DOCSLIB.ORG

Diploma in Fashion Design 2016.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Diploma in Fashion Design 2016.Pdf CURRICULUM DIPLOMA Fashion Design (Three Years Program - Semester System) Council for Technical Education and Vocational Training Curriculum Development Division Sanothimi, Bhaktapur 2016 Table of Contents Introduction: ..................................................................................................................... IV Course Title: ..................................................................................................................... IV Aim: ................................................................................................................................. IV Objectives: ........................................................................................................................ IV Target Location: ............................................................................................................... IV Group Size: ....................................................................................................................... IV Entry Criteria: .................................................................................................................... V Medium of Instruction: ...................................................................................................... V Course Duration:................................................................................................................ V Pattern of Attendance:........................................................................................................ V Teacher and Student Ratio: ................................................................................................ V Qualification of Teachers and Instructors: .......................................................................... V Instructional Media and Materials: ..................................................................................... V Teaching Learning Methodologies: ................................................................................... VI Mode of Education: .......................................................................................................... VI Examination and Marking Scheme: ................................................................................... VI Provision of Back Paper: ................................................................................................... VI Disciplinary and Ethical Requirements: ........................................................................... VII Grading System: .............................................................................................................. VII Certification and Degree Awards: .................................................................................... VII Job Opportunity ............................................................................................................... VII Course Structure ................................................................................................................. 1 Semester: I .......................................................................................................................... 4 g]kfnL k|yd ............................................................................................................................. 5 English I ............................................................................................................................. 8 Business Mathematics ....................................................................................................... 10 Elements of Fashion Design I ........................................................................................... 12 Fundamental of Textile ..................................................................................................... 16 Computer Application I .................................................................................................... 18 Garment Technology – I ................................................................................................... 21 Semester: II ...................................................................................................................... 25 g]kfnL bf]>f] ........................................................................................................................... 26 English II .......................................................................................................................... 30 Principles of Accounting ................................................................................................... 33 Computer Application II ................................................................................................... 37 Textile Science I ............................................................................................................... 38 Garment Technology – II .................................................................................................. 41 Elements of Fashion Design II .......................................................................................... 44 Semester: III ..................................................................................................................... 54 Principles of Economics.................................................................................................... 55 Business Study.................................................................................................................. 58 Textile Science II .............................................................................................................. 61 Textile Design I ................................................................................................................ 63 Clothing Construction I ..................................................................................................... 69 Apparel Designing ............................................................................................................ 71 Semester: IV ..................................................................................................................... 75 Fundamental of Marketing ................................................................................................ 76 Hand Embroidery and Art ................................................................................................. 79 Textile Design II ............................................................................................................... 82 II Clothing Construction II ................................................................................................... 88 History of Fashion ............................................................................................................ 90 Semester: V ...................................................................................................................... 95 Principle of Pattern Making .............................................................................................. 96 Knitting and Crochet ......................................................................................................... 99 Entrepreneurship Development ....................................................................................... 