DOCSLIB.ORG

(B) Fashion Design Basics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(B) Fashion Design Basics Technology Education Key Learning Area Technology and Living (Secondary 1-3) FASHION DESIGN BASICS Booklet 1 Family and Lifestyle Booklet 2 Consumer Behaviour in Food Choices and Implications Booklet 3 Health and Nutrition Booklet 4 Chemistry of Foods Booklet 5 Diet and Meal Planning Booklet 6 Food Commodities Booklet 7 Food Preparation Technology Booklet 8 Food Hygiene Booklet 9 Food Spoilage and Food Poisoning Booklet 10 Food Preservation Technology Booklet 11 Food Culture Booklet 12 Food Science and Technology Extended Study Booklet 13 Food Product Development Booklet 14 Consumer Behaviour in Clothing Choices and Implications Booklet 15 Fashion Design Basics Booklet 16 Fibres and Fabrics Booklet 17 Clothing Technology Booklet 18 Culture and Fashion Design Booklet 19 Textiles and Textile Technology Booklet 20 Apparel Industry Fashion Design Basics 15.1 Principles of Fashion Design The primary purpose of wearing clothes is for protection, e.g. to keep warm, modesty. Nowadays, people wear different clothes for different occasions and identities. They also choose clothes by following their aesthetic sense and the fashion trend. 15.1.1 Aesthetic Values Beauty is a quality that gives pleasure to the sense. It creates a positive emotional reaction in the viewer. Most psychologists believe beauty and aesthetic are essential to human life. 15.1.2 Principles of Aesthetic (a) Proportion Basically, proportion in fashion design is the size relationship of each of the internal spaces within a garment to one another and to the whole design. Out of Proportion In Proportion Sleeves are too large for the size of skirt Sleeves are balanced by a longer skirt 1 If the design is properly proportioned, the design effect will appear to be harmonious and pleasing. The golden mean is the proportion rule that pleases the eyes. 5:8 and 8:13 are the standard formulae. Unequal proportion can be more interesting than equal proportion. In Example 1 and 2, the 5:8 proportion is comparatively more satisfying to the eyes. Example 1 Example 2 2 In Example 3, the 6:8 and 4:8 proportion are too small and too large. Example 3 ( 6:8 ) ( 5:8 ) ( 4:8 ) Too little difference Golden Mean Too much difference (b) Balance Balance is how the internal spaces of a shape work together. The surface of a design may be broken up by structural lines, trims, fabric patterns, textures or colours. Balance can be symmetrical or asymmetrical: Formal balance Informal balance Formal balance Informal balance is symmetrical, is asymmetrical, both sides are its design details the same are divided unequally from the centre 3 (c) Rhythm In fashion design, rhythm is the flow of lines, shapes, textures and colours of garment. (d) Radiation Radiation is the use of design lines that fan out from a pivotal point. (e) Gradation Gradation is the use of a single colour, shape, size, design detail and motif. These principles featured in any gradating pattern can be done from the darkest to the lightest tone or from the smallest to the biggest size. 4 (f) Emphasis Emphasis is a centre of interest that draws attention to the focal point of a garment. ‘Emphasis’ could be accomplished by the use of lines, details, colour accents, shapes, trims or accessories. A poorly planned ‘emphasis’ confuses our eyes, so that we do not know where to focus on in the garment. (g) Contrast Contrast is the use of different colours, textures and shapes. Leung Man Ying’s collection in 2006 5 (h) Harmony Similarity in areas such as the use of colours or textures. Tam Wai Yin’s collection 2006 (i) Unity The repetition of a design element throughout a garment creates a sense of unity. Unity No unity 6 (j) Repetition Repetition is the repeated use of certain design elements, details or trims in a garment. A feature could be repeated either regularly or irregularly. (k) Scale The term ‘scale’ refers to the relationship between a garment and its design details. Right Scale Wrong Scale 7 15.2 Fashion Design Elements 15.2.1 Line and Direction The term line refers to the direction of visual interest in a garment created by construction details such as seams, fastenings, patterns, tucks, contrast stitching and trims. Vertical Lines Horizontal Lines Diagonal or Oblique Lines - create an illusion of a - make the wearer look - add some sense of longer and slimmer shorter and plumper movement and visual body impact on the design 8 15.2.2 Shape In the fashion industry, the term “silhouette” is normally used to describe the shape of garment. (a) Basic Garment Shapes Natural Rectangular Tent Full (b) Basic Shapes of Women’s Wear Rectangle/ Inverted Tubular/ Triangle/ Triangle/ Tent/ Cigarette/ Natural Full Wedge/ A-line Trapeze Straight/ Tapered/ H-line Y-line Round/ Hourglass/ Oval/ Sheath/ Trumpet Bell Body Empire Cocoon/ Close fitted Conscious Egg 9 (c) Basic Garment Shapes of Menswear Rectangle/ Inverted Triangle/ Square Natural Straight Wedge 15.2.3 Texture In fashion design, the texture is the surface interest of a fabric which depends on the variations of four factors: fibre content, yarn structure, fabric structure and finishes. Texture influences the drape of a garment. Chiffon clings and flows, making it a good choice for soft, feminine styles while canvas has the firmness and bulk suitable for more casual garments. Texture affects the colour of a fabric. Rough textures absorb light, causing the colours to appear flat. Smooth textures reflect light, causing colours to appear brighter. 