RESEARCH ABSTRACT.

TITLE: Fashion Technology.

Sinhgad Technical Education Society’s

SKN College of Architecture, Pune 41

Fourth Year B. Arch- A Batch 2018-2019 RESEARCH -II

Name of student: Saloni Shah Name of Guide: Dr. Sudhir Chavan

----------------------------------------------------------------------------------------------------------------

KEYWORDS: Indo western clothing, Sustainable clothing, Architectural fashion.

BACKGROUND.

India is a country with an ancient clothing design tradition, yet an emerging in a Medium
Scale fashion industry. Though a handful of designers existed prior to the 1980s, the late 80s
and the 90s saw a spurt of growth. This was the result of increasing exposure to global
fashion and the economic boom after the economic liberalisation of the Indian economy in
1990. Fashion is revealing. Clothes reveal what groups people are in. In high school, groups
have names: “Goths, skaters, preps, herbs.” Styles show who you are, but they also create
stereotypes and distance between groups. For instance, a businessman might look at a boy
with green hair and multiple piercings as a freak and outsider. But to another person, the boy
is a strict conformist. He dresses a certain way to deliver the message of rebellion and
separation, but within that group, the look is uniform. Acceptance or rejection of a style is a
reaction to the society we live in.

AIMS AND OBJECTIVES.

• Fashion and Textiles aims to advance knowledge and to seek new perspectives in the
fashion and textiles industry worldwide.
• Indian fashion industry needs to create global image.
• To understand the evolution of fashion in India and how the western clothing affects the
Indian clothing.
• There is large part of novice designers community, possibly more talented which remains
obscure, hence an urgent need to give exposure to young budding designers.
• To acquire knowledge about the designing process of clothes and the new concept of
sustainable fashion.
• To study the inter relationship between fashion and architecture.

WHY THIS TOPIC?

• Fashion industry in India is in nascent stage at the moment and has great potential to
make its mark on the world stage.
• Indian fashion has thousands of years of tradition behind it. Indian has rich and varied
textile heritage.
• Each region of India has its unique attire and traditional native costume.
• Fashion industry in India is growing at rapid pace with international events such as India
fashion week gaining popularity and annual shows by fashion designers being held in
major cities in india.
• India is third largest producer of cotton, second largest producer of silk and fifth largest
producer of man made fibres in the world.

NEED OF THE TOPIC.

Due to globalization and fast changing life style, people especially young generation is
adopting, the western culture behaviour. The country is in such a stage that Indian identity
will be in danger in coming future.

METHODOLOGY.

Methodology used for study was : collecting all the information and details from its
promoting body i.e. internet, book case studies, yearly analysis, photographs, research papers
etc. By studying the evolution and history of fashion from ancient times and to analyse the
effect of western clothing on Indian clothing.
RESEARCH PAPER.

TITLE: Fashion Technology.

Sinhgad Technical Education Society’s

SKN College of Architecture, Pune 41

Fourth Year B. Arch- A Batch 2018-2019 RESEARCH -II

Name of student: Saloni Shah Name of Guide: Dr. Sudhir Chavan

----------------------------------------------------------------------------------------------------------------

INTRODUCTION TO FASHION TECHNOLOGY.

In recent years, technology has been dabbling in the fashion world. With the shift from brick-
and-mortar retail shopping, technology’s impact has been difficult to ignore – especially with
e-commerce in full force.
As in all sectors, tech is revolutionizing how businesses operate, with the use of data
analytics, artificial intelligence, virtual technology and so on -leading to streamlined and
efficient processes. In light of these technologies, the retail sector is growing as well as the
need for retailers to adapt to the new landscape and embrace the turning point of the fashion
world.
Fashion is a term which is referred to as a state of mind. This word comes from from Latin
word “ to make.” . Fashion is most commonly associate with clothing, but it even applies to
anything from interior architecture, to models of toys. It is a way of measuring mood that can
be useful in many aspects , culturally, socially and even psychologically

Anthropology, the study of culture and human societies, studies fashion by asking why
certain styles are deemed socially appropriate and others are not. A certain way is chosen and
that becomes the fashion as defined by a certain people as a whole, so if a particular style has
a meaning in an already occurring set of beliefs that style will become fashion. According to
Ted Phloem’s and Lynn Procter, fashion can be described as adornment, of which there are
two types: fashion and anti-fashion. Through the capitalization and commoditisation of
clothing, accessories, and shoes, etc., what once constituted anti-fashion becomes part of
fashion as the lines between fashion and anti-fashion are blurred.
.