104 Clothing Construction III ................................................................................................ 107 Gender Equality and Social Inclusion ............................................................................. 109 Semester VI .................................................................................................................... 112 Pattern Making and Grading ........................................................................................... 113 Quality control and Supervision ...................................................................................... 115 Fashion Sketching ........................................................................................................... 119 Industrial Exposure Program (IEP) ................................................................................. 122 III Introduction: This curriculum is designed with the purpose of producing middle level workforce equipped with knowledge, skills and attitudes related to the field of Fashion Design/ Textile/ Garment to meet the demand of such workforce in the country and aboard which contribute to streamline of poverty reduction of the country. Graduates of this course will be capable of performing the fashion designing as per the need of national and international market demand. Some essential theoretical inputs have been included, yet the focus is given on the enhancement of the required skills, enabling techniques and competency building on the concerned sector. Diploma in Fashion Design program extends over three years. Each year is divided into two semesters. There are six semesters in three years including one semester (5 months) plus three months Industrial Exposure programme. The first year (first & second semester) course includes both foundational subjects like English, Nepali for developing interpersonal communication and disciplinary subjects like Textile, Garment, Elements of fashion both theoretical and practical; the second year (third & fourth semester) course focuses on disciplinary and auxiliary subjects both theoretical and practical. Similarly, the third year (fifth & sixth semester) comprises of the disciplinary subjects and application of learnt
Load more

Recommended publications
  • Zfwtvol. 9 No. 3 (2017) 269-288
    ZfWT Vol. 9 No. 3 (2017) 269-288 FEMINIST READING OF GOTHIC SUBCULTURE: EMPOWERMENT, LIBERATION, REAPPROPRIATION Mikhail PUSHKIN∗ Abstract: Shifting in and out of public eye ever since its original appearance in the 1980ies, Gothic subculture, music and aesthetics in their impressive variety have become a prominent established element in global media, art and culture. However, understanding of their relation to female gender and expression of femininity remains ambiguous, strongly influenced by stereotypes. Current research critically analyses various distinct types of Gothic subculture from feminist angle, and positively identifies its environment as female-friendly and empowering despite and even with the help of its strongly sexualized aesthetics. Although visually geared towards the male gaze, Gothic subcultural environment enables women to harness, rather than repress the power of attraction generated by such aesthetics. Key words: Subculture, Feminism, Gothic. INTRODUCTION Without a doubt, Gothic subculture is a much-tattered subject, being at the centre of both popular mass media with its gossip, consumerism and commercialization, as well as academia with diverse papers debasing, pigeonholing and even defending the subculture. Furthermore, even within the defined, feminist, angle, a thorough analysis of Gothic subculture would require a volume of doctoral dissertation to give the topic justice. This leaves one in a position of either summarizing and reiterating earlier research (a useful endeavour, however, bringing no fresh insight), or striving for a kind of fresh look made possible by the ever-changing eclectic ambivalent nature of the subculture. Current research takes the middle ground approach: touching upon earlier research only where relevant, providing a very general, yet necessary outlook on the contemporary Gothic subculture in its diversity, so as to elucidate its more relevant elements whilst focusing on the ways in which it empowers women.
    [Show full text]
  • Illuminating the Darkness: the Naturalistic Evolution of Gothicism in the Nineteenth-Century British Novel and Visual Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of 8-2013 Illuminating the Darkness: The Naturalistic Evolution of Gothicism in the Nineteenth-Century British Novel and Visual Art Cameron Dodworth University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Dodworth, Cameron, "Illuminating the Darkness: The Naturalistic Evolution of Gothicism in the Nineteenth- Century British Novel and Visual Art" (2013). Dissertations, Theses, and Student Research: Department of English. 79. https://digitalcommons.unl.edu/englishdiss/79 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ILLUMINATING THE DARKNESS: THE NATURALISTIC EVOLUTION OF GOTHICISM IN THE NINETEENTH- CENTURY BRITISH NOVEL AND VISUAL ART by Cameron Dodworth A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English (Nineteenth-Century Studies) Under the Supervision of Professor Laura M. White Lincoln, Nebraska August, 2013 ILLUMINATING THE DARKNESS: THE NATURALISTIC EVOLUTION OF GOTHICISM IN THE NINETEENTH- CENTURY BRITISH NOVEL AND VISUAL ART Cameron Dodworth, Ph.D. University of Nebraska, 2013 Adviser: Laura White The British Gothic novel reached a level of very high popularity in the literary market of the late 1700s and the first two decades of the 1800s, but after that point in time the popularity of these types of publications dipped significantly.
    [Show full text]
  • Yale Fashion Catalogue 2008
    Fashion Brochure 2008:Fashion 2008 22/10/08 15:25 Page 6 fashion from yale Fashion Brochure 2008:Fashion 2008 22/10/08 15:25 Page 7 fashionnow Gothic Dark Glamour Valerie Steele and Jennifer Park 2008 192pp. 100 colour illus. Hb ISBN 978-0-300-13694-4 £19.99* From its origins in the eighteenth-century literature of terror to its contemporary manifestations in vampire fiction, cinema and art, the gothic has embraced the powers of horror and the erotic macabre. ‘Gothic’ is an epithet with a strange history—evoking images of death, destruction and decay. Ironically, its negative connotations have made the gothic an ideal symbol of rebellion for a wide range of cultural outsiders. Popularly associated with black-clad teenagers and rock musicians, gothic fashion encompasses not only subcultural styles (from old- school goth to cyber-goth and beyond) but also high fashion by such designers as Alexander McQueen, John Galliano of Christian Dior, Rick Owens, Olivier Theyskens and Yohji Yamamoto. As the text and lavish illustrations in this book suggest, gothic fashion has deep cultural roots that give it an enduring potency. Published in association with The Museum at the Fashion Institute of Technology Superheroes Fashion and Fantasy Andrew Bolton With an essay by Michael Chabon 2008 160pp. 300 colour illus. Hb ISBN 978-0-300-13670-8 £30.00* From Wonder Woman’s satin stars and golden bracelets to Batman’s brooding cape and mask, the style of superheroes’ dress has influenced both street wear and high fashion. This richly illustrated book explores how radical couture, avant-garde sportswear and state-of-the-art military garments—as seen through the lens of the superhero—can be metaphors for sex, power and politics.
