The Language of Clothes: Curriculum Evalua Tion of Four Fashion Design and Merchandising Programs in Canada

Total Page:16

File Type:pdf, Size:1020Kb

The Language of Clothes: Curriculum Evalua Tion of Four Fashion Design and Merchandising Programs in Canada THE LANGUAGE OF CLOTHES: CURRICULUM EVALUA TION OF FOUR FASHION DESIGN AND MERCHANDISING PROGRAMS IN CANADA JUDI DORMAAR B.A., University of Lethbridge, 1993 A Project Submitted to the Faculty of Education of the University of Lethbridge in Partial Fulfillment of the Requirements for the Degree MASTER OF EDUCATION Lethbridge, Alberta February 2003 111 Abstract A high level of educational attainment carries both economic and social benefits. The popularity of continuing education programs and adult high school completion programs attest to people's interest in educational development and to the growing importance of education, skills and training in today's workplace. In general, higher levels of educational attainment are associated with improved labour market outcomes. Employment rates increase and unemployment rates decrease with higher levels of education. Education in the area of Fashion Design and Merchandising is one such area that is continuing to grow and MUST grow to keep up with the dynamics of our society. Fashion in the global market and in Canada today is big business. Its component parts - the design, production and distribution of fashion merchandise - form the basis of a highly complex, multibillion-dollar industry. It employs the greatly diversified skills and talents of millions of people, offers a multitudinous mix of products, absorbs a considerable portion of consumer spending and plays a vital role in the country's economy. Almost every country in the world depends on the textile and apparel sectors as important contributors to their economy. In Canada, more and more people will need an increasing amount of training and retraining throughout their careers. As a country, we need an educated, skilled and flexible work force to remain competitive. This can only be achieved by directly promoting continuing education and training programs amongst and for our people. IV Acknowledgements G.A.: You know there are not enough words to express my gratefulness. Your guidance is amazing! Leah: What a mentor you have been to me. Thank you ... for your strength, your wisdom, your faith in me. Thank you for your ambience Leah! Gerald: Thank you for taking the time to be a part of my project. Our paths crossed at just the right time! Janelle: I'm so glad you chose me to be your Maman ... what an honour! Mom & Dad: What can I say... you two were very hard to raise! Touche! Thanks Mom! Thanks Dad! v Table of Contents Abstract. ................................................................................................................................. iii Acknowledgements ............................................................................................................... iv Table of Contents .................................................................................................................. v List of Tables ........................................................................................................................ VB Introduction and Background to the Project.. ...................................................................... Purpose and Focus of the Project.. ........................................................................................ 6 Significance/Implications of the Study................................................................................. 10 Canadian Retailing Today..................................................................................................... 12 Inside the Fashion Business .................................................................................................. 42 The Language of Clothing.................................................................................................... 63 Education in Canada ............................................................................................................. 78 Examination of Four Canadian Colleges and Universities ................................................... 84 Kwantlen College University.................................................................................... 84 Lethbridge Community College ................................................................................ 102 Ryerson University .................................................................................................... 114 LaSalle College ......................................................................................................... 132 Comparative Analysis............................................................................................... 148 References............................................................................................................................. 157 Appendices ............................................................................................................................ 162 A: Careers in Fashion ............................................................................................... 162 B: Canadian Fashion Schools .................................................................................. 175 VI c: Selected Trade Publications for the World of Fashion ....................................... 186 D: Selected World Wide Web Sites ......................................................................... 193 Vll List of Tables Table 1. Canadian Retail Chains.................................................................................................... 14 2. The Retailing Challenges Beyond Year 2000 .................................................................. 16 3. Wal-Mart: The Impact on Competitive Retailers ............................................................ 