20 Prototype Development: Women’s Kameez

Jayshree Venkatesh

epgp books

 

 

 

  1. INTRODUCTION

A simple and single piece Kameez is a tunic worn as upper garment along with salwar, chudidar, pants or jeggings. The length, fabric and style varies according to the age, figure types, occasion and the ensemble. They are typically worn with different styles of salwar, jeans pants, drain pant pyjamas, modern day palazzos or tight fitted chudidar, either with dupatta or stole.

 

  1. LEARNING OBJECTIVES

At the end of this lesson you will be able to

  • Select appropriete fabric and calculate consumption for basic style of Kameez Prepare the draft and develop patterns .
  • Develope skill of garment construction –cutting stitching and finishing.
  1. HISTORY AND EVOLUTION

The modern Kameez is derived from the original Arabic “Qamis”. It is spelt as ‘Kamiz” in non-Urdu languages. This traditional tunic in Hindi as well as in Persian is referred to as “Kameez”. The Kameez is sometimes referred as “Kurta” that more often refers to a unisex garment. The description given by Dorothy Burham of the Royal Ontario Museum refers to Kameez as a “seamless shirt” woven in one piece on warp-weighed looms were then superseded in early Roman times by cloth woven on vertical looms. The modern-day Kameez has a very close resemblance to the 10th century cotton shirt recovered from the Egyptian deserts dating back to the 10th century. The contemporised Kameez is called “Djellaba” or Jellabiya”. In India the presence and history of this standard ladies’ garment is justified from the remnants of the eleventh century feminine “Kurtaka” with shirt like features extending to half the length of the body with slits at the sides.

 

  1. FABRIC SELECTION AND KAMEEZ STYLES

4.1 Factors to be considered while choosing fabric and styles for Kameez

 

When it comes to choosing the right fabric and styles for Kameez it is important to consider the following factors.

  • Fibre and its properties
  • Fabric construction and its performance
  • Post fabric processes and finishing treatments imparted.
  • Occasion, event, activity and location.
  • Style features and length desired
  • Figure types and figure irregularities
  • Silhouette, Fit and ease: Tight or loose fittin
  • Budget.
  1. DRAFTING AND PATTERN MAKING

Pattern making and pattern cutting is an exciting craft. It is simple if the basic principles are learnt thoroughly and exiting if the learner is sensitive to the subtle changes in shape and silhouettes which changes with the change in trend and fashion. The basic Kameez pattern can be adapted and transformed into various workable designs based on silhouettes, dart and seam locations, panels and length variations by alteration of the basic pattern.

The basic rules of pattern drafting and cutting are based on sound principles and it is important to learn them thoroughly. In order to improvise or incorporate any creative decision these rules are broken allied to sound reasoning. A pattern is flat while the body is not since the body has height, width and depth. Within this roughly cylindrical framework of the body figure there are a series of body parts, secondary curves and bulges that has to be taken into special consideration while designing a garment and constructing the garment by the pattern maker. Darts are the basis of all pattern making. The garment construction features like seams, darts, pleats, gathers, godets etc. help in converting the flat piece of cloth into a three dimensional form of the dress This dress not only fits along body parts and curves but also contour of the body to provide fit as well as ease for comfort and elegance.

 

A patternmaker typically makes a pattern from a flat sketch with measurements or a two dimensional fashion illustration. The basic pattern is the very foundation upon which pattern making, fit and design are based. The basic pattern is the starting point for flat pattern designing. It is a simple pattern that fits the body with just enough ease for movement and comfort

 

5.1: Measurements needed for Kameez

  1. Kameez length
  2. Bust round
  3. Waist round
  4. Hip round
  5. Waist length
  6. Hip length
  7. Shoulder (shoulder tip to shoulder tip)
  8. Neck depth
  9. Shoulder width (Take this measurement from shoulder tip toward the neck. This may vary according to how close or broad you want your neckline to be.
  10. Sleeve length
  11. Sleeve hemline circumference.

Locate the top left hand corner of the pattern sheet.

Leave 2 inches on the top and left hand side.

 

   a to b- Full length + 2 inch

 

a to c-1/4th of chest

 

a to d-natural waist length + ¼ th inch

 

a to e-Waist length +1/4th inch

 

a to f – ½ shoulder + ½ inch

 

c to g – 1/4th chest + ½ inch for ease

 

h to i- 1 ½ inch for inlay

 

d to j – 1/4th waist round +1/2 inch for ease

 

j to k -1 ½ inch inlay

 

e to l- 1/4th of waist circumference +1/2 inch for ease.

 

l to m – ½ inch for allowance

b to n 1/4th chest + 4 inches for flare.

 

f to s -1/2 inch for shoulder slope.

 

a to o- 1/12th  of chest.

 

a to p- 1 inch for back neck depth

 

a to r – 1/12th chest

 

a to q – front opening – 1/4th of chest + 3 inches.

 

5.3: Seam allowances for front and back of Kameez:

 

0.5 inch on the sides

 

1.5 inch for hem

 

0.25 inch on the armhole, neckline, and shoulders

 

5.4: Sleeve Drafting

 

A to B = B to C = 1/8 chest + 2.5 inches

 

B to E = Sleeve length = A to D = C to F

 

D to E = A to B

 

E to F = B to C

 

A to G = C to H = 1/8 chest

 

B to I = B to J = 1 inch

 

Join HJ and GI.