Various methods of expressing fashion on paper through various methods.

 HISTORY AND EVOLUTION OF FASHION IN INDIA.

Indian fashion scenario is known for its cultural heritage, elegance, and colourfulness. It
brings out the subtlety and beauty which has sustained through innumerable decades. For
not only is it comfortable, sophisticated and aesthetically beautiful but it has also evolved
over time. Making a sweeping surge into today’s global scenario, the fashion industry in
India is an amalgamation of dynamic conventions. From ethnic to western, salwar kameez
to high-street fashion; fashion industry in India has definitely gone through a milieu of
transformations.

In the 5th century BC, Herodotus, a Greek historian elucidated the productiveness of the quality
of cotton clothes in India. The Fashion scenario in India has an interesting history to ponder
upon, let’s look at the transformation of Indian fashion industry through the ages:

Ancient Civilization: Dating back to the

Mohenjo Daro civilization, the earliest
preliminary version was found in the statue of
Mother Goddess wearing a piece of cloth around
her waist. Her torso was covered with jewels.
Apart from this era, the ancient Vedic literature
states the existence of Phataka made from leaves
and barks. The 11th Century B.C Rig Veda states
the existence of Paridhan (dyed) and Pesas
(embroidered) garments and traces the
development of refined fabricating techniques of
apparels during the Vedic age. By the 2nd century
AD, the muslin clothes produced in the southern
part of India were merchandised to the Roman
Emperors. The evolution of stitched and tailored
garment in India is traced even before the
beginning of the 10th Century AD which was
Figure 1FASHION SENSE DURING ANCIENT
further proposed around the 15th century by the CIVILIZATION.
Muslim empires of India

Impact of British Raj: The advent of British Raj

in India encouraged the British industrial cloth in
India. With this, the development of Khadi, a
hand woven material was boosted in India in
order to lessen the dependency of Indians on the
British Industrial goods.

Figure 2FASHION SENSE DURING BRITISH

EMPIRE.
The 1920s: 1920s is also known as the ‘Roaring
Twenties’ in the fashion parlances. This decade is
also termed as the ‘Charleston Era’ in the Fashion
world. In this era, women discarded restricted
fashion and switched over to comfortable clothes
likes skirts and trousers. As part of this trend, Eton
cropped hairstyle came into vogue. Cholis in India
started appearing like the shimmering glitz and
flash of Charleston dresses. These dresses were long
sleeved and were made using lace, satin, cotton or
silk. Sarees with long sleeve and mid-sleeve blouse
also became quite popular around this time

Figure 3 1920'S FASHION SENSE.

Post Wall Street Crash or the 1930s : . The Post

Wall Street Crash is the era of the 1930s. This era
marked the emergence of the Bonnie and Clyde
(Bonnie Elizabeth Parker and Clyde Chestnut
Barrow, American Criminals) look in the fashion
world. This particular look signified a daring and
flamboyant attitude. This look became quite popular
in the US, India and across the world where
Hemlines descended to mid-calves and long collars,
two-piece suits, and pinched waists dominated the
fashion scene

Figure 4 INFLUENCE OF POST WALL STREET

CRASH.

The 1980s to 1990s: This era was characterized by

expansion of Fashion schools in India which was
tagged by an outbreak alteration to Fashion in
Indian clothing. It also marked the entrance of
women in the workforce at a huge pace. The 80s
brought the advent of Disco with an introduction to
some shimmery and glittery costumes, denim and
leather biker jackets, and chiffon sarees in varied
colors with a fusion of Indian and western clothing
style. The 90s marked the arrival of full-sleeve
salwar kameez, floral dresses, long skirts, denim,
shades, and dungarees. The decades following the
90s are touted to be the era when Indians adopted
more westernized concept in the fashion making Figure 5 BOLLYWOOD ERA IN FASHION.
bold and stylish choices.
The 21st Century: The beginning of the 21st
century brought about a stable and clear picture of
the Indian Fashion Industry. As women became
independent, pants, short skirts, and bold
costumes and fashion became more cosmopolitan
than region specific. This transformation is
majorly seen in the style of wearing blouses and
sarees these days. Halter-neck, back-button
blouses, high-neck blouses, Katori style and
puffed sleeve blouses have become the first
preference of women rather than the traditional
style of blouses. Sarees are draped mostly in
Gujarati style and it would be right to say that
Indian fashion scene is greatly influenced by its
Figure 6 MODERN INFLUENCE IN FASHION.
film industry time and again.