    [Show full text]
  • Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic
    139 Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic Catherine Spooner Sandra Mills, University of Hull London: Bloomsbury, 2017 ISBN: 9781441101211, 213pp. £21.99 Don’t judge a book by its cover, or so the old adage goes; when it comes to Catherine Spooner’s most recent publication, Post-Millennial Gothic: Comedy, Romance and the Rise of Happy Gothic, though, it is hard not to. The eye-catching cover, with whimsically macabre illustrations created by artist Alice Marwick, features an array of familiar contemporary Gothic figures; the Twilight (2008-2012) saga’s Edward and Bella, Tim Burton’s Mad Hatter, and The Mighty Boosh (2003-2007) logo all feature alongside more traditional iconography of the genre: bats, dolls, ravens, roses, and skulls. Spooner is a respected authority on the Gothic and has, over the years, published extensively on the genre across two monographs: Fashioning Gothic Bodies (2004) and Contemporary Gothic (2006), countless chapters, articles, edited collections, and exhibition catalogues. Post-Millennial Gothic is a welcome addition to this growing collection. Post-Millennial Gothic charts the pervasive spread of the Gothic in post-millennial culture, showing that contemporary Gothic is often humorous, romantic, and increasingly, as Spooner deftly demonstrates, happy. Spooner surveys an eclectically comprehensive mix of narratives from iconic Gothic texts: Frankenstein (1818), Wuthering Heights (1847), Dracula (1897); to more recent cult films: The Breakfast Club (1985), The Lost Boys (1987), Edward Scissorhands (1990); serialized sitcoms: The IT Crowd (2006-2013), The Big Bang Theory (2007-), Being Human (2011-2014); supernatural series: Buffy the Vampire Slayer (1996- 2003), Supernatural (2005-), True Blood (2008-2014); and makeover shows: Grand Designs (1999-), Queer Eye for the Straight Guy (2003-2007), Snog Marry Avoid (2008-2013).
    [Show full text]
  • 101 CC1 Concepts of Fashion
    CONCEPT OF FASHION BFA(F)- 101 CC1 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Introduction to Fashion 5-47 2. Fashion Forecasting 48-69 3. Theories of Fashion, Factors Affecting Fashion 70-96 4. Components of Fashion 97-112 5. Principle of Fashion and Fashion Cycle 113-128 6. Fashion Centres in the World 129-154 7. Study of the Renowned Fashion Designers 155-191 8. Careers in Fashion and Apparel Industry 192-217 9.
    [Show full text]
  • Page 129 EVENTS REVIEW the Dark Glamour Of
    Page 129 EVENTS REVIEW The D ark Glamour o f Neo­Victorian Gothic Gothic: Dark Glamour Exhibit, curated by Valerie Steele New York Fashion Institute of Technology, 5 September 2008 ­ 21 February 2009 “Your mind is in disturbia” sang the reigning princess of R&B music, Rihanna, as she opened the 2008 MTV Video Music Awards on September 7th. Clothed in high­fashion black leather and feather bondage gear, she and an entourage of back­up dancers miming zombies gyrated around the stage as she asked seductively, “Am I scaring you tonight?” If the performance, which resurrected Michael Jacksons’s Thriller with a touch of S&M, frightened the audience it was with no more than a pleasantly titillating thrill as Rihanna’s macabre Gothic­inspired musical opening effectively upstaged the return of Britney Spears and kept more than 8.4 million viewers riveted to the screen. MTV, perennial source of all things trendy, used its opening entertainment as a clever marketing tool, for Rihanna’s performance responded to the Gothic vampire craze present in contemporary youth culture, particularly the culture of adolescent girls. The popularity of Stephanie Meyer’s Twilight series of fantasy novels has positioned the author as the J.K. Rowling of “tweens” and teens. Twilight, first book in the series, sold over 1.5 million copies, and the final installment, Breaking Dawn , sold 1.3 million within 24 hours of its release. Not coincidentally, a movie adaptation of Twilight opens in November. Even HBO, a network with programming geared more toward adults, has staked (pun intended) its claim to vampire narratives, premiering this Fall its drama True Blood , based on a series of Southern vampire mysteries by Charlaine Harris.