 

K is midpoint of HJ.

 

K to L = 0.5 inch

 

Shape front armhole HLJ.

 

M is midpoint of GI.

M to N = 0.5 inch

 

O is midpoint of GM.

 

P is midpoint of MI.

 

P to Q = 0.625 inch

 

Shape back armhole GONQI.

 

E to R = E to S = half sleeve round + 0.5 inch ease

 

Join GR and HS

 

5.5: Seam allowances for sleeves

 

0.5 inch on the sides

 

1.5 inch for hem

 

0.25 inch on the armhole

 

Note: Depending on the fabric and the ravelling of the yarns the seam allowance may be slightly altered. For shear fabrics suitable lining may be required.

 

5.5: Collar Drafting

 

This is the drafting instructions to draft the collar as well as the interlining.

Figure 15: Drafting of Collar

 

a to b –collar height i.e 1” or 11/4th  inch

 

b to d and a to c -1/2 neck measurement.

 

C to e same as a to b

 

Mark 1” from d on line b d and draw the collar shape. The collar piece is abce.

 

Note: Collar piece does not have seam allowance this is used for cutting the canvas or the Buckram fabric piece for stiffness. The seam allowance of 1/4th inch has to be added while cutting the collar piece on the fabric.

 

5.6 Pattern layout and cutting

Front: Place the zip below the front opening on the wrong side.

 

Fold the slit and put an edge stitch at the zipper teeth so that it is seen.

 

6.1: Assembling front and Back: Join the shoulder facing right and right side facing each other.

Note: Start sewing sleeve from the centre.

 

Finish the sleeve hem by double fold.

 

Join the side seam from the sleeve hem to the lower waist line by leaving by leaving one and half inch (in lay) allowance.

 

6.1.2: Attachment of collar to the Kameez:

 

Measure the neck and cut the collar piece according to the size and the pattern instruction.

Fuse it on the wrong side of the collar piece.

 

At the neck line of the collar fold exactly according to the shape of the collar and put one presser foot wide seam.

 

Take another piece of fabric and keep the collar facing right facing right and put a seam next to the canvas except the neck line.

 

Cut the excess and slash the allowance and turn it.

 

Leave one presser foot gap i.e. ¼ inch and cut the excess..

Attach the collar from the wrong side of the garment.

 

Turn it and put edge stitch.

 

6.1.3: Finishing and evaluation

 

Figure 23: Final appearance of the garment.

 

Cut all the excess threads inside and outside of the garment.

 

Neatly iron the entire garment on the seams and evaluate for finishing and fit.

  1. KAMEEZ STYLES WITH NECKLINE VARIATIONS

Creative expressions with necklines and hem lines add interest and novelty to the conventional Kameeez styles. With the use of appropriate textures and combinations, it helps to create optical illusion to accentuate the positive features and mask the negative features of the figure.

  • Sweetheart neck: This curved neckline accentuates the neck. It can be used in Kameez styles with or without straps. It is formed by two curves forming a heart shape. Suitable for all body types and shoulder widths and slopes.

Ikat , Kalamkari, Warli, Madhbani art and some of the other traditional textile art forms, motifs and styles from various regions of India are gaining popularity both domestically and internationally. Hand and computerised embroidery, Applique work, smocking, pin tucks  and other forms of value addition is gaining popularity and expresses creative formats of Kameez.

  1. SUMMARY

 

At the end of this session let me recapitulate, on the pattern making and prototype development for Kameez. Kameez is an upper garment resembling the traditional tunic with or without slits at the sides. Cotton and linen are ideal for the conventional styles of Kameez. While structured fabrics, laces and nets can be also used based on the silhouette and pattern combinations. The consumption of the fabric depends on the size, width of fabric, style features and detailing. We have also understood the multiple steps involved in the drafting of Kameez. Finally, we have learnt the technique of pattern development and sewing skills essential for prototype development of Kameez.

 

Kameez is now an all-time favourite irrespective of age or figure types. It suits all occasion and accepted both as a formal and casual wear in India. Newer styles and silhouettes are going to evolve since the trend is now moving towards synchronised clothing culture around the globe.

you can view video on Prototype Development: Women’s Kameez
  • http://www.startsewing.co.uk/patternterminology.html
  • https://www.trishnewbery.com/knowledge/patternmaking/patternmaking-terminology/
  • http://textileclothingmaterials.blogspot.in/2009/07/pattern-drafting-glossary-terms.html
  • https://quizlet.com/124458075/pattern-making-terms-flash-cards/

 

References

  • Anamika Pathak (2006): Indian Costumes, Roli & Janssen BV, New Delhi.
  • Debbie Ann Gioello (2002): Understanding fabrics: From Fibre to Finished cloth, Fairchild Publications, New York.
  • Helen Joseph-Armstrong (1995): Pattern making for fashion Design. Prentice Hall, New Jersey.
  • Winifred Aldrich (1997): Metric pattern cutting, A unique, completely metric method for designing beautiful clothes, third edition, Blackwell Science Ltd., London.