FACULTY OF FINE ARTS AND DESIGN

Department of Textile and Fashion Design

FD 302 | Course Introduction and Application Information

Course Name
Fashion Design Studio: Collection III
Code
Semester
Theory
(hour/week)
Application/Lab
(hour/week)
Local Credits
ECTS
FD 302
Spring
2
6
5
10

Prerequisites
None
Course Language
English
Course Type
Required
Course Level
First Cycle
Mode of Delivery Online
Teaching Methods and Techniques of the Course -
Course Coordinator
Course Lecturer(s)
Assistant(s) -
Course Objectives The course prepares a ground for designing a sustainable fashion collection and production of looks for contemporary fashion design market in accordance with the current cultural, social, economic and ethical considerations in fashion industry.
Learning Outcomes The students who succeeded in this course;
  • discuss the social, cultural, artistic, economic and ethical issues in fashion industry in regards to market reality.
  • propose innovative and sustainable design concepts in accordance with current issues in fashion industry.
  • designing a collection in accordance with a market research , material analysis and production methodologies in the field of sustainable fashion
  • create fashion designs in the direction of sustainability and slow fashion culture.
  • enhance and improve dress making techniques, manufacturing and handcrafts skills in order to execute experimental unique designs.
  • present design collections and manufactured looks through the use of professional presentation techniques.
Course Description Along with a series of seminars and lectures on sustainable fashion, the course focuses on developing a slow fashion design collection considering the needs and current situations of fashion industry, as well as developing the professional presentation and communication skills.

 



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: Project brief (Seminar and Film Screening) Alison Gwilt, A practical Guide for Sustainable Fashion (New York: Fairchild Books)14-30 Şölen Kipöz (ed), Sürdürülebilir Moda, (İstanbul: Yeni İnsan Yayınları, 2015), 61-98
2 Sustainability: Materials and Production Processes ( seminar 1) + Lifestyle analysis and concept Annie Gullingsrud, Fashion Fibers: Designing for Sustainability (New York: Fairchild Books) Janet Hethorn & Connie Ulasewicz (eds.), Sustainable Fashion: Why Now? (New York: Fairchild Books, 2008), 275-299
3 Concept revision +Design and Collection planning +Looks ( Studio Critique 1) Simon Seivewright, Research and Design, AVA publishing, 2007) 104-115 Marta Hidalgo, Young Fashion Designers (Köln: Taschen, 2007) 14-191
4 Collection planning +Design Development of first look ( + Concept presentation ( workshop as collaboration 2) Elinor Renfrew, Colin Renfrew, Developing a Fashion Collection” (New York: Fairchild books, 2016) Alison Gwilt & Timo Rissanen (eds.), Shaping Sustainable Fashion, (London: Earthscan, 2011) 35-43
5 Revision of the project + evaluation of the design process + 1st proto Sass Brown, Ecofashion, (London: Laurence King, 2010), 102-136 Alison Gwilt, A Practical Guide for Sustainable Fashion (London: Bloomsbury, 2014) 8-23
6 Crafted Design lecture+ Illustrations with fabric definitions + 1st look production + range plan+ Revision of the Collection with market intelligence ( workshop 3) Kate Fletcher & Lynda Grose, Fashion& Sustainability: Design for Change, (London: Laurence King, 2012) 100-112 Sass Brown, Ecofashion, (London: Laurence King, 2010)
7 Pattern development +fabric manipulation+ + 1st look finishing (Studio Critique 2) Elinor and Colin Renfrew, Developing a Fashion Collection, (NY: Fairchild books, 2016) 110-120 Sass Brown, Ecofashion, (London: Laurence King, 2010)
8 Revision of sustainability philosophy + Circular fashion Lecture + Seminar , workshop 4 Anette Fischer, Kiran Gobin, Construction for Fashion Design (London: Bloomsbury Visual Arts, 2017) 35-48 Sass Brown, Re-fashioned: Cutting Edge Clothing from Up-cycled Materials (London: Laurence King, 2013)
9 Creative Upcycling :the 2nd proto + Seminar 5 + Refining the patterns +Sewing and Crafting + production of the 2nd look(Studio Critique 3) Sass Brown, Re-fashioned: Cutting Edge Clothing from Up-cycled Materials (London: Laurence King, 2013) Anette Fischer, Kiran Gobin, Construction for Fashion Design (London: Bloomsbury Visual Arts, 2017) 51-63
10 Rewriting project story and revisiting conceptual frame Rishab Manocha. Denim Finishes (Create Space Independent Publishing Platform, 2015) 20-55 Alison Gwilt & Timo Rissanen (eds.), Shaping Sustainable Fashion, ( London: Earthscan, 2011) 86-93
11 Finishing the looks +Refining the patterns and details + sewing +Presentation of looks Anette Fischer, Kiran Gobin, Construction for Fashion Design (London: Bloomsbury Visual Arts,2017) 160-180 Alison Gwilt, A Practical Guide for Sustainable Fashion (London: Bloomsbury, 2014) 120-140
12 Crafting and finishing the looks + Documenting the project (Studio Critique 4) Alison Gwilt, A practical Guide for Sustainable Fashion (New York: Fairchild Books) 150-170 Julia Gaimster, Visual Research Methods in Fashion (Oxford: Berg pub, 2011)
13 Documenting the project process: Sketchbook Sharon Rothman, The Fashion Designer’s Sketchbook (NY, London: Fairchild books,2016) 136-162 Julia Gaimster, Visual Research Methods in Fashion (Oxford: Berg pub, 2011) 233-261
14 Collection communication + Sketchbook presentation Sharon Rothman, The Fashion Designer’s Sketchbook (NY, London: Fairchild books, 2016) 182-196 Jacqueline Mc Assey, Clare Buckley. Styling in Fashion Design (AVA pub, 2011) 90-130
15 Review of the semester
16 Review of the semester