    [Show full text]
  • Introduction
    Introduction othic as we know it today is a term that is both hybrid and hybrid- Gising, simultaneously morphing to refer to an increasingly wider span of new cultural productions whilst also continuously expanding retrospectively to appropriate more materials from the past. Gothic as a genre has become more amorphous and difficult to contain. As Fred Botting has written: ‘The diffusion of Gothic forms and figures […] makes the definition of a homogenous generic category very difficult’ (Botting, 1996: 9). Though the first burgeoning of Gothic novels is easy to locate chronologi- cally, the Gothic leaches acquisitively backwards and forwards in time whilst also crossing generic borders. For example, David R. Castillo writes of Julián de Medrano’s La Silva Curiosa / The Strange Wood, published in 1583, nearly two centuries before the first commonly accepted date for the appearance of Gothic writing: ‘The story has all ingredients of a full-blown gothic fantasy: Faustian motives, visions of damnation, voices from the dead, restless corpses […] as is so often the case in classic gothic fiction beginning with Horace Walpole’s The Castle of Otranto (1764), this is ultimately a story about the crushing weight of the past’ (Castillo, 2010: 69). If critics have started to note the proleptic nature of early modern literature in terms of anticipating the Gothic, theoret- ical descriptions of the ‘domestic Gothic’ of the 1860s onwards and the late Victorian Gothic of the 1890s have helped give weight to Richard J. Hand’s confident instatement of German Expressionism within the area of Gothic influence (Hand, 2013: 271). The primacy of Bram Stoker’s vampire novel for F.
    [Show full text]
  • The Music of the Goth Subculture: Postmodernism and Aesthetics Charles Allen Mueller
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Music of the Goth Subculture: Postmodernism and Aesthetics Charles Allen Mueller Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE MUSIC OF THE GOTH SUBCULTURE: POSTMODERNISM AND AESTHETICS By CHARLES ALLEN MUELLER A Dissertation submitted to the College of Music In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2008 Copyright 2008 Charles Mueller All Rights Reserved The members of the Committee approve the dissertation of Charles Allen Mueller defended on June 12, 2008. __________________________ Charles E. Brewer Professor Directing Dissertation __________________________ Barry Faulk Outside Committee Member __________________________ Denise Von Glahn Committee Member __________________________ Douglass Seaton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOLEDGEMENTS I would like to extend my most sincere gratitude to the Presser Foundation who funded my research in Great Britain. I would also like to thank journalist Mick Mercer and the staff at Rough Trade in London who provided me with important insights into the development of goth music. All of the past and present goth participants and musicians who took the time to share with me their passion for music and life experiences also
    [Show full text]
  • The Gothic As a Practice, by TGS Jones
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ResearchArchive at Victoria University of Wellington THE GOTHIC AS A PRACTICE: Gothic Studies, Genre and the Twentieth Century Gothic by Timothy Graham Stanford Jones A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in English Victoria University of Wellington 2010 ABSTRACT Gothic studies, the specialist academic field that explores the Gothic text, has developed substantially over the last twenty-five years. The field often frames the Gothic as a serious literature, involved in historic discourse, and having special psychological acuity; this thesis suggests that there are a number of problems with these argumentative strategies, and that the academy now makes claims for the Gothic that are discontinuous with how this popular genre is understood by most readers. While Gothic studies is the study of a genre, curiously, it has seldom engaged with theorisations of genre. Nevertheless, an understanding of what genre is, and how it alters reading practice, is crucial to understanding the Gothic text. This thesis attempts to reconcile and develop a number of disparate approaches to genre through Pierre Bourdieu’s notion of habitus. It argues that genre is not a set of textual conventions but a group of procedures that facilitate and modify both writing and reading practices. Consequently, genres like the Gothic should be seen as discrete historicised phenomena, which retain a cohesive practical sense of how they ought to be performed before they hold discursive properties. Rather than arguing for the literary value of the Gothic, this thesis understands the genre as a popular practice.
