISITS
Intern at Orient Craft( Postfold) Ahmedabad -Arvind Mills, ASAL, Calico Museum, Gondal Khadi Duration : 2 Months Denim Design Intern Barmer( Rajasthan) Intern at Ashima-Leena Dedusar Village Duration: 3 Months SURE NGO, Chohtan Design Intern Maheshwar Womens weave , Gudi Mudi, Rehwa society, EDUCATION The Handloom School Indian Institute of Art and Design B-26 Okhla, Phase-I, New Delhi REFERENCES B.A.(Hons) Fashion Design { Final Year} Mr Naresh Kumar Orient Craft - HR Happy Model School Contact: 0124-4640100, Extn, - 332
B-2 Janakpuri, New Delhi X and XII ( 2013- 2015 ) Ms. Sukriti Bhuchar Ashima-Leena Contact: 9560687427
Garima Vaid, 22 years old Graduate in B.A.(hons) Fashion Design at Indian Institute of Art and Design, Okhla Phase-I, New Delhi. A combination that allows me to build a bridge between creativity, designing and innovative and original garments adapted to the latest trends but also realistic and commercial. My style is characterized for being “simply complex�. Minimal silhouttees where details and finishings make the difference. Garments are long lasting essentials, standing out for the quality of their materials. I design for women who want to look elegant and beautiful while being comfortable. They look easy wearable clothes to combine into effortless looks that reflect confidence and personality.
T A B L E OF CONTENTS 1} STRIPES & CHECKS
2} RE- CREATING THE EXISTING 3} TRANSFORMATION & RE-STRUCTURE 4} THE JACKET PROJECT
STIPES & CHECKS 5} LOOPS & KNOTS 6} LITTLE BLACK DRESS
P R O J E C T1
This project focusses on understanding a retail brand and its philosophy towards creating a sprcific range for a set of audience. As a young contemporary brand , I selected ‘Allen Solly’ which is initiative of Madura Fashion & Lifestyle, a division of Aditya Birla Fashion and Lifestyle is India’s largest and fastest growing branded apparel companies and a premier lifestyle player in the retail sector. Under this brief I lookrd up for their existing collection, visited their store, interacted with buyers and then designed a new category that the brand might add for the existing customers. A research in terms of stripes and checks were done keeping in mind for the next season. At the end of the brief, one garment was realised in appropiate fabric to add to the range of brand.
P R O J E C T B R I E F
A L L E N Brand that transformed the dressing lifestyles of indian officials. The brand was the modernizer in bringing the semi-formal revolt to the Indian market. Founded- 1744 by William Hollin and Co Ltd. The brand was bought in the 90’s by a company called Madura Garments. It comes into market with the hit idea of “Friday Dressing”. It also launched office apparels in colored shirts and khaki trousers. A brand tagline “My World, My Way” formed to show the brand’s new trend.
S O L L Y
M O O D
C O N C E P T
A play with stripes describes How Stripes Can Be Developed As Patterns And How It Compliments Our Body. The concept was all about how an office wear can be worn as a casual wear. For a person who has 9 to 5 culture office wear type of clothing can spice the collection. HAVE A LOOK!!!!!!!!
B O A R D
B O A R D
S P R I GSUMMER ‘ 18
D E S I G N
C L I E N T B O A R D My client is a person who age is between 24 to 35 years old. Who is a 9 to 5 go girl (Office- Intellectual- Professional), Punctual and good at her given tasks she does and also loves to enjoy with her friends and also loves to read.