 

Course Notes/Textbooks

“Ecofashion”, Sass Brown, (London: Laurence King, 2010) 978-1856696913

“Sürdürülebilir Moda”, Şölen Kipöz (ed) (İstanbul: Yeni İnsan Yayınları, 2015)978-605-5895-67-9

“Fashion& Sustainability: Design for Change”, Kate Fletcher & Lynda Grose, (London: Laurence King) 978-1856697545

“Research and Design”, Simon Seivewright, AVA publishing ,2007) 9782940373413           

“The Fashion Designer’s Sketchbook” by Sharon Rothman, (NY, London: Fairchild books,2016) 978-1-4725-6729-1

“Styling”, Jacqueline Mc Assey & Clare Buckley, (AVA pub, 2011) 978-2940411399

“Developing a Fashion Collection”, Elinor ve Colin Renfrew, (2016, Fairchild books) 978-2940496730

“Visual Research Methods in Fashion”, Julia Gaimster, 2011, Berg. 9781847883810

“Young Fashion Designers” by Marta Hidalgo, 2007, Taschen. 978-3822844236

“Denim Finishes”, Rishab Manocha. (Create Space Independent Publishing Platform, 2015) 978-1512366556

“Construction for Fashion Design”, Anette Fischer, Kiran Gobin, (London: Bloomsbury Visual Arts) 978-472538758      

 “A practical Guide for Sustainable Fashion”, Alison Gwilt, (New York: Fairchild Books) 978-1350099135

 “Fashion Fibers: Designing for Sustainability”, Annie Gullingsrud, (New York: Fairchild Books) 978-1501306655

“Sustainable Fashion: Why Now”, Janet Hethorn & Connie Ulasewicz (eds.) (New York: Fairchild Books, 2008) 978-1563675348

“Shaping Sustainable Fashion”, Alison Gwilt & Timo Rissanen (eds.) (London: Earthscan, 2011) 978-1849712422  

Suggested Readings/Materials

“Fashion at the Edge” by Caroline Evans, 2003, Yale University Press. 9780300124675

“Street Style” by Ted Polhemus, 1997, Thames and Hudson. 978-0500277942

 “Maison Martin Margiela” by Margiela and Jean Paul Gaultier , 2009,Rizzoli. 978-0847831883

Cradle to Cradle” by William McDonough , 2003, Rodale Press, 978-0865475878

“Zero Waste Fashion Design” by Timo Rissanen , By &  Holly McQuillan ,2018, Bloomsbury pub, 978-1350094833

“The Sustainable Fashion Handbook” by Sandy Black, 2013, Thames & Hudson Ltd, 9780500290569

“Maria Cornejo : Zero” by Maria Cornejo, 2017,Rizzoli International Publications, 978-0847860272

“Alabama Studio Style:More Projects, Recipes, & Stories Celebrating : "More Projects, Recipes, & Stories Celebrating Sustainable Fashion & Living" by Natalie Chanin,2010 Stewart, Tabori & Chang Inc, 978-1584798231

“Slowness in Fashion” edited by Şölen Kipöz, 2020, Dixi books, 978-6197458237

“Fashionopolis: The Price of Fast Fashion and the Future of Clothes”by Dana Thomas , 2019, Penguin Press, 978-0735224018

 

EVALUATION SYSTEM

Semester Activities Number Weigthing
Participation
1
10
Laboratory / Application
Field Work
Quizzes / Studio Critiques
4
20
Portfolio
Homework / Assignments
Presentation / Jury
1
20
Project
1
25
Seminar / Workshop
5
25
Oral Exams
Midterm
Final Exam
Total

Weighting of Semester Activities on the Final Grade
9
100
Weighting of End-of-Semester Activities on the Final Grade
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
12
3
36
Field Work
0
Quizzes / Studio Critiques
4
20
80
Portfolio
0
Homework / Assignments
0
Presentation / Jury
1
18
18
Project
1
18
18
Seminar / Workshop
5
4
20
Oral Exam
0
Midterms
0
Final Exam
0
    Total
300

 

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.

X
4

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

X
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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