The era of Brands: The market for branded

clothes is emerging in India. An ever-increasing
number of people are getting inclined towards
branded garments as they provide quality
affirmation. Liberty shirts were the main
organization to offer shirts under its brand name
in India amid 1950’s. Since then, numerous
national and global brands have built up
themselves in Indian fashion industry. Allen
Solly, Van Heusen, Louis Philipe, Charagh
Din, Raymonds, Arrow, and so on are some
driving national brands today.

Figure 7 INFLUENCE OF BRANDS IN FASHION.

Growing trend of Fusion: The advent of fusion

wear has revolutionized the Indian fashion
scenario in many ways. The blend of
contemporary, vintage and indo-western has
become tremendously popular in last couple of
years. Fusion wear celebrates the beauty of both
the world and the Indian fashion industry. The
fusion wear is gaining enormous popularity with
the introduction of the long maxi with collars,
hanky hems, cold shoulder maxi, crop-tops, heavy
duty capes, and tunics. While, kurtas, lehengas,
indo-western tops and spaghetti kurtas are turning
lots of head.

Figure 8 THE FASHION FUSION.

 INFLUENCE OF WESTERN FASHION ON INDIAN FASHION.( INDO- WESTERN)

Among the youth, there appears to be an enthusiastic approach to combining traditional

clothes with a western touch. With increasing exposure of the Indian subcontinent to
the western world, the merging of women's clothing styles is inevitable. Many Indian and
Pakistani women residing in the West still prefer to wear traditional salwar
kameez and sarees; however, some women, particularly those of the younger generation,
choose Indo-Western clothing.
The clothing of the quintessential Indo-Western ensemble is the trouser suit, which is a
short kurta with straight pants and a dupatta. Newer designs often feature sleeveless tops,
short dupattas, and pants with slits. New fusion fashions are emerging rapidly, as designers
compete to produce designs in tune with current trends.

Popular styles of women's Indo-Western clothing

• Indo-Western kurtis are available in various styles and silhouettes, such as A-

line, Angrakha, Anarkali, C-cut, trail cut, shirt-style, tail cut, asymmetrical, and so on.
• Indo-Western evening gowns are one of the most popular choices for women of all ages
at festivities and social gatherings.
• Palazzo pants are a Westernised form of the salwar and similar Indian trousers.
• Indo-Western tops include Indo-Western styles of kurtis and tunics, various colors, prints,
patterns and styles. They may be paired with jeans, leggings, jeggings and various other
women's bottom wear.

Popular styles of Men's Indo-western clothing

• Indo western Jodhpuri Suit set is the modern version of traditional men's jodhpuri suits
and it is an ideal outfit for festivities
• Indo western Angrakha kurtas are not just available for women, you can find a various
version of this clothing for men as well. Ideal for casual family gatherings and small
functions.
• Indo western kurtas with jackets can be paired with various lower body clothing to
achieve a different look every time. One can find various colors, shapes, prints and
patterns of this style of Indo western clothing.
 FASHION DESIGN PROCESS.
For commercial designers, working on a fashion collection involves a series of idea sketches,
different themes and inspirations and various experiments of silhouettes, patterns, textures
and colours. Designers surround themselves with photographs that represent different ideas,
fabric swatches and anything else that will stimulate creativity. They leave their studios and
pay visit to theatres, retail shops and museums to seek for inspiration. They usually carry
sketchbooks to jot down ideas whenever and wherever they find them.
 ANALYISE THE BREIF

Idenditify the needs.

PROMOTION

Promotion graphic and photographic styling.

REQUIREMENTS FOR GOOD DESIGN.