    [Show full text]
  • DARK GLAMOUR and DESIRE: an EXPLORATORY LOOK at PSYCHOANALYSIS and the WORK of ALEXANDER MCQUEEN by Emily Kate Risley B.Sc. Reta
    DARK GLAMOUR AND DESIRE: AN EXPLORATORY LOOK AT PSYCHOANALYSIS AND THE WORK OF ALEXANDER MCQUEEN By Emily Kate Risley B.Sc. Retail Marketing Johnson & Wales University, Providence, Rhode Island 2010 A Master’s Research Project presented to Ryerson University In partial fulfillment of the requirements for the degree of Master of Arts in the Program of Fashion Toronto, Ontario, Canada, 2014 © (Emily Kate Risley) 2014 AUTHOR’S DECLARATION FOR ELECTRONIC SUBMISSION OF A MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. ii Abstract Dark Glamour and Desire: An Exploratory Look at Psychoanalysis and the Work of Alexander McQueen The relationship between psychoanalysis and fashion is relatively new; therefore, this study aimed to identify how psychoanalytic theory, specifically Freud’s The Uncanny and Lacan’s theories of desire relate to McQueen’s collections as well as themes of Goth and Fetish. This case study used a qualitative approach as its methodology and both content and semiotic analyses of visuals to examine study-related topics. Lacan’s theories of desire were applied to analyze the role of fetish, sexuality, femininity, jouissance, and women as objet a in the collection Supercalifragilisticexpialidocious and portions of Horn of Plenty.
    [Show full text]
  • Clothing-Based Discrimination at Work: the Case of the Goth Subculture
    Philippe Fauquet-Alekhine Clothing-based discrimination at work: the case of the Goth subculture Article (Published version) (Refereed) Original citation: Fauquet-Alekhine, Philippe (2016) Clothing-based discrimination at work: the case of the Goth subculture. British Journal of Education, Society & Behavioural Science, 13 (4). pp. 1-16. ISSN 2278-0998 DOI: 10.9734/BJESBS/2016/21592 Reuse of this item is permitted through licensing under the Creative Commons: © 2016 The Author CC BY 4.0 This version available at: http://eprints.lse.ac.uk/65352/ Available in LSE Research Online: Online: February 2016 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. British Journal of Education, Society & Behavioural Science 13(4): 1-16, 2016, Article no.BJESBS.21592 ISSN: 2278-0998 SCIENCEDOMAIN international www.sciencedomain.org Clothing-based Discrimination at Work: The Case of the Goth Subculture Philippe Fauquet-Alekhine 1* 1Department of Social Psychology, London School of Economics and Political Science, Houghton St., WC2A 2AE, London, UK. Author’s contribution The sole author designed, analyzed and interpreted and prepared the manuscript. Article Information DOI: 10.9734/BJESBS/2016/21592 Editor(s): (1) Alina Georgeta Mag, Department of Private Law and Educational Science, University of Sibiu, Romania. (2) Stan Weeber, Professor of Sociology, McNeese State University in Lake Charles, Louisiana, USA. Reviewers: (1) Anonymous, Kaplan University, USA.
    [Show full text]
  • 1 Goth Fashion: from Batcave to Darkwave and Beyond by Ryan V. S
    © Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 1 ​ Goth Fashion: From Batcave to Darkwave and Beyond By Ryan V. Stewart “Goth”: A phrase which, for many of us, conjures up stereotypical images of pitch black-clad and pale figures, of eerily quiet teenagers seemingly dressed for Halloween year-round; and, perhaps for the more historically-inclined among us, a collection of Germanic tribes whose clashes with the Roman Empire represent some of the most crucial turning points in history. Of course, the former—the cliched idea of teens or young adults who take part in a dreary ​ and doom-laden clique, more likely frequenters of rain-drenched cemeteries, or abandoned and ​ cobwebbed Victorian manors, than varsity athletes or high-rolling yuppies—does have some ​ merit to it: They say that stereotypes are based on at least a kernel of truth, after all. But as much as “goth” is a recognizable term throughout most of the Western world—where counterculture has been, and continues to be, a visible aspect of our ​ societies—it’s also one which, as we near the 2020s, is fairly dated: Though rooted in the late © Ryan V. Stewart, 2018–present | CC BY-NC-ND 4.0 ARTpublika Magazine: Volume V Submission (Ryan V. Stewart) | 2 ​ 70s British punk scene, especially the post-punk movement and the overarching art punk tendency, and taking influence from glam, and, to a lesser extent, New Wave, goth as a distinguishable, musically-oriented subculture really emerged in the 1980s, and its linchpin genre, gothic rock, flourished throughout that decade, quickly expanding to America and then to other countries.
    [Show full text]