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Internship opportunity with Fascino Kids Fashion Week 2019

Right from our very first day at ICF, we have been gaining experiences in the fashion world and this July got us one very exciting one.

An opportunity to work at the Fascino Kids Fashion Show, an exclusive Fashion Week for children between 3-14 years of age, with a series of interactive workshops leading the participating children with sessions on Personal Hygiene, Etiquettes, Personality Grooming putting forward a holistic, confident personalities on the ramp.

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This was an exciting opportunity for me and my other enthusiastic lot of friends since none of us had ever had the experience of handling these little bundles of energies. Glad we all enrolled ourselves for this and were prepared to take this new challenge head-on.

The show was scheduled from 25th-27th of July 2019 and was held at Eros International, Nehru Place.

We were involved from day one….from the trials to training and practice days for the child models and handling schedules for all the participating designers.

Time management was one of the major factors that we needed to learn and report to work an hour early than the kids’ schedule since all the arrangements for the day were to be organized and put in place to avoid any delay or glitch during the sessions.

We were about to be hit with a real challenge of handling small kids throughout the day while helping the Organizers. The kids started to pour in and some of them came in “like a wrecking ball”. Some of the kids were not ready to leave their parents at all and kept wailing and crying. That was truly a challenge, to get them separated from their mothers, get them changed and make them practice along with everyone else. But we were not there to give up easily. All through the days this cycle continued, designer after designer, kid after kid, and we would generally wrap up the day around at about 9 in the night right after a short meeting with our team heads….just to repeat the whole process every day for the next couple of days; but the second day was less chaotic, thanks to our experiences gained the day before.

Then came the big day, the actual show on Saturday the 27th of July, 2019. We all reported at the venue sharp at 8 am, dressed and ready to work in our Fascino Kids Fashion Show custom t-shirts, that gave us the sense of responsibility to shoulder the brand we were working for.

We began readying up the first lot of kids for our first scheduled show at 11:00 a.m., which was actually delayed by an hour due to technical issues, but hiccups like this are common in such fashion events. With each show, our work gradually got easier, and we had a smooth functioning through the fashion shows……. till the finale show……That was when chaos broke. We ran out of hands to help backstage, and 3 people barely kept the kids in control, but with immense help from one of the team heads, we were able to deliver an amazing finale of the day that was widely appreciated and adored.

The after-party to celebrate the success of the show had us all as a team had us all danced and celebrate the successful line of shows the whole day, and we all retired to our homes in groups and pieces, to finally rest our feet which had been working on and on through the week.

Even though the whole experience was tiring and we ran out of energy to function by the time we got to leave, it was all worth it when we received our certifications when we rejoined college.

We were also awarded a beaming trophy to represent all the hard work we all collectively put in, and it was truly an amazing moment to be able to hold it in our hands.

The trophy now rests in the office of our Chief Mentor, Ms. Jaivani Bajaj’s office, as a beautiful memory of something so demanding and challenging yet so rewarding and full of knowledge.

This was an experience gained, that will forever be with us all.

Abhilasha Sharma- BBA FE 2018

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A WARM WELCOME TO ICF

Oof! With a mix of thoughts and high spirits I carried the load of my pretty bag and started my day with a classic smile. I rushed through the metro and headed straight to the college. As I moved towards my class, probably every new face I saw could hear me breathe heavily. I entered the class, greeted my new mates and took a seat to catch my breath. Within a moment, my teachers came in with a big smile and I could sense a lovely vibe of aspiring learners ready to embark on this new journey. The teachers introduced themselves and their respective subjects to us in a very semi-formal way. It was way better than I expected it to be. I enjoyed their session as they gave us an inside sneak peak of the industry we were going to step into.

Then arrived the snack break and we were served with some authentic Delhi street food alongside some soft drinks to fill in our young stomachs.

The seniors came in and initiated an ice breaker activity to help us interact and perhaps improve our social skills. We enjoyed playing different character roles, singing, dancing and mimicking comic characters.