VISUAL STUDY OF FASHION.

Texture
Texture is the surface quality of an object. In fashion design, the texture is the surface
interest of a fabric, created by the weave and by light reflection. Our eyes can appreciate the
play of light on smooth or rough surfaces and the hands to feel the surface. Texture influences
the drape of a garment. Chiffon clings and flows, making it a good choice for soft, feminine
styles while canvas has the firmness and bulk suitable for more casual garments. Texture
affects the colour of a fabric by causing the surface to either reflect or absorb light. Rough
textures absorb light, causing the colours to appear flat. Smooth textures reflect light, causing
colours to appear brighter.

LEATHER CLOTHING. SILK CLOTHING. NYLON WEAR. KOTA SAREE.

SHIFFON CLOTHING COTTON CLOTHING WOOLEN CLOTHES DENIM WEAR.

Colours.
Colours have always been a key element in women’s clothing and a fundamental
consideration in the design process as they are the very first element to catch shoppers’ gaze
and they are the last thing to clinch a purchase. It is often the first element that is noticed with
a design and it influences how that garment or collection is perceived. Thus, colours are often
the staring point of the design process. Historically, colours have been used to denote rank
and profession. Golden yellow, for instance, was associated with royalty and in some periods
it could be worn only by Chinese Emperor. Black became customary for the apparel of the
clergy and for members of the judiciary in the west. Colour symbolism often varies with
geographical location. While white is the western world’s symbol of purity, worn by brides
and used in communion dresses, it is the colour of mourning in India and China.

COLOUR DIMENSIONS:

1. HUE

Colours are called hues. A hue is a specific name given to a colour like blue or red.

Hues.

2. VALUE

Values refer to the use of darks and lights or the variation of light strength in a colour. The
value scale runs from white to black. White is pure light, and black is the total absence of
light. The lighter values are called tints and the darker ones are called shades.

Tints. Shades.

3.INTENSITY.

It is also known as chroma, which stands for relative saturation, brightness, or paleness of
colour. Bright colours are considered to be of high intensity, pale ones are of low intensity.
COLOUR WHEEL.

A favorite of designers and artists, the wheel makes colours relationships easy to see by
dividing the spectrum into 12 basic hues: three primary colours, three secondary’s, and six
tertiary’s. Primary colours are red, blue, and yellow. These colours are pure -- you can't
create them from other colors, and all other colours are created from them. Secondary colours
are orange, green, and violet. They line up between the primaries on the wheel because they
are formed when equal parts of two primary colours are combined. Tertiary colors are formed
by mixing a primary color with a secondary colour next to it on the colour wheel. With each
blending -- primary with primary, then primary with secondary -- the resulting hues become
less vivid, as seen in the color wheel opposite.

.
VARIOUS COLOUR SCHEMES USED WHILE DESIGNING.
 SUSTAINABLE FASHION DESIGN.

Sustainable fashion, also called eco fashion, is a part of the growing design philosophy and
trend of sustainability, the goal of which is to create a system which can be supported
indefinitely in terms of human impact on the environment and social responsibility. It can be
seen as an alternative trend against fast fashion.
PURPOSE.

The fashion industry has a clear opportunity to act differently, pursuing profit and growth
while also creating new value for society and therefore for the world economy. It comes with
an urgent need to place environmental, social, and ethical improvements on management's
agenda. The goal of sustainable fashion is to increase the value of local production and
products, to prolong the lifecycle of materials, to increase the value of timeless garments, to
reduce the amount of waste, and to reduce the harm to the environment. It aims to educate
people to practice environmentally friendly consumption by promoting the "green consumer”.

CLOTHING FROM RECYCLED SCRAPS.

DESIGNING TECHNIQUES.

1. ZERO WASTE PATTERN CUTTING METHOD.

The textile width is always a crucial consideration in zero-waste design. You can’t design
zero waste without knowing exactly how wide the textile is. The textile width is the space
within which you create zero-waste fashion design.

CLOTHES DESIGNED USING ZERO WASTE METHOD BY USING THE JIGSAW PUZZLE CONCEPT.
2. MINIMAL SEAM CONTRUCTION.

