| 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 | - | |||||
| Teaching Methods and Techniques of the Course | ||||||
| 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;
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| Course Description | Starting with an experimental and conceptual design project, the course covers two sectoral projects including preparation for participation to a design competition and collaboration with a manufacturing company. |
| 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 –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) | Hywel Davies, Fashion Designers Sketchbooks 1, 2 (London: Laurence King, 2010) Simon Seivewright, Research and Design, (Lausanne: AVA publishing 2007) 50-81 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 (Studio Critique 2 + Workshop 1) | Marta Hidalgo, Young Fashion Designers (Köln: Taschen, 2007) 14-191 Tomoko Nakamichi, Pattern Magic 1, 2, 3 ( London: Laurence King, 2010) |
| 4 | 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 |
| 5 | Bridal wear collection: Project 2: Competition Briefing: Trend and Fabric Research | Helene Farnault, Hubert de Givenchy, Haute Couture Ateliers; The Artisans of Fashion (London: Thames and Hudson, 2014) 200-230 |
| 6 | Bridal Wear Collection: Project 2: Concept Moodboard and Design (Studio Critique 3) | Edwina Ehrman, The Wedding Dress: 300 years of Bridal Fashions (London: V&A pub, 2014) 160-190 |
| 7 | Bridal Wear Collection: Project 2: Competition Portfolio and Jury | Jose Teunissen, Hanka van der Voet, Couture Graphic: Fashion Graphic Design and the Body (Amsterdam: Terra Uitgeverij, 2013) |
| 8 | Introduction to Project 3/ 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 3(Field Trip 1) (Studio Critique 4) | 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: Project 3/ Menswear | Simon Seivewright, Research and Design (Lausanne: AVA publishing, 2007) 104-115 |
| 11 | Design and Prototype 1: Project 3 (Studio Critique 5) | John Hopkins, Fashion Design: Menswear, (London: Bloomsbury, 2017) 118-131 |
| 12 | Design and Prototype 2: Project 3 (Field Trip 2) | John Hopkins, Fashion Design: Menswear, (London: Bloomsbury, 2017) 138-155 |
| 13 | Prototype and Presentations: Project 3 (Studio Critique 6) | Jacqueline Mc Assey, Clare Buckley, Styling (AVA pub, 2011) 112-149 |
| 14 | Presentations and Jury: Project 3 | |
| 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 |
| 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 |
| Semester Activities | Number | Weighting |
| Participation | ||
| Laboratory / Application | ||
| Field Work | 2 | 8 |
| Quizzes / Studio Critiques | 6 | 24 |
| Portfolio | ||
| Homework / Assignments | 1 | 15 |
| Presentation / Jury | ||
| Project | 1 | 25 |
| Seminar / Workshop | 2 | 8 |
| Oral Exam | ||
| Midterm | 1 | 20 |
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade | 13 | 100 |
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Course Hours (Including exam week: 16 x total hours) | 16 | 2 | 32 |
| Laboratory / Application Hours (Including exam week: 16 x total hours) | 16 | 6 | |
| Study Hours Out of Class | 10 | 2 | 20 |
| Field Work | 2 | 3 | |
| Quizzes / Studio Critiques | 6 | 4 | |
| Portfolio | |||
| Homework / Assignments | 1 | 6 | |
| Presentation / Jury | |||
| Project | 1 | 15 | |
| Seminar / Workshop | 2 | 4 | |
| Oral Exam | |||
| Midterms | 1 | 15 | |
| Final Exams | |||
| Total | 222 |
| # | 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. | 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. | |||||
| 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. | |||||
| 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