10 15.2.4 Fabric Patterns Fabric patterns are coordinated by lines, dots, shapes, spaces and colours. They are created in endless varieties - geometric, floral, stripes, checkers, dots, abstract motifs and many others. (a) Geometric Patterns (b) Conventional Patterns 11 (c) Naturalistic Patterns (d) Dots and spots (e) Printing Techniques Block printing Screen printing Burn-out printing Discharge printing Engraved roller printing Heat transfer printing Digital printing 12 15.2.5 Colours (a) Colour Dimensions Hue - the name given to specific colours such as red and blue Value - the use of darks and lights or the variation of light strength in a colour . Intensity - saturation, brightness or paleness of a colour, bright colours are considered to be of high intensity; pale ones are of low intensity (b) Colour wheel 13 (c) Other terms Primary colours - red, yellow and blue, which cannot be made by mixing other colours . Secondary colours - orange, green, violet are colours made by mixing two primary colours . Tint - a pure colour mixed with white, e.g. red plus white to make pink Shade - a pure colour mixed with black, e.g. red plus black to make burgundy Tone – to describe a tint or shade Complementary colours (contrast colours) - pairs of colours that appear on opposite sides of the colour wheel, e.g. red and green or violet and yellow Warm colours - red, yellow and orange, which are usually associated with fire and sun, warm colours are stimulating, aggressive and lively Cool colours - blue, green and violet, which remind people of the sky and the sea, cool colours are quiet, reserved, soothing, peaceful and calm 14 15.3 Fashion Design Presentation 15.3.1 Basic Proportions of Female Figure for Fashion Design Drawing Average Female’s Proportion Fashion Drawing Proportion 15 16 15.3.2 Basic Proportions of Male Figure for Fashion Design Drawing 17 15.3.3 Production Drawing Production drawing – skirt Production drawing - top 18 15.4 Fashion Design Process ANALYSE THE BRIEF identifying needs RESEACH INSPIRATION RESEARCH DIRECTION (industrial designer) personal inspiration and concepts trends, fashion forecasting, directional and (mood board / colour board) comparative, trade show reports, retail and market research CREATIVE PROCESS Ideasketch Silhouette, texture, pattern, fabric, colour and principles of design Design Development Production Drawing Presentation Drawing PRODUCTION OF PROTOTYPE flat pattern cutting, toile modeling, structure and embellished EVALUATION OF COLLECTION chosen range or collection, decision making PROMOTION promotion graphic and photographic styling 19 15.4.1 Analyse the Design Brief The information within a typical brief covers the following: (a) The type(s) of garments to be designed. For example, women’s wear, menswear, eveningwear, lingerie, casual wear or knitwear. (b) The occasions or activities they are intended for. For example, surfing, dancing, etc. (c) The season. (d) The fashion image required, e.g. different age range, formal or informal style, etc. (e) The price range. (f) Title/Theme. 15.4.2 Research Inspiration Sources of inspiration may be related to designers’ personal experience. They can come from museums or post cards, from the Internet or family photographs. Many areas of research including paintings, flowers, architectures, furniture, raw materials or even films from different parts of the world could be used. 20 (a) Mood Board (b) Colour Board (c) Theme Board 21 15.4.3 Research Direction (a) Trends and Fashion Forecasting (b) Coverage of tradeshows and fabric fairs (c) Retail reports and directional garments (d) Original samples (e) Ready-to-wear fashion show (f) Market research (g) Fashion Internet and websites 15.4.4 Creative Process (a) Idea Sketch Idea sketches are rough sketches simply for designers to write down the ideas that they think might be useful for further design development. 22 (b) Design Development Design development is the selection of rough sketches of the designers to fully expand initial concepts. Development sketches could be finished with or without colour, depending on the availability of suitable fabric samples. (c) Production Sketch . 23 (d) Presentation Drawing Presentation drawings should contain complete figures wearing the garments in a suitable pose and feature showing the most attractive design interest. 24 15.4.5 Production of Prototype (a) Flat-pattern Cutting Basic blocks such as bodices, sleeve, pants or skirts are drafted on card board and provide well-fitting shapes.