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The college organized a few designer talks for us to get pumped up with inspiration and zing to work hard and brace ourselves for the course. The teachers seemed so determined and energetic to impart their knowledge to us. This gave me a feeling of satisfaction and that very moment I knew I came to the right place to learn. Down the week, the college had many activities for us. This helped us to get more comfortable with the college atmosphere.

Alumni students dropped in to share their experiences with us and we got a chance to clear out our doubts regarding different job/business aspects after college. The exposure we had in the first week was outstanding. We got exposed to the people from the industry and got to clear view of the life ahead waiting for us.

To be honest, in the beginning, I was a bit apprehensive about college life at ICF. But now, after 3 weeks I can proudly say I am at the right place. This place is a metal and it means education at its best. The teachers are hardcore and willing to give the best they’ve got. I hope to experience a wonderful educational journey with ICF along with memories to cherish throughout my life.

Moin Shaw BBA 2019 – 2022

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The Pret Imperative

I became the head (Executive Director) of the FDCI, now nearly a decade ago. Our office was in an apartment in Saket, a common practice at that time. To reach the office on the second floor, we had to walk up the stairs and jump over a sleeping dog known for being aggressive when provoked. As I took up the onerous reins of the fashion industry in India, I realized that much like the dog, the gross artistic talent of Indian designers was immense but the fashion design industry was still in its infancy and had made a little impact at home in India, much less the World. Coupled with the rich Indian heritage and culture we should have been talking of a major industry. In reality, designers were living from hand-to-mouth and quite literally operating from their father-in-law’s house!

This is when I commissioned research through the well-known consultants KPMG to study the level of the current industry and also to benchmark the West where billion-dollar brands such as Giorgio Armani, Versace, etc. all mocked us. Surprisingly, my initiative did not find sympathetic support from the FDCI Board which, unfortunately, consisted entirely of designers who were sure they knew it all. The results of the study, however, were seminal.

In the West, the industry started at the top of the design totem with couture (exclusively one of a kind) remaining exclusive and relatively small. It did make a handful of designers personally rich but as an industry, it was nowhere, and it was extremely risky for investors. The industry grew as designers moved down the chain to diffusion – multiple but limited lines which were sold in studios with, most often, the designer himself in attendance. The real breakthrough came when a few enterprising designers pushed to move into pret-e-porter (ready-to-wear) available off the shelf and at affordable, even if premium, prices to a vast upper-middle-class!

The move to Pret was not easy.  Designers quickly realized that Pret required large numbers to make business sense. This required efficient factories, distribution to a large number of stores, marketing, etc. This was usually beyond the competence of designers and was also beyond their interest areas. This is the classic clash in a fashion business – how to mate the vagaries and subtleties of art with the heat and dust of a competitive marketplace. The solution, of course, was the partnership of the high-flying designer with down-earth businessmen. The partnership could be in the form of a joint venture with a corporate which could bring in finances and skilled managerial support. That is how the West got into the big leagues.

Unfortunately, we in India faced many hurdles on many sides. At the FDCI, to promote Pret, we instructed all participating designers to show only Pret collections at the India Fashion Week. However, this was easier said than done as designers still displayed what they were most comfortable with – couture! Those who did venture forth most often came up with watered-down lines of their couture lines or worse still, Western wear! We could see that Indian fashion had a long way to go to mature. Customers were also in a time warp where they valued the weight of the garment, the amount of embroidery or surface work done and hesitant to move beyond drapes.

On the creative side, designers had to learn, to their dismay, that pret is not a mini version of their couture collections with, say, a little less embroidery but required a fresh new approach and a totally new collection.