D E V E L O P M E N T
FRONT
D E S I G N D E V E L O P M E N T
BACK
F I N A L S P E C S H E E T
F A B R I C S W A T C H E S
Spring-Summer 18
RE- CREATING THE EXISTING
P R O J E C T2
“Broken is beautiful” Some clothes are more than just clothes - they are keepsakes we associate with people and places in our life, past and present. Every item of clothing has its own narrative that makes it unique and gives it personality. By passing on your memories through your old clothes, you are helping to keep them persisting through time, turning them into Time Machines. There’s a reason why wedding dresses or saris and old school uniforms fill suitcases under our beds. They’re completely impractical, but they are also reminders of experiences - sometimes good, sometimes bad. When we question the importance of garments we are actually questioning the practices within the industry and hence connecting with the larger issues and concerns. The point of this exercise is to sensitize you to the current fashion cycle with a holistic understanding of the environment issues and social impacts created by the industry which is driven by fast pace and wasteful production and consumption model and your position as a designer in this context.
P R O J E C TB R I E F
CONCEPT Re-creating the garment by using each and every bit of the fabric by ripping it off till the last detail. Also the reason why we don’t like the garment - problem statement How we can look through the garment in different ways.
E X I S T I N G
PROBLEM STATEMENT Bobbin elastic- neckline Length of the garment Button placements
G A R M E N T
ripped each and every bit of the garment and tried drapping it in different waysexperimenting with different types of neckline, also by shifting side-seam, placement of buttons. l ength of the garment
I T E R A T I O N1
I T E R A T I O N2
I T E R A T I O N3
F I N A L O U T C O M E
T R R E A S N T S R F & U O C R T M U A R T E I O N
P R O J E C T3
Is a garment a shell? A covering? A cladding? Or an enclosed space? Do we create garments without our thoughts or feelings? At the end , what is that we want to learn by making/ doing with respect to the garment? Are hands crucial in ‘crafting fashion? There are many ways of realizing an idea while making a garment which takes many aspects like movement and materiality . If the garment is created with both the body and the mind, we also need to underst and how we can ‘fashion’ two-dimensional and the three-dimensional ways of handling shape,form and surface. If we talk of garment as a form, we need to ask some of these pertinent questions: How do we see the relationship between the garment and the body-as form within form or form overform? Do we always have to stayclose to the body? How close is intimate? How close is stifling? How do we respect the space between the garment and the body? How far can we move away from the body? What kind of structured one need to sustaina ‘moving’ form? The project aim sat building an advance vocabulary of approaching form in fashion in which the we can seamlessly explore various approaches of patternmaking and drapingsimultaneously. Starting from the most basic form of a sphere,pyramid,cylinder,cube or a combination of some of themfollowing techniques to arrive at the form: Pleating, Ruching, Folding, Boning, fusing, Quilting, Gathering, Drawstrings, Paneling, Fluting.
P R O J E C TB R I E F
OXygMORON L I G H T D A R K N E S S
After brainstorming on selected oxygmoron I took some keywords then started communicating it visually. After brainstorming on ‘LIGHT DARKNESS’.
Lost Bound Flow
The oxygmoron is LIGHT DARKNESS. In this I first brainstorm on the word seprately and then seeing both as together.
Depth Keywords-
I N S P I R A T I O N
Through this I wnat to depict the flow of light. When we play with light it dosen’t have a definite shape,. But when we pass light through any object we see the flow of the object.
B O A R D
Form analysis - observe in detail - different perspective - slicied - texture - color - volume
- simplifying - joins - surfaces - subtraction - addition
I t e r a t i o n s
Then I started the process by tracing the shape of - canopy to know its proportions and to understamd the shape of it. That’s how it is divided into 4 squares and in between are the lines following. After studying the shape and its proportions I started with exploring the shape in paper by subtraction, addition, joining etc...,
Explored the form in different proportions to understand the aspects like movement and materiality, created with both the body and the mind and how we can ‘fashion’ 2-d and the 3-d ways of handling shape, form and surface. The structure one need to sustain ‘moving’ form. How far we go move away from the body or how do we respect the space between the garment and the body.
Explored the form in different proportions to understand its movement, space between the body and the garment. Then, with the shape I tried having different variations of it around the body or away from the body. How these stylelines play an improtant role while exploring it in differnt forms.