22 4. Population Age Distribution (1996-2016) ....................................................................... 26 5. How are French Canadians Different? ............................................................................ 32 6. Fashions Reflect the Times .............................................................................................. 50 7. Laver's Law ..................................................................................................................... 65 8. Broad Listing of Industry Career Opportunities ............................................................... 164 Introduction and Background to the Project Education is such a vital part of our everyday reality. Whether it be spoken, unspoken, learned or taught, it is with us in all areas, in all forms. For thousands of years human beings have communicated with one another in the language of dress. Long before an individual is near enough to talk to another individual on the street, in a meeting or at a party, they have already announced their gender, age and class through what they are wearing - and very possibly given important information (or misinformation) as to their occupation, origin, personality, opinions, tastes, sexual desires and current mood. Each individual may not be able to put what they observed into words, but they have registered information unconsciously about each other. By the time they meet and converse they have already spoken to each other in an older and more universal tongue. Today, as semiotics becomes fashionable, sociologists tell us that fashion too is a language of signs, a nonverbal system of communication. The vocabulary of dress includes not only items of clothing, but also hair styles, accessories, jewelry, make-up and body decoration. Theoretically at least, this vocabulary is as large as or larger than that of any spoken tongue, since it includes every garment, hair style and type of body decoration ever invented. In practice of course, the actual language-clothing resources of an individual may be very restricted. When we think of a farmer working his land, we see only the bare necessities of clothing, jeans, shirt, boots, etc. Hence, his language-clothing may be limited to five or ten "words" from which it is possible to create only a few "sentences" almost bare of decoration and expressing only the most basic concepts. On 1 2 the other hand, a so-called fashion leader, who is able to create an enormous entity of clothing styles, may have several hundred "words" at his or her disposal, and thus be able to form thousands of different "sentences" that will express a wide range of meanings. Just as the average English-speaking person knows many more words than he or she will ever use in conversation, so all of us are able to understand the meaning of styles we will never wear. Dress and appearance are worthy of study because they are laden with meanings. Appearance and dress often provide the most immediate and apparent visual cues about age, gender, ethnicity, social status and social roles. In addition, dress protects the body from the environment - physical, psychological and social. It expresses relationships, steers individuals to approach or avoid others, shapes actions toward others, reflects how people feel about themselves, expresses personal values and values of the society in which an individual lives. Dress is more than the mere objects and materials people put on their bodies. Dress can be a sign or symbol that refers to and stands for meanings not inherent in the material or object. In sum, the physical body when dressed reflects the "social body" or surrounding societal system (Turner, 1991). Dress is a chronicle of any time in history. As fashions or norms of dressing change over time, trends in technology, the economy, religion, the arts, notions of morality,
Recommended publications
  • Charitably Chic Lynn Willis
    Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items.
    [Show full text]
  • Fashion Marketing & Merchandising: Career Investigation
    Career Investigation Textile and Apparel Careers . 2 Retail Careers . .19 Promotion Careers . 35 Entrepreneurship and Other Fashion-Related Careers. 48 ©Gerber Technology LLC 2017 1 FMM CWS CI.indd 1 2/6/2018 1:01:01 PM Textile and Apparel Careers The textile and apparel segments of the soft goods chain are vital to the U.S. economy. They have a high number of fi rms, employees, and dollars invested. This segment needs fashion specialists to design, manufacture, promote, sell, and distribute the products. Producers of textile and apparel goods and industry trade associations offer a great number and variety of fashion careers. In small companies, one employee may do a combination of several of these jobs. Large companies, with many more employees, have a larger number of more specialized positions. Textile and apparel manufacturing have always been labor-intensive, but are now becoming more capital-intensive because of industry restructuring, consolidation, and use of technology. They have also traditionally employed a high percentage of unskilled labor at below U.S. average wages. The skill level and wages, however, are moving upward with automation and electronics. Textile jobs, especially marketing and sales, are located in fashion centers while other textile jobs are at the headquarters and plant sites of producers, such as in the Eastern and Southern states. Apparel jobs are also near fashion centers. To get creative textile or apparel jobs that require design or artistic abilities, prospective employees need Kzenon/Shutterstock.com an excellent portfolio of original examples. A portfolio In large textile and apparel companies employees do special- can be a case of loose, neatly mounted art or design ized jobs, such as operating a saw to cut many layers of papers showing a person’s creative work, or a portfolio fabric at a time into garment parts.