Load more

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]
  • Techniques of Fashion Earrings Pdf, Epub, Ebook
    TECHNIQUES OF FASHION EARRINGS PDF, EPUB, EBOOK Deon Delange | 72 pages | 01 Sep 1995 | Eagles View Publishing | 9780943604442 | English | Liberty, Utah, United States Techniques of Fashion Earrings PDF Book These stunning geometric earrings are perfect for a night out on the town or a shopping trip with the girls. And even if you don't go straight over your pencil lines, just kind of go with the flow; let your body feel it as you go. Trends influence what all of us wear to some extent, which is fine. Brendan How to draw human body for fashion design? Do share with us your creations! Two completely different looks, one set of clothe. Spice up some simple silver hoops with this awesome video tutorial for how to make bead earrings. You'll end up losing yourself. My advice? Make a note of the combinations you like if that helps to trigger your memory later. Stringing beads on multiple wires. The days of only wearing one tone of metal is over. When it comes to DIY jewelry, beaded earrings are some of the prettiest patterns out there. As an illustration, one pair of earring contains three hanging flowers: gentle pink, pale purple, and deep purple. Your email address will not be published. Tutorial Features: This beaded Christmas tree pattern will teach you how to make peyote stitch earrings and a peyote stitch necklace. All these bangle styles may be worn in one or each arms relying in your outfit, model and occasion. Eco-friendly jewellery. Try some dangling pearl earrings with a summer print for a fun and flirty look.
    [Show full text]
  • JEWELLERY TREND REPORT 3 2 NDCJEWELLERY TREND REPORT 2021 Natural Diamonds Are Everlasting
    TREND REPORT ew l y 2021 STATEMENT J CUFFS SHOULDER DUSTERS GENDERFLUID JEWELLERY GEOMETRIC DESIGNS PRESENTED BY THE NEW HEIRLOOM CONTENTS 2 THE STYLE COLLECTIVE 4 INDUSTRY OVERVIEW 8 STATEMENT CUFFS IN AN UNPREDICTABLE YEAR, we all learnt to 12 LARGER THAN LIFE fi nd our peace. We seek happiness in the little By Anaita Shroff Adajania things, embark upon meaningful journeys, and hold hope for a sense of stability. This 16 SHOULDER DUSTERS is also why we gravitate towards natural diamonds–strong and enduring, they give us 20 THE STONE AGE reason to celebrate, and allow us to express our love and affection. Mostly, though, they By Sarah Royce-Greensill offer inspiration. 22 GENDERFLUID JEWELLERY Our fi rst-ever Trend Report showcases natural diamonds like you have never seen 26 HIS & HERS before. Yet, they continue to retain their inherent value and appeal, one that ensures By Bibhu Mohapatra they stay relevant for future generations. We put together a Style Collective and had 28 GEOMETRIC DESIGNS numerous conversations—with nuance and perspective, these freewheeling discussions with eight tastemakers made way for the defi nitive jewellery 32 SHAPESHIFTER trends for 2021. That they range from statement cuffs to geometric designs By Katerina Perez only illustrates the versatility of their central stone, the diamond. Natural diamonds have always been at the forefront of fashion, symbolic of 36 THE NEW HEIRLOOM timelessness and emotion. Whether worn as an accessory or an ally, diamonds not only impress but express how we feel and who we are. This report is a 41 THE PRIDE OF BARODA product of love and labour, and I hope it inspires you to wear your personality, By HH Maharani Radhikaraje and most importantly, have fun with jewellery.