This is a design technique that reduces the number of seams required to sew together a
garment. It makes manufacturing much quicker and can save on materials. It can also allow
the garment to have greater freedom of movement and increase comfort for the wearer.

3. UPCYCLYING.

Upcycling is an approach to design where you transform by-products, waste or disused

materials or products into something new of better quality and greater value. By reusing
materials that already exist, you are saving energy, water, chemicals and other resources
required to make new virgin materials.

4.DESIGN FOR DISASSEMBLY (Dfd)

With this strategy, you would design your products in a way which means they can easily be
taken apart at the end of the product’s life so that the components can be repaired, reused or
recycled.

5.MULTI FUNCTIONAL.
This strategy means designing products for multiple uses. In fashion, you might design a
garment that could be worn multiple ways or something that is reversible or has components
that you can add or edit.

MULTI-WEAR CLOTHES.
FASHION INSPIRED BY ARCHITECTURE.

The relationships between architecture and fashion fields have received many studies. Some
researchers have considered them as parallel worlds, while others have proven that the link is
an interrelationship. Generally, architecture and fashion have many common sources: art,
science, and technology. Both of fields depend on lines and shapes, they also deal with scales
and norms related to the human body to create inventive forms, and generate structures and
designs are related to the human being needs. Besides, working on highlight the aesthetic
domain (Pugh et al, 2008). Hence, Coco Chanel provides an outline title for this merger when
she said “Fashion is architecture. It is a matter of proportion.” (Afzal, 2013)

Mondrian in interior of Rumyantsevo Station in This iconic Yves Saint Laurent dress was
Moscow, courtesy of Lebedev Studio inspired by Piet Mondrian.

Many websites and

researches
documented that
Guggenheim
Museum was the
muse for this hat,
and unfortunately
without mentioning
to any information
about the fashion
designer
name/thoughts, nor
the
date/year/country of
design.

So, while fashion is called "second skin" because it surrounds the human body and protects it
from external factors, and it also performs an aesthetic function, the architecture is named
"third skin" because it provides the same protection and aesthetic role, but on a broader scope
includes the human body and its personal space.
 Zaha Hadid’s building (ThyssenKrupp building) inspired by one of her
fashion design. (Sharonne, 2014)

A lot of studies confirm the fact that the architecture and fashion worlds have an
interrelationship, they are not only two parallel worlds, but also integrated in numerous cases.
Books, theses, articles, exhibitions and TV shows have discussed this issue. As well as
numerous architects entering the world of fashion design, including rank names as Zaha
Hadid. Along with there are many fashion designs inspired by famous architectural projects.

A dress designed by that is

inspired by the
Mausoleum of
Mohammed V in Rabat,
Morocco (Morais, 2016)
Like these designs are
considered as a strong
preface to introduce
another Arab architectural
element later that is as
heritage and influential as
Mashrabiya with its
exquisite patterns to
merge within the fashion
movement.

Architecture and fashion worlds, whether they are parallel, interdependent or based on a
reciprocal relationship, they are originally founded for the human comfort and beauty
depending on the dimensions of his body, and therefore they must evoke his identity and
personality. So, the integration of fashion and architecture is an exciting way to express
identity through contemporary ways and it is a unique movement in the revival of heritage.
CONCLUSION.

• India has been evolving in fashion industry since ancient civilization be it from sari to
modern western clothing.
• Nothing spreads as fast as fashion in today’s world. Today fashion means success,
wealth, recognition and much more, it is a way of making visual statement about own
self.
• Respect for the Indian clothing needs to be explained to make our own identity in the
market.
• Designing of a fabric is a lengthy process which requires study of materials, trends,
social interests, age group for which the fabric is designed etc.
• Sustainable fashion should be adopted in order to minimize the fabric waste and low
cost clothing can be encouraged.
• Fashion and architecture both start with human body and expands the idea of space
and movement, serving as an expression of personal and social identity.

REFERENCES:
https://en.wikipedia.org/wiki/Fashio
Architects that became fashion designer: CR FASHIONBOOK
https://www.highsnobiety.com/2016/06/01/fashion-designers-influenced-architecture
https://www.businessoffashion.com/articles/fashion-tech
THE FASHION SYSTEM: BY ROLAND BARTHES.