    [Show full text]
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • 2017-2018 Updated Fashion Design
    Fashion Design The Hoot Addendum #4 This addendum replaces the Fashion Design section (pages 231 – 238) of the 2017-18 The Hoot. Revised December 1, 2017 BACK TO CONTENTS | 231 FASHION DESIGN Innovation in fashion design results from a rigorous process of developing and editing ideas that address specific design challenges. Students in our program work alongside expert, professional faculty and guest mentors, who are current and visible designers, to become educated and practiced in all aspects of the design process. Throughout their experience, students produce original designs and develop collections for their portfolio. In their Junior and Senior year, students have the opportunity to work in teams to create unique designs under the guidance of mentors, emulating professional designers and following the industry's seasonal schedule. Recent mentors for the Junior and Senior class have included Anthropologie, Urban Outfitters, Nike, Roxy, Armani Exchange, BCBG, Trina Turk, Ruben & Isabel Toledo, and Bob Mackie. Junior and Senior designs are featured at the annual Scholarship Benefit and Fashion Show at the Beverly Hilton. FASHION DESIGN WITH AN EMPHASIS IN COSTUME DESIGN Students may choose to pursue an emphasis in Costume Design. With a focus on new directions in character development for film, television, live performance, concept art, and video, students emerge from the Costume Design Emphasis track as relevant, creative professionals prepared for the future direction of this exciting field. Under the guidance of critically-acclaimed costume design professionals and leading costume houses, students will produce original designs and dynamic illustrations, combining traditional and digital methods, for their portfolios. Costume Design mentors have included: Disney, Cirque du Soleil, Theadora Van Runkle, Betsy Heimann, Western Costume, Bill Travilla, and Bob Mackie.
    [Show full text]
  • Smart Army Jacket
    Perspectives in Communication, Embedded-Systems and Signal-Processing (PiCES) – An International Journal ISSN: 2566-932X, Vol. 2, Issue 10, January 2019 Proceedings of National Conference on Emerging Trends in VLSI, Embedded and Networking (NC-EVEN 18), April 2018 Smart Army Jacket Bhuvaneshwari, Nipun Pradeep, Harish K Pavan Kumar, Sowmya Professor, Department of EC, Brindavan College of Engineering, Bangalore UG Students, Department of EC, Brindavan College of Engineering, Bangalore information systems are equipped with input and output Abstract: Wearable technologies are now pervading functions [1]. many applications in several fields. The aim of this review paper is to collect and summarize the actual Sensors or switches are used for input in smart smart clothing in the space and military field where clothing; they determine conditions of the surrounding conditions could be critical for health and safety, and environment (for example, temperature or humidity outline the innovation trend for innovative services to sensor) or operate and control the system (for example, police and soldiers. The aim of this paper is to consider system ON/OFF switch, volume control buttons). To keep data input methods and technologies related to wearing feeling as satisfactory as possible, it is preferable to replace data input mechanical buttons with flexible information input into electronic systems that would be switches and connections. The aim of this paper is to suitable for smart garments. An overview of recent consider data input methods and technologies related to developments in the area of flexible switches is information input into system that would be suitable for provided, describing processes used to fabricate these smart garments.