The other challenge at the FDCI was to get investors and corporates to partner Indian designers. The trouble was both ways – with designers and with Indian corporates.  From the FDCI we extolled Indian designers, but businessmen found it difficult to relate to persons who ‘got up only after 11 o’clock’, did not care much about business civilities and wanted to be treated as prima donna’s! On the other hand, designers could not accept that the corporates valued their business to just a simple multiple of one year’s sales rather than the hundreds of crores they thought they were really worth. Further, they found it unthinkable to sell their label, which was usually their own personal name, to an alien entity and risk the possibility of losing it entirely. The result was that potential corporates such as Raymond, who even launched a Designerwear chain called BE:, baulked from backing any designers. Instead, when expansion was called for, they preferred to buy out premium, mass brands which in the case of Raymond was Color Plus. It finally devolved on foreign businesses such as LVMH, who better understood the dynamics of fashion, to invest into Indian designers.

Luckily, the new breed of Indian designers, having much less baggage of yesteryears, is far more business savvy and are able to quickly appreciate business complexities. However, Indian corporates are still tardy at making investments in Indian designers as they are still uncomfortable with the risks of the industry and still face a less than robust retail infrastructure. The saving grace has been the VC’s and other foreign investors who have made that move. Today there are a handful of Indian designers who have made it close to the Rs 100 cr. annual turnover. This includes the like of Rohit Bal, Ritu Kumar, Sabyasachi, Tarun Tahiliani, Manish Malhotra and Anita Dongre. Of particular pride for us is Anita Dongre, whose pret labels and retail chains, Indo-western styled Global Desi (138 retail stores) and  Western-styled AND (125 retail stores) together with other labels add up to a solid Rs 725 cr per annum.

Although having less flourish or creativity than her brethren, Anita’s Dongre’s phenomenal success has been due to a relentless focus on Pret, sharing the business end of the stage with her MBA brother, Sawlani and the VC’s who put up the money. This is just a tip of the iceberg of what Indian fashion can do when everything falls in place. To be sure, there is still a long way to go but now the glass ceiling for Indian designers has been broken!

Vinod Kaul

Jt. Managing Director, ICoFP

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India is a country with various cultures and tradition

It was around 1980s; the late 80s and the 90s saw a spurt growth of fashion in India.

It was only in 1999 that India showcased its first-ever fashion show. Of course, there existed many designers before the 90s but the fashion industry was never that widespread until the late 80s and 90s.

The main trademark of fashion in India is because of the Bollywood industry. Since its inception, people get really inspired and keep trying to copy the designer’s styles.

In the year 1986, the Ministry of Textiles, Government of India opened the National Institute of Fashion Technology (NIFT) in Delhi with the help of the Fashion Institute of Technology in India.

The word fashion brings the glamour. There are 100s of designers now. Some are really popular and some are still expanding. India today is one of the mostly dense countries which are mainly giving a hand to the fashion industry in order to magnify.

The western culture has most influenced our fashion industry. However, Indian cultural fashion has not loosened its popularity too.

Our fashion industry has started to grow and is expected to propagate exponentially in the next two years.

The growing population itself is predicted to hand the fashion industry to develop manifold. The love for brand names has already gone crazy and that will increase the consumerism.

In a nutshell, it can be said that the Indian fashion industry is budding at a high pace. This industry is offering a wide range of opportunities to the creative people, artists, hard-working and innovative people.

There are plenty of job opportunities in this sector; so what I personally feel about this is that the Fashion Industry is totally going to be a professional’s career choice with a lot of fascination. Rest, the time will showcase what the industry beholds for us.

Saloni Sharma

BBA-FE (2019-21)

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Fashion

The Fashionista’s Communication Platform

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Every industry is unique and so there are unique preferences for marketing tools in each industry. When discussing about communication platforms for the fashion industry, there is a knee jerk reaction to prescribe advertising and that modern-day solution to all marketing ills – sales promotion. However, nothing can be further from the truth.