In all the iterations I saw these lines as a sea-line/ panels with an enhaned shoulder. How the silhouettee falls away or near the body. Therefore, the material I used was Plastic sheet as a base layer and upper layer was muslin with the overlapping technique.
FINAL OUTCOME
JACKET PROJECT
P R O J E C T4
This project aims for details and structure from the view point of construction. To apply understanding of pattern making and drapping on to construction and finishing of a garment. We interrogates the evolution of the jacket from a historical, cultural and political viewpoint to apperciate how these influence trends and forecast. The entire process through reverse engineering- based on the various aspects of a jacket. Keywords: dissection, components and objects, utility, timeline and forecasting.
P R O J E C TB R I E F
R E V E R S E E G I N E E R I N G
M O O R D B O A R D
D E S I G N D E V E L O P M E N T
F A B R I C
F L A T S P E C
S W A T C H E S
Raglan sleeve
Shwal Collar
Pleats Final Fabric
LOOPS & KNOTS
P R O J E C T-
In this project we were to explore techniques like- knitting, macrame, knotting, crocheting with different yarns to look at its stretch-ability, flexibility, behaivour etc.., Also when we combine two different types of yarns together by knotting, knitting .
5
P R O J E C TB R I E F
K N I T T I N G
M O O R D B O A R D Knitting with different yarns- how the yarns have different characteristics, weight, stretch-ability and flexibility.
S A M P L E
K N I T T I N G & M A C R A M E
LITTLE BLACK DRESS
P R O J E C T6
This was a 1 week project in which we were givven different cities and professions to research about the cities, designers their trends, weather and all of it about the city. After this we have produce a Little Black Dress. According to the profession and the city. The city I got was- PARIS Profession - HIGH- CLASS ESCORT
P R O J E C TB R I E F
C L I E N T P R O F I L E
D E S I G N E R S COCO CHANEL CHRISTIAN DIOR YUVES SAINT LAURNET
D E S I G N
F I N A L D E V E L O P M E N T
O U T C O M E
P R O J E C T7
DENIM PROJECT Industry Mentor: Himanshu Shani 11.11/ eleven eleven
The project aims to enhance the knowledge of the most versatile and sought after the fabric that has a twill weave and wrap dyed indigo, the world knows this fabric as Denim. During the project I have explored industrial denim, selvedge denim as well as khadi denim, researched the history, cultural importance and its influence on fashion trends. An external Industry expert, Mr Shani Himanshu, Creative Director: 11.11/eleven& Korra, guided us through the denim project. As a process of knowing the denim fabric deeper, a garment was realised at the end of the project. Also a mural was made out of the old pair of jeans
P R O J E C TB R I E F
Visit to korra store
V I S I T T O A S A L
Arvind Limited (formerly Arvind Mills) is a textile manufacturer and the flagship company of the Lalbhai Group. It’s headquaters is in Naroda, Ahmedabad, Gujarat, India. It manufactures cotton shirting, denim, knits and bottomweight (khaki) fabrics.
V I S I T T O A R V I N D
During our visit to Arvind mills, we gathered all the information about different processes involved in making a denim fabric. We have tried wet washes like icewash, enzyme wash, stone wash and also lazer technique in denim mocks to see the effect of each technique.
M I L L S
Understanding techniques and its application on the denim fabric to get thedesired look, by experimenting with varoius forms of washing and sand blasting, stone washing, disintegrating fabric and several other creative applications of texturing the fabric. Witness the impact on the overall fade and evaluation of a pair of raw denim.
T E C H N I Q U E S E X P L O R E D
Front
V I S I T Gondal is a small village in Gujrat. We went to see the loon setup inside the villagers home who weaves khadi denim and use organic dyes during the process. Khadi denim is woven using 100% cotton hand-spun single ply yarn in wrap, or in both wrap and weft, in the 3x1 twill weave. The fabric has a unique and unmatche richness in surface texture, owing to the uneven-ness of the hand-spun yarn.
T O G O N D A L
Back
D E S I G N D E V E L O P M E N T