| 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 | - | |||||
| 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;
|
| 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. |
| Related Sustainable Development Goals | |
|
| Core Courses | |
| Major Area Courses | X | |
| Supportive Courses | ||
| Media and Managment Skills Courses | ||
| Transferable Skill Courses |
| Week | Subjects | Required Materials |
| 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 + Lifestyle analysis and concept + Field trip 1 | 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 | Design and Collection planning + Looks + Fabric swatch + (Studio Critique 1) | Simon Seivewright, Research and Design, AVA publishing, 2007) 104-115 Marta Hidalgo, Young Fashion Designers (Köln: Taschen, 2007) 14-191 |
| 4 | Design and Product Development 1: 1st proto (pattern draft) + Collection presentation 1 | 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 + Revision of the Concept + Illustrations with fabric definitions + 1st look production + fabric manipulation | Kate Fletcher & Lynda Grose, Fashion& Sustainability: Design for Change, (London: Laurence King, 2012) 100-112 Sass Brown, Ecofashion, (London: Laurence King, 2010) |
| 7 | Sustainable fabrics: seminar + Collection planning + Developing sustainability philosophy + 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 | Upcycling and Deconstruction Lecture + Creative Pattern development of the 2nd proto | 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 | Denim seminar + Refining the patterns + Sewing and Crafting + production of the 2nd look | 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 (Studio Critique 3) | 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 | 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 | Presentation of the project | |
| 16 | Final Submission |
| 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 |
| Semester Activities | Number | Weighting |
| Participation | 1 | 10 |
| Laboratory / Application | ||
| Field Work | 1 | 5 |
| Quizzes / Studio Critiques | 4 | 60 |
| Portfolio | ||
| Homework / Assignments | 1 | 5 |
| Presentation / Jury | ||
| Project | 1 | 15 |
| Seminar / Workshop | 1 | 5 |
| Oral Exam | ||
| 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 |
| 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 | 12 | 3 | 36 |
| Field Work | 1 | 4 | |
| Quizzes / Studio Critiques | 4 | 25 | |
| Portfolio | |||
| Homework / Assignments | 1 | 10 | |
| Presentation / Jury | |||
| Project | 1 | 16 | |
| Seminar / Workshop | 1 | 4 | |
| Oral Exam | |||
| Midterms | |||
| Final Exams | |||
| Total | 298 |
| # | 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. | |||||
| 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