    [Show full text]
  • School of Fashion Program Brochure
    School of Fashion academyart.edu SCHOOL OF FASHION Contents Program Overview ...................................................5 What We Teach ......................................................... 7 Faculty .....................................................................11 Degree Options ..................................................... 15 Our Facilities ........................................................... 17 Student & Alumni Testimonials ........................... 19 Partnerships ......................................................... 23 Career Paths ......................................................... 25 Additional Learning Experiences ......................... 27 Awards and Accolades ......................................... 29 Online Education ................................................... 31 Academy Life ........................................................ 33 San Francisco ....................................................... 35 Athletics ................................................................ 37 Apply Today .......................................................... 39 3 SCHOOL OF FASHION Program Overview As a student at Academy of Art’s School of Fashion, you can go after the fashion career of your dreams. Aspiring designer? Learn to turn your fashion concepts into relevant, responsible, and beautiful work. More interested in the business of fashion? Future entrepreneurs thrive in our fashion-specific business and communications programs. FIND YOUR PLACE WHAT SETS US APART Academy
    [Show full text]
  • Fashion Design and Merchandising
    Chapter 12 Fashion Design and Merchandising Learning Objectives After completing this section the learner will be able to: zz explain the significance of fashion design and merchandising in garment industry zz describe the fundamentals of fashion zz explain the knowledge and skills required to be in fashion business zz discuss how a student can prepare for a career in fashion industry Introduction Fashion design and merchandising are among the most exciting career options in today’s world. In a country like India, where textile industries have been thriving for ages, the recent boom in fashion designing has led to new prospects in the existing domain of garment and accessory design. The fashion industry satisfies both the creative urge and the materialistic needs of people. You hear the term Fashion merchandising many times. Did you ever think what goes into it? Let us understand merchandising from its origin. You can recall from your early history lessons that barter of products and crafts was the start of trading practices. Slowly trading moved to ‘what was available was saleable’, so there were no complications 234 in distribution system. However, the year 1920 gave birth to ‘ready-to- wear’ and soon retailers realised that sale of such garments was big business. In a very short span of time, fashion apparel became the most important type of merchandise in department stores. As a result of the economic opportunities of fashion, a new specialisation came into being – Fashion Unit IV - Fabric And Apparel And IV - Fabric Unit merchandising. Significance Fashion design and merchandising will enable you to understand how the fashion business works.
    [Show full text]
  • Florence Nelson Kennedy FASHION ILLUSTRATOR
    ^sp-""* ' Florence Nelson Kennedy FASHION ILLUSTRATOR Pat Kennedy Crump lorence Nelson Kennedy often called herself a "stubborn Swede." Determined would have been a better description. She started to draw at an early age and loved doing it; she ac­ knowledged that she was an artist and deter­ Fmined to pursue a career in fashion illustration. At first, she may not have known that this ambition had great potential in her time. In the early decades of the twentieth century, opportunities were plentiful for commercial artists of all types, as advertising and pub­ lishing depended heavily on illustration, rather than photography. One means of preparing for such a career, espe­ cially for students who lived far from metropolitan ar­ eas, was instruction by mail. Universities had proven that home study was an excellent method of training, but it was a new idea in the field of commercial art. The Federal School of Commercial Designing, estab­ lished in Minneapolis in 1914, was adapted from a thor­ ough course employed by the Bureau of Engraving, a Minneapolis printing and engraving firm. Early school advertisements drew immediate responses, and the firm's success grew. The school started thousands of artists on successful careers, and Florence Nelson Ken­ nedy was one of them.' 'Colgate Buckbee, "How An Idea Grew Into the World's Largest Home Study Art School," The Illustrator (Minneapo­ lis), Winter-Spring 1964, p. 4-5; Joseph G. Almars (son of Joseph Almars, one of the Federal Schools' founders), tele­ phone interview with the author, Feb. 11, 1992; Minneapolis Star, Jan. 2, 1964, p.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • Fashion Design Merchandising Strands and Standards
