FACULTY OF FINE ARTS AND DESIGN

Department of Textile and Fashion Design

FD 301 | Course Introduction and Application Information

Course Name
Fashion Design Studio: Collection II
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
FD 301
Fall
2
6
5
7

Prerequisites
None
Course Language
English
Course Type
Required
Course Level
First Cycle
Mode of Delivery Blended
Teaching Methods and Techniques of the Course Problem Solving
Critical feedback
Jury
Simulation
Field trip / Observation
Application: Experiment / Laboratory / Workshop
Lecture / Presentation
Course Coordinator
Course Lecturer(s)
Assistant(s) -
Course Objectives The course aims to prepare students to develop their creative potential and design understanding with an awareness of fashion markets, designer/ brand identities and collection management in regards to current issues of design culture and contemporary fashion industry.
Learning Outcomes The students who succeeded in this course;
  • Will be able to create design concepts in accordance with contemporary fashion and design culture
  • Will be able to describe contemporary fashion markets to design wearable fashion garments
  • Will be able to create fashion collection for designer market in accordance with design concepts and contemporary fashion trends
  • Will be able to use craft skills and technical knowledge of pattern making and fabric manipulation in contemporary fashion designs
  • Will be able to present design prototypes and fashion collections through the use of professional presentation and communication skills
Course Description Starting with an experimental and conceptual design project, the course continues with sectoral projects in regards to design development and manufacturing with a company.

 



Course Category

Core Courses
Major Area Courses
X
Supportive Courses
Media and Management Skills Courses
Transferable Skill Courses

 

WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES

Week Subjects Related Preparation
1 Introduction –Course structure + Lecture-Conceptual Fashion Design; Introduction to Project 1: Conceptual Deconstruction
2 Design Research and Concept Development: Project 1: Conceptual Deconstruction: Sketchbook and MoodBoard (Studio Critique 1) Simon Seivewright, Research and Design , AVA publishing, 2007)104-115 Marta Hidalgo, Young Fashion Designers (Köln: Taschen, 2007) 14-191 Caroline Evans, Fashion at the Edge, NY: Yale University Press 2003), 65-80; 180-190 Colin Mc Dowell, Fashion Today, (London Phaidon, 2000) 428-458; Barbara Vinken, Fashion Zeitgest (Oxford Berg pub, 2005) 99-119,139-151 Ingrid Loschek, When Clothes Become Fashion (Oxford: Berg, 2009) 182-190
3 Design Development and Experimentation on Structure: Project 1: Conceptual Deconstruction: Design + Prototype (Workshop 1) Tomoko Nakamichi, Pattern Magic 1, 2, 3 ( London: Laurence King, 2010)
4 Design Development and Experimentation on Structure: Project 1: Conceptual Deconstruction: Design + Prototype (Studio Critique 2 ) Hywel Davies, Fashion Designers Sketchbooks 1, 2 (London: Laurence King, 2010) Simon Seivewright, Research and Design, (Lausanne: AVA publishing 2007) 50-81
5 Design and Product Development: Project 1: Conceptual Deconstruction: Prototype and presentation Julia Gaimster, Visual Research Methods in Fashion (Oxford: Berg pub) 233-261 Jacqueline Mc Assey and Clare Buckley, Styling (Lausenne: AVA pub 2011) 112-149
6 Project 1: Prototype + Sketchbook preparation Jacqueline Mc Assey and Clare Buckley, Styling (Lausenne: AVA pub 2011) 112-149
7 Project 1 Jury + Introduction to project 2
8 Introduction to Project 2/ Ready to Wear Collection: Seminar + Market Analysis and Research ( Workshop 2 ) Elinor Renfrew, Colin Renfrew, Developing a Fashion Collection (NY: Fairchild books, 2016)
9 Design and Collection Planning 1: Project 2 (Studio Critique 3) Robert Leach and Shelley Fox, The Fashion Resource Book: Research for Design (London: Thames and Hudson, 2012) John Hopkins, Fashion Design: Menswear, (London: Bloomsbury, 2017) 34-49
10 Design and Collection Planning 2: Project2/ Menswear John Hopkins, Fashion Design: Menswear, (London: Bloomsbury, 2017) 118-131
11 Design and Prototype 1: Project 2 (Studio Critique 4) “Construction for Fashion Design” by Anette Fischer, Kiran Gobin, ( London: Bloomsbury Visual Arts)
12 Design and Prototype 2: Project 2 John Hopkins, Fashion Design: Menswear, (London: Bloomsbury, 2017) 138-155
13 Prototype and Presentations: Project 2 (Studio Critique 5) Jacqueline Mc Assey, Clare Buckley, Styling (AVA pub, 2011) 112-149
14 Presentations and Jury: Project 2
15 Semester Review
16 Final Submission