Classical advertising is an expensive medium and so is often outside the reach of most designers who can be better labeled as small-scale business set-ups. Advertising is better suited to mass marketing where the per-unit exposure rate is low, but this is only possible with a big fat overall budget. Again, advertising has an impact with numbers, both in terms of reach and repetition. It cannot be finely tuned to the designers’ discerning and limited audience. As such, it would suit pret collections of strong designer brands. Perhaps the only example here in India would be of Anita Dongre’s Global Desi which is reportedly knocking sales of over rupees five hundred crores. For the rest, more mortal designers, what is left is a ‘mile-stone’ ad in a Vogue or Harper’s and that too with a much-needed gift discount from the publication. The publishers are happy to do this as they see good designer names as a cachet for their own journals.

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The scourge of sales promotion has blighted Indian marketing much as it has down in the West. Unfortunately, it has short-circuited marketing minds into believing that it is a panacea for attaining targets which are usually impossibly stretched. Any ABC textbook of marketing will tell you that SP eats into marketing brand equity and if utilized indiscriminately long enough, can kill the brand for good. Marketing designer collections is all about building value into the label. As such, SF and designer wear are as far apart as night and day. Just picture JJ Valaya enticing customers with a rupee one lakh off of his five lakh lehnga! For the couture industry, SF is just a broom to clear the shelves of unsold merchandise at the end of the season. Done properly, it should be quick and gentle, lasting no more than two weeks.

What then are the most effective promotional platforms for fashion?

For the world of high fashion, appropriate platforms are those that are the most credible, visually impactful or those that heighten a sense of exclusivity. Perhaps, the most effective is publicity and it is well within the reach of struggling designers. Typically, publicity has to be combined with an event or milestone. A fashion show, thus, combines free publicity, highly targeted audience, rich visuals, and a sense of exclusivity. In a full-blown fashion week, the ‘up-and-coming’ can share the stage with the ‘arrived’!  Brand ambassadors in the form of Bollywood starlets or even prominent socialites add power. Ultimately, the designer is the best ambassador for their own collections. The more cantankerous or shameless they can be the better for it adds gist to gossip and that all-powerful platform ‘word-of-mouth’. Page three has not lost its allure. Online sales may be the new necessity but what enriches the fashion label in both numbers and value is the trunk-show, pop-up store or the remote tucked away studio! Add to this relationship marketing and we have a winning combination.

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Vinod Kaul

Jt. Managing Director, ICoFP

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Fashion

18th Century French Fashion

Kimberly Chrisman in her book – FASHION VICTIMS, talks on how high fashion and high social orders critically met at crossroads of extreme luxury that gave way to the revolution during the 18th century.

As an art historian specializing in fashion and textiles, she has some pretty intriguing takes on the history that came forth as the 18th century French Fashion…..Here is why…..

1. Louis XIV Understood The Power Of Clothing.

Marie Antoinette had the eternal bravura legacy, but it was Louis XIV, who ruled in the 17th century, who actually strapped the outline – those red heeled shoes he wore could never be ignored or forgotten. He had prodigious keenness for fashion and expensive things, and believed that giving precedence to such possessions made commercial sense. The French fashion industry grew to be big, powerful, and efficient. King Louis established a system of trade associations and set standards, regulations and structure to the industry. Soon the fashion business had unions that provided society and power.

2. Anything Could Become Fashion Inspiration.

French brothers Joseph-Michel and Jacques-Etienne Montgolfier invented the first hot air balloon in 1783. A bag of hot air might not seem a likely source of fashion inspiration, but it sure did, with the industry hoping to ride the coattails of the popular innovation. Montgolfière even became a term in hair styling.

3. Fashion Magazines Came Out Every 10 Days.

Imagine if Vogue was published every week…. In the late 1700s, fashion magazines managed to make the rounds despite having a narrow group of subscribers in the most elite circles. Servants would then read the latest news and maintain the already fast moving fashion cycle.

4. Everything Was Outdated Immediately.

Hat makers, (known as the milliners), served a hugely important role in 18th century fashion, both in defining the look of the time and driving it frontward. They gave their styling topical names to set them in a specific place in time. Any new accessory or trimming had a ticking clock on it from the moment it was sent out into the market. This “planned obsolescence,” as Chrisman-Campbell calls it, gave milliners incredible power over the industry and ensured a steady stream of clients.