    [Show full text]
  • HISTORY and DEVELOPMENT of FASHION Phyllis G
    HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms.
    [Show full text]
  • ADDENDUM (Helps for the Teacher) 8/2015
    ADDENDUM (Helps for the teacher) 8/2015 Fashion Design Studio (Formerly Fashion Strategies) Levels: Grades 9-12 Units of Credit: 0.50 CIP Code: 20.0306 Core Code: 34-01-00-00-140 Prerequisite: None Skill Test: # 355 COURSE DESCRIPTION This course explores how fashion influences everyday life and introduces students to the fashion industry. Topics covered include: fashion fundamentals, elements and principles of design, textiles, consumerism, and fashion related careers, with an emphasis on personal application. This course will strengthen comprehension of concepts and standards outlined in Sciences, Technology, Engineering and Math (STEM) education. FCCLA and/or DECA may be an integral part of this course. (Standards 1-5 will be covered on Skill Certification Test #355) CORE STANDARDS, OBJECTIVES, AND INDICATORS Performance Objective 1: Complete FCCLA Step One and/or introduce DECA http://www.uen.org/cte/facs_cabinet/facs_cabinet10.shtml www.deca.org STANDARD 1 Students will explore the fundamentals of fashion. Objective 1: Identify why we wear clothes. a. Protection – clothing that provides physical safeguards to the body, preventing harm from climate and environment. b. Adornment – using individual wardrobe to add decoration or ornamentation. c. Identification – clothing that establishes who someone is, what they do, or to which group(s) they belong. d. Modesty - covering the body according to the code of decency established by society. e. Status – establishing one’s position or rank in comparison to others. Objective 2: Define terminology. a. Common terms: a. Accessories – articles added to complete or enhance an outfit. Shoes, belts, handbags, jewelry, etc. b. Apparel – all men's, women's, and children's clothing c.
    [Show full text]
  • VTE Framework: Fashion Technology
    Massachusetts Department of Elementary & Secondary Education Office for Career/Vocational Technical Education Vocational Technical Education Framework Business & Consumer Services Occupational Cluster Fashion Technology (VFASH) CIP Code 500407 June 2014 Massachusetts Department of Elementary and Secondary Education Office for Career/Vocational Technical Education 75 Pleasant Street, Malden, MA 02148-4906 781-338-3910 www.doe.mass.edu/cte/ This document was prepared by the Massachusetts Department of Elementary and Secondary Education Mitchell D. Chester, Ed.D. Commissioner Board of Elementary and Secondary Education Members Ms. Maura Banta, Chair, Melrose Ms. Harneen Chernow, Vice Chair, Jamaica Plain Mr. Daniel Brogan, Chair, Student Advisory Council, Dennis Dr. Vanessa Calderón-Rosado, Milton Ms. Karen Daniels, Milton Ms. Ruth Kaplan, Brookline Dr. Matthew Malone, Secretary of Education, Roslindale Mr. James O’S., Morton, Springfield Dr. Pendred E. Noyce, Weston Mr. David Roach, Sutton Mitchell D. Chester, Ed.D., Commissioner and Secretary to the Board The Massachusetts Department of Elementary and Secondary Education, an affirmative action employer, is committed to ensuring that all of its programs and facilities are accessible to all members of the public. We do not discriminate on the basis of age, color, disability, national origin, race, religion, sex, gender identity, or sexual orientation. Inquiries regarding the Department’s compliance with Title IX and other civil rights laws may be directed to the Human Resources Director, 75 Pleasant St., Malden, MA 02148-4906. Phone: 781-338-6105. © 2014 Massachusetts Department of Elementary and Secondary Education Permission is hereby granted to copy any or all parts of this document for non-commercial educational purposes.