 

Course Notes/Textbooks

“Visual Research Methods in Fashion “by Julia Gaimster, 2011, Berg

“Research and Design” by Simon Seivewright, 2007, AVA publishing

“Young Fashion Designers” by Marta Hidalgo, 2007, Taschen

 “Pattern Magic 1, 2, 3” by Tomoko Nakamichi, 2010, Laurence King  

“Fashion Designers Sketchbooks 1, 2” by Hywel Davies, 2010, Laurence King

 ”Styling” by Jacqueline Mc Assey, Clare Buckley, 2011, AVA pub

“The Fashion Resource Book : Research for Design “ by Robert Leach and Shelley Fox , 2012, Thames and Hudson

“Fabric Manipulation: 150 creative sewing techniques” by Ruth Singer, 2013, David & Charles; UK

“Developing a Fashion Collection” by Elinor Renfrew, Colin Renfrew,2016, Fairchild books

“Focus on Fashion Details 1, 2, 3, 4,” by Claire Wargnier, 2012, Esmod Editions

“Fashion Design: Menswear” by John Hopkins 2017, ,London: Bloomsbury

Suggested Readings/Materials

“Fashion at the Edge” by Caroline Evans, 2003, Yale University Press; “Fashion Today” by Colin Mc Dowell, 2000, Phaidon

“The Great Fashion Designers” by Brenda Pollan, Roger Tredre,2009, Berg

“Japanese Fashion Designers” by Bonnie English, 2011, Berg

“The Fashion of Architecture” by Bradley Quinn,2003, Berg

“Skin and Bones” by Brooke Hodge, Patricia Mears,2007, Thames and Hudson

“Street Style” by Ted Polhemus,1997,Thames and Hudson

“Hussein Chalayan” by Robert Violette, 2011, Rizzoli

“Issey Miyake” by Mark Holborn, 1995, Taschen

“Alexander Mc Quinn:Savage Beauty” by Andrew Bolton, 2011, MOMA

“Yohji Yamamoto” by Ligaya Salazar, V&A

“Maison Martin Margiela” by Margiela and Jean Paul Gaultier, 2009,Rizzoli

“Rei Kawakubo/ Commes de Garcons” by Andrew Bolton, 2017, MOMA

“Radical Fashion” by Claire Wilcox, 2001, V&A

“Creating Couture Embellishment “ by Ellen Miller, 2017, Laurence King

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
15
Laboratory / Application
Field Work
Quizzes / Studio Critiques
5
25
Portfolio
Homework / Assignments
Presentation / Jury
2
10
Project
1
25
Seminar / Workshop
1
10
Oral Exams
Midterm
1
15
Final Exam
Total

Weighting of Semester Activities on the Final Grade
10
75
Weighting of End-of-Semester Activities on the Final Grade
1
25
Total

ECTS / WORKLOAD TABLE

Semester Activities Number Duration (Hours) Workload
Theoretical Course Hours
(Including exam week: 16 x total hours)
16
2
32
Laboratory / Application Hours
(Including exam week: '.16.' x total hours)
16
6
96
Study Hours Out of Class
10
2
20
Field Work
0
Quizzes / Studio Critiques
5
5
25
Portfolio
0
Homework / Assignments
0
Presentation / Jury
2
2
4
Project
1
15
15
Seminar / Workshop
1
3
3
Oral Exam
0
Midterms
1
15
15
Final Exam
0
    Total
210

 

COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP

#
Program Competencies/Outcomes
* Contribution Level
1
2
3
4
5
1

To be able to develop and design a collection independently.

X
2

To be able to do maintain a design research individually or as a team.

X
3

To be able to develop entrepreneurship- and managerial skills for a future professional practice.

4

To be able to understand, interpret and apply theoretical knowledge in fashion and textile design.

5

To be able to analyze and integrate the particular local and regional needs and of their profession.

X
6

To be able to obtain a multidisciplinary point of view, follow and analyze the new issues, changes and trends in contemporary design and art in such a way that they can be integrated into design practice.

X
7

To be able to apply industrial requirements, knowledge of material & usage and know-how knowledge in the creation of high quality fashion products.

X
8

To be able to use digital information and communication technologies at a level that is adequate to the discipline of fashion and textile design.

X
9

To be able to develop an ongoing analytical and professional approach to academic and design research.

10

To be able to recognize the need and importance of a personal lifelong learning attitude towards their chosen area of interest.

11

To be able to collect data in the areas of fashion and textile design and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1).

12

To be able to speak a second foreign at a medium level of fluency efficiently.

13

To be able to relate the knowledge accumulated throughout the human history to their field of expertise.

*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest

 


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