| Course Name | History and Culture of Fashion |
| Code | Semester | Theory (hour/week) | Application/Lab (hour/week) | Local Credits | ECTS |
|---|---|---|---|---|---|
| FA 206 | Spring | 3 | 0 | 3 | 4 |
| Prerequisites | None | |||||
| Course Language | English | |||||
| Course Type | Required | |||||
| Course Level | First Cycle | |||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| Course Coordinator | ||||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | The objective of this course is to provide a general picture of 19th - 21th-century European fashion together with the critical analysis of the sociological and cultural movements. |
| Learning Outcomes | The students who succeeded in this course;
|
| Course Description | In this course, basic terminology and forms of fashion and dresses starting from the 19th century will be explained with an understanding of the importance and use of historical research in design practice. |
| Related Sustainable Development Goals | |
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| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 1 | Introduction and Orientation | |
| 2 | Late 19th century Bustle Period / Prewar Period | Watching films; Portrait of a Woman, Moulin Rouge Chapter 9: Laver, James, History of Fashion, Thames and Hudson, 1992,p.177-213 |
| 3 | Guest Speaker: Güneş Uysalefe (Editor) Men’s Fashion: The History of Love & Hate | |
| 4 | In Class Studies: Fashion Talks | |
| 5 | La Belle Epoque | Chapter 9: Laver, James, History of Fashion, Thames and Hudson, 1992,p.177-213 |
| 6 | Orientalism and Opulence | Chapter 9: Laver, James, History of Fashion, Thames and Hudson, 1992,p.177-213 |
| 7 | Jazz Age & Questioning Gender Roles | Watching the films; Great Gatsby / Chanel Chapter 9: Laver, James, History of Fashion, Thames and Hudson, 1992,p.177-213. |
| 8 | Between the Wars: Femininity World War II: Uniformity | Chapter 9: Laver, James, History of Fashion, Thames and Hudson, 1992,p.177-213 / p.252-292. |
| 9 | Post War Climate & New Look | Chapter 10: Laver, James, History of Fashion, Thames and Hudson, 1992,p.252-292. Watching films; Funny Face , Breakfast in Tiffany |
| 10 | Space Age and Street Fashion Homework Submission | Chapter 10: Laver, James, History of Fashion, Thames and Hudson, 1992,p.252-292. Watching the film; Factory Girl, Space Odyssey 2001, Barbarella |
| 11 | Reality Bites: Fashion in Action | Chapter 10: Laver, James, History of Fashion, Thames and Hudson, 1992,p.252-292. Watching the film; Sid and Nancy |
| 12 | Consumer Age: Dress for Success | Chapter 10: Laver, James, History of Fashion, Thames and Hudson, 1992,p.252-292. Watching the film; American Jigolo |
| 13 | Information Age / Project Submission | Watching films; Matrix, Minority Report Chapter 10, Laver, James, A Concise History of Fashion, Thames and Hudson, 1992,p.252-292. |
| 14 | 2020 and After: Digital Age and the Future of Fashion | |
| 15 | Semester Review | |
| 16 | Final |
| Course Notes/Textbooks | Laver, James, A Concise History of Fashion, Thames and Hudson, 1992, ISBN:0-500-20348-2 |
| Suggested Readings/Materials | Fashion Design, Sue Jenkyn Jones, WatsonGuptill Publications, 9 Heads: a guide to fashion drawing, Draping for Apparel Design, Helen JosephArmstrong The Art of Fashion Draping, Connie Amaden Crawford Keystone Jacket and Dress Cutter, Chas. Hecklinger Couture Sewing Techniques, Claire B. Shaeffer High Fashion Sewing Secrets, Claire B. Shaeffer Patternmaking for Fashion design, Helen Joseph Armstrong Corset, Valerie Steele Shirtmaking: developing skills for fine sewing, David Page Coffin Zoom on Fashion Trends, Textile View Magazine, Collezioni Trends Rundschau Damen, Magazine Rundschau Herren, MagazineConcise History of Costume and Fashion by James Laver History of 20th Century Fashion by Elizabeth Ewing A Survey of Historic Costume by Phyllis Tortora and Keith Eubank A Century of Fashion by Francois BaudotFashion Today by Collin Mc Dowell Icons of Fashion by Gerda Buxhaum Street Style by Ted Polhemus A History of Fashion by Gertrud Lehnert Periodicals : Vogue, Elle , ID , Kult , Face , Fashion Theory, Surface, Wall Paper, Trendsetter, Band |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | 1 | 20 |
| Presentation / Jury | ||
| Project | 1 | 20 |
| Seminar / Workshop | ||
| Oral Exam | ||
| Midterm | 1 | 20 |
| Final Exam | 1 | 30 |
| Total |
| Weighting of Semester Activities on the Final Grade | 4 | 70 |
| Weighting of End-of-Semester Activities on the Final Grade | 1 | 30 |
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 3 | 48 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | ||
| Study Hours Out of Class | 18 | 1 | 18 |
| Field Work | |||
| Quizzes / Studio Critiques | |||
| Portfolio | |||
| Homework / Assignments | 1 | 8 | |
| Presentation / Jury | |||
| Project | 1 | 10 | |
| Seminar / Workshop | |||
| Oral Exam | |||
| Midterms | 1 | 10 | |
| Final Exams | 1 | 15 | |
| Total | 109 |
| # | 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. | X | ||||
| 10 | To be able to recognize the need and importance of a personal lifelong learning attitude towards their chosen area of interest. | X | ||||
| 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). | X | ||||
| 12 | To be able to speak a second foreign at a medium level of fluency efficiently. | X | ||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. | X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