5. Everything Was Custom, And Everyone Was A Designer.

People would work with hat makers, dressmakers, and sometimes even fabric salesmen to create one-of-a-kind articles. Marchandes de Modes became powerful in the framework of the association system since even though the dressmakers could only shape a dress with the same fabric as a rule, a Marchandes de Modes could make it with whatever material but not sew a dress (not legally back then). They delivered assortments and customization that made them highly pursued.

6. Even Royals Thrift.

Secondhand clothing was legitimately regular among the rich, and a lot of people were wore pieces that were formerly owned twice or even three times before. Flea markets were popular destinations, and Marie Antoinette’s ladies-in-waiting were lucky enough to score her hand-me-downs, which they would wear or sell. The fact that servants often wore the garments their masters had been sporting recently speaks to both the importance and the disposability of fashions at the time. The industry was moving at rapid speeds.

7. The Pouf Was More Than A Look—It Was A Statement.

The iconic pouf hair styling of the time—with their feathers, flowers, ribbon, lace, jewelry, fruit and other miscellanea—weren’t just about looking cool or displaying wealth; they were meant to be a reflection of personal and cultural events, or even important events in social life or politics such as the American Revolution. Topical fashions extended to fans, men’s waistcoats, and even gowns.

8. Rose Bertin Was A Rockstar Designer Of The Time.

Bertin was a milliner who was introduced to Marie Antoinette by the Duchess of Chartres and, from there, became one of the “it” designers in Paris. She charged a lot for her work and even had servants and a carriage. As someone who started out in a lower class, Bertin’s ascension to life among the royals was a subject of controversy. She was also unique in that she dressed the queen as well as others, which was previously not allowed. Marie Antoinette wanted Bertin to be a part of the world of fashion, which is why she didn’t demand exclusivity.

9. Black Was The New Black.

During the 18th century, being in mourning was often more about etiquette than actual grief. Widows stayed in mourning attire for a year, and it was customary for the entire court to don funeral wear if any member of the European royal family died. Black was in such regular rotation in the outfit color scheme that people got quite used to it and began to value its practicality. As mourning traditions started to fade, black became a color of everyday dress.

10. Napoleon Eventually Brought Fashion Back.

When Napoleon became the Emperor in 1804, he wanted to return to the fashionable days of Louis XVI as he believed encouraging the industry would help with the economy. He brought back luxurious dress and helped to breathe some life back into a facet of business and society that had been striked out during the boisterous years of the French Revolution.

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Gulbash Duggal,

Dean ICF

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Events, Fashion

Tamanna Chawla ICF Alum (2016-2019)


tamnaMy name is Tamanna Chawla and I am a student of BBA in Fashion Entrepreneurship at International          College of Fashion. After completing school as a commerce student, I was really excited to start my studies at  ICF specifically because the course revolved around the business aspect of Fashion just as much it did  around  the practical aspect of product creation.
The learnings here encouraged me to read more about how a Fashion Business survives in the real world. It  helped me to view situations from the perspective of an actual business and explore more about it with the  help of my faculties. We were given various projects that revolved around the idea of how a company works,  sells and survives in the real industry.
During my term, I was given the opportunity to intern at the largest Indian buying house, Triburg  Consultants where I interned for 6 months as an Assistant Production Merchant in the Home department. At Triburg, I learned about a whole new category of goods which was an overwhelming experience. It helped me gain knowledge about the working of the mass industry, manufacturing of home goods and how business is conducted at an international level. It also helped me realize the significance of every role of the supply chain- from a weaver to the retailer.
Overall, I am really grateful to be given an opportunity to work in the home department at Triburg and learn about a new category which I would have missed otherwise.
After interning at Triburg for 6 months, I interned at a garment export house- Pee Empro Exports, for 2 months, to learn more about the manufacturing and making of garments from scratch. At Pee Empro, I had a first-hand experience of seeing how goods are made as per the seasons, forecasts and the buyer’s requirement.
Later, I interned at THREE which is apparel label based in Lado Sarai, New Delhi. At THREE, I learned how products are made and marketed under the very same roof. Here, I was able to use my learnings from ICF and understand the necessity of every function of the business. It was easier for me to understand the working as I was able to relate with all that was taught at ICF.
THREE is a five year old company which retails functional, minimal and timeless women’s wear through its own online store and other multi-designer outlets across India and various other countries. While I was interning at THREE, we used to have discussions about expanding the business into other categories- men’s wear, etc and how to go about it.
Eventually, after the completion of my internship, I was offered a job as an Assistant Designer at THREE. Now I am responsible for a part of the women’s wear line, entire men’s wear line and I am also an active part of the retail and marketing function alongside the expansion of the brand
I have a vision for THREE and I see a lot of scope for expansion of the brand and I am really passionate about making it happen. I feel this is why it becomes even more exciting to work here.
I also remember while I was interning at THREE, I had a word regarding work with our associate dean, Gulbash Ma’am and her words were “You have to make your space in a company”. These words were stuck in my mind while the rest of my internship term at THREE and I believe, that is how, I was able to make space for myself. My faculties’ wise words have guided me throughout the course and I am very grateful for the same.