    STRANDS AND STANDARDS FASHION DESIGN MERCHANDISING Course Description The Fashion Merchandising course is an introductory class that teaches the concepts of entry- level business and fashion fundamentals. The following list of skill strands prepares the student in fashion merchandising in the fundamentals of basic fashion concepts and marketing terminology, fashion cycles, key components of the fashion industry shuc a s fashion designers, fashion capitals and fashion week, retail merchandise categories, fashion promotion including advertising and social media, and fashion careers. Student leadership and competitive events (FCCLA and/or DECA) may be an integral part of the course. Intended Grade Level 10-12 Units of Credit .50 Core Code 34.01.00.00.145 Concurrent Enrollment Core Code NA Prerequisite Fashion Design Studio Skill Certification Test Number 405 Test Weight 0.5 License Type CTE and/or Secondary Education 6-12 Required Endorsement(s) Endorsement 1 Family & Consumer Sciences Endorsement 2 Fashion/Textiles/Apparel ADA Compliant: April 2021 FASHION DESIGN MERCHANDISING STRAND 1 Students will recognize basic fashion concepts and terminology. Standard 1 Review fashion terms. (Fashion Design Studio Standard 1) Accessories, apparel, avant-garde, classic, composite, design detail, draped, fad, fashion, fashion cycle, fit, garment type, haute couture, ready to wear, silhouette, style, tailored, trend, wardrobe. Standard 2 Identify fashion products. • Goods – tangible items that are made, manufactured, or grown. They include apparel, textiles, accessories, and other fashion products. • Services – intangible things that people do, such as tasks performed for customers. They include tailoring, cosmetology services, and stylist. STRAND 2 Students will examine the basics of fashion marketing and associated careers.
    [Show full text]
  • I Love Fashion Merchandise Collections & Store Concept
    I LOVE FASHION MERCHANDISE COLLECTIONS & STORE CONCEPT F SHOP AND GARMENTS Fashion TV showroom Fashiontv presents the Fashiontv presents the F Fashiontv presents the at LME Bangkok I love (F) Tailor mix collection I love (F) Must have collection I love (F) Punk Couture collection September, 2009 June, 2009 June, 2009 June 2009 Fashiontv presents the Fashiontv presents the Fashiontv presents the Phucket Fashion Week I love (F) Glamour collection I love (F) Sport collection I love (F) collection Michel Adam collection June, 2009 June, 2009 June, 2009 May, 2008 © fashiontv / august 2010 / 2 F SHOP AND GARMENTS F Flagship store grand F Fashion Flagship store F Flagship store presentation FTV SHOP on the openning Bangkok Bangkok, Thailand Bangkok, Thailand F- DIAMOND January, 2010 January, 2010 Janury, 2010 April, 2008 Fashion TV in London Fashion TV in London F Shop FTV Promotion clip full with Roberto with Roberto www.ftv.com/shop June, 2010 2007 2007 © fashiontv / august 2010 / 3 F SHOP AND GARMENTS Fashion Week Hong Kong - Miss FTV 2007 - Two days Miss FTV Grand Finals - Long FTV MERCHINDISE FTV Booth after - MICHEL ADAM version - MICHEL ADAM BIG GOLD KEY CHAIN January, 2008 December, 2007 December, 2007 I LOVE FASHION store on FTV Merchandise FTV Merchandise FTV Merchandise FDIAMOND in the City in the Sun at the Party / part 1 © fashiontv / august 2010 / 4 F SHOP AND GARMENTS FTV Merchandise FashionTV Merchandise Clip FashionTV New Collection MARIA MOGSOLOVA at the Party / part 2 Photoshoot IN THE SPACE September, 2009 September, 2009
    [Show full text]
  • A Study of Fashion Art Illustration
    Journal of Fashion Business Vol. 6, No. 3. pp.94~109(2002) A Study of Fashion Art Illustration Kang, Hee-Myung and Kim, Hye-Kyung* Lecturer, Doctoral, Dept. of Fashion Design, Dongduk Women’s University Professor, Dept. of Fashion Design, Dongduk Women’s University* Abstract The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art’s horizon. As fashion illustration is gaining recognition as a form of art which mirrors today’s realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art &technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression.
    [Show full text]