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Fashion

MYTH TOWARDS DESIGNING

It has been always said that designing is something which is related to arts and our Indian parents always assume it to be a cakewalk. Doesn’t it seem familiar to read? Well, this story is happening since forever no matter what our history says. It’s time to figure this out practically and wake people up to the real world and know how slippery it could be to walk over it.

Designing is a very huge aspect in itself and contains a lot of knowledge to grab in mind. Its not only about sketching our thoughts over a paper; everything has to be correlated to make a story in itself which could be sold with a sense. But, what people think is that one should have hand skills to become a designer.
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What does the whole designing process contains?

It’ a never ending process and have so much in it like a thought, an inspiration, skills to put your thoughts on paper, skill to express, skill to make the thoughts real, skill to visualize it with the techniques, the sense to the right colors, the right fabric, right forecast and tremendous presentation.

And still it’s not done! The technical part what we are not aware of is how to  sell it and how to expand it as a business to earn.

So a designer has to keep in mind the technical factors such as how to reach the customers, how to get order and clients, what presentation, what budget, what rules and regulation domestically and internationally, what type of contracts, what terms and conditions, how to get more people in the business, how to promote, how to advertise, how to make profits.

In this 21st century this isn’t now just a designing, it’s the whole business going on out there and to run the business you don’t have to be only active with your hand, anyway and in every way it requires mind and knowledge towards the business.

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To run the business and stick to it one should hold interest towards business, have knowledge of design, fabrics, business laws & strategies, be active towards forecast, possess good promotional skills, communication and dedication.

What we should basically understand is that fashion industry has got work profiles in abundance and we can go for anything what we want not just only designing. Instead of designing there are many other profiles like  merchandiser, blogger, vlogger, photographer, editor, stylist, journalist, motivator, speaker, entrepreneur and so on.

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As a personal opinion we all are the racers aiming towards the identity, profits and growth with our various fortes we have in us but we all belong to one field, one race and one direction in a stylish way. As compared to others, we are much better to express ourselves, to show up and moreover we are liberal and proud to be  in the race where it’s written that we can actually find ourselves with our skills.img8

Shubhi Goel,
MBA-FE(2017-2020)

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Fashion, Fashion Trends

WHO IS THE FATHER OF FASHION?

It’s Charles Frederick Worth…..A fashion designer of note, born on the 13th of October 1825, who founded a leading fashion house in the 19th century called “The House of Worth” in 1958.

Charles Fredrick Worth is considered to be the father of “Haute Couture”

He began sewing dresses to match the shawls. Initially, these were simple designs, but his skillful tailoring stood out for his clients to notice.

His Fashion Innovations……

Worth transformed the connection between a client and the couturier. Earlier there were seamstresses who would visit the client’s residence for a one-on-one discussion on the client’s design requirements; but with Worth, clients mostlyvisited his store for a consultation, which also became a get-together place for the who’s-who of the society.He was the first to use live models to show his collection to the clients.

Worth’s garments were well-known for their extravagant textiles and accessories and for including features from historical clothing. Amongst his many significantrevolutions in women’s fashion were to the lineup of dresses and their lengths.

Silhouettes….

He transformed a very popular trend…….the crinoline. By the way, a crinoline is a structured petticoat designed to hold out a woman’s skirt. Originally, crinoline was a stiff fabric made of horsehair (“crin”) and cotton or linen which was used to make underskirts and as a dress lining.

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Worth’s Innovation….

Now because crinoline was ever more huge and bulky in size, it made it hard for women to walk through doors, sit, takecare of their children and even hold hands. Charles Frederick Worth designed a new practical silhouette and thus transformed the crinoline into a narrower piece moving the largest part to the back, hence freeing up the front and sides. His new crinoline was a huge success.img2

Progressive Innovation….

In due course, Worth gave up the crinoline in all, and created a straight gown shape without a defined waistline that we now know as the princess line……”Princess line” describes a woman’s fitted dress or other garment cut in long panels without a horizontal joint or divisionat the waist. Instead of relying on darts to shape the garment, the fit is achieved with long seams and shaped pattern pieces.

FUN FACT: Alternative name for the Princess line was French-dart-line dress.img3

 

 

Shorter Hemlines…..

Worth also fashioned a shorter hemline; interestingly this was done at a suggestion of Empress Eugénie who loved long walks and hated long skirts. Thus calling it “A Walking Skirt”. This was primarily seen as very drastic, even scandalous, since it was at ankle length, but it’s practical benefits wereembraced over time.

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Gulbash Duggal, 
Associate Dean, ICF

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How Many Years of School do you need to be a Fashion Designer?

One of the often-asked questions regarding a fashion designing course is what are the eligibility criteria? Since fashion designing is seen as a vocational course, one which is not taken by everyone, general knowledge about these courses is sparse. If you are planning to do a graduate-level program in fashion designing, you will need to have 10+2 years of education. For a post-graduate course, an additional 3 years of graduation is necessary. At International College of Fashion (ICF) we offer various programs tailor-made to meet the varying requirements of the students. We have under-graduate courses as well as post-graduate and diploma courses on offer. All our courses are designed to help strengthen your foundation in fashion designing as well as to equip you with the economics of the industry. We also offer students hand-on experience from the industry through industry integrated experiential learning.

  • BBA in Fashion Entrepreneurship – This is a focused course where you learn everything about fashion, business and entrepreneurship in the most innovative and creative manner. It is a three-year industry integrated program. You will need 10+2 years of education in any stream with at least 45% to enroll in this program.
  • MBA in Fashion Entrepreneurship – This post-graduate course is designed to help students understand the business opportunities in the industry and create their new ventures. The course also steers students towards innovation. It is a two year post-graduate course where for the first year you will need to attend regular classes while in the second year there will be only weekend classes. You need to be a graduate in any field with at least 45% marks to enroll in this course.
  • PG Diploma in Fashion Entrepreneurship – It is an integrated and focused course that is designed for the future entrepreneurs of fashion designing. In the year-long program students can learn business development models and the various aspects involved in costing, management, retailing, manufacturing and so on. You will be the taught the highs and lows of the industry so as to better equip you to start your own label.
  • Diploma in Fashion Design – This is a flexible course that has been designed keeping in mind the professionals who are already a part of the fashion designing industry but who seek formal education. It is an inspirational and practical course that is designed to help you foster your career. There are three fashion designing diploma courses offered by ICF – PG Diploma in Fashion Designing which is a 12 month course, Advance Diploma in Fashion Designing a 12 or 24 month program and Diploma in Fashion Designing a 12 months program specifically designed for 10th passed students.

Enroll in the course of your choice in ICF today and see your fashion designing dreams come to reality.

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