    [Show full text]
  • Fashion Design Studio
    PRECISION EXAMS Fashion Design Studio EXAM INFORMATION DESCRIPTION Exam Number This course explores how fashion influences everyday life 355 and introduces students to the fashion industry. Topics Items covered include: fashion fundamentals, elements and 59 principles of design, textiles, consumerism, and fashion Points related careers, with an emphasis on personal 69 application. FCCLA and/or DECA may be an integral Prerequisites part of this course. NONE Recommended Course Length ONE SEMESTER National Career Cluster ARTS, A/V TECHNOLOGY & COMMUNICATIONS HUMAN SERVICES EXAM BLUEPRINT MARKETING STANDARD PERCENTAGE OF EXAM Performance Standards 1 - Fashion Fundamentals 37% INCLUDED (OPTIONAL) 2 - Principles & Elements 27% Certificate Available 3 - Textiles 16% YES 4 - Consumer Strategies 11% 5 - Personal Fashion Characteristics 9% Fashion Design Studio STANDARD 1 STUDENTS WILL EXPLORE THE FUNDAMENTALS OF FASHION Objective 1 Identify why we wear clothes. 1. Protection – clothing that provides physical safeguards to the body, preventing harm from climate and environment. 2. Identification – clothing that establishes who someone is, what they do, or to which group(s) they belong. 3. Modesty – covering the body according to the code of decency established by society. 4. Status – establishing one’s position or rank in relation to others. 5. Adornment – using individual wardrobe to add decoration or ornamentation. Objective 2 Define common terminology. 1. Common Terminology. 1. Accessories – articles added to complete or enhance an outfit. Shoes, belts, handbags, jewelry, etc. 2. Apparel – all men's, women's, and children's clothing. 3. Avant-garde – wild and daring designs that are unconventional and startling. Usually disappear after a few years. 4. Classic – item of clothing that satisfies a basic need and continues to be in fashion acceptance over an extended period of time.
    [Show full text]
  • Fashion That Prevails: a Study of Contemporary Black Designers
    FASHION THAT PREVAILS: A STUDY OF CONTEMPORARY BLACK DESIGNERS A Thesis Presented to the Faculty of the Graduate School of Cornell University In PArtial Fulfillment of the Requirements for the Degree oF MAster of Arts by SiAn ViktoreyA Lewis Brown MAy 2020 © 2020 SiAn Viktoreya Lewis Brown ABSTRACT In this study I exAmine the experiences of contemporary BlAck FAshion designers through their own words. I interviewed BlAck FAshion designers in North AmericA And Asked About their journey working in the industry. In this study I have presented their struggles, triumphs, And joys. My reseArch findings explored FAshion design As A site where BlAck culture, dress, And identity Are negotiAted and produced. The goals of this thesis reseArch were to:(a) understAnd the contemporary industry lAndscApe that BlAck designers Are working within, (b) propose wAys in which BlAck representAtion And empowerment could become A norm in the Apparel industry; And (c) to determine A wAy to convey my reseArch findings to the public that celebrates the successes of contemporary BlAck designers. In this thesis, I discuss FActors that contribute to lAck of diversity in the Apparel industry by focusing on A sAmple of surveys And interviews with contemporary BlAck FAshion designers. I have interpreted this datA using cultural studies And sociAl justice perspectives. BIOGRAPHICAL SKETCH SiAn Brown eArned A Bachelor of FAshion from Radford University, locAted in VirginiA. During Brown’s time At Radford University she leArned the basics of the design process And craftsmAnship in sewing, pattern mAking And illustration. Brown graduated A member of the Honors College At Radford University And had the opportunity to complete a cApstone reseArch project.
    [Show full text]
  • Department of Art & Design
    Whitburn Academy Department of Art & Design Art & Design Studies Learners Higher: Art & Design Studies Design Analyse the factors influencing designers and design practice by Booklet Fashion 1.1 Describing how designers use a range of design materials, techniques and technology in their work 1.2 Analysing the impact of the designers’ creative choices in a range of design work 1.3 Analysing the impact of social and cultural influences on selected designers and their design practice. A study of Coco Chanel Day dress, ca. 1924 Gabrielle Theater suit, 1938, Gabrielle Evening dress, ca. 1926–27 "Coco" Chanel (French, 1883–1971) "Coco" Chanel (French, 1883– Attributed to Gabrielle "Coco" Wool 1971) Silk Chanel (French, 1883–1971) Silk, metallic threads, sequins What is Fashion Design? Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories. Modern fashion design is divided into two basic categories: haute couture and ready-to-wear. The haute couture collection is dedicated to certain customers and is custom sized to fit these customers exactly. In order to qualify as a haute couture house, a designer has to be part of the Syndical Chamber for Haute Couture and show a new collection twice a year presenting a minimum of 35 different outfits each time. Ready-to-wear collections are standard sized, not custom made, so they are more suitable for large production runs. They are also split into two categories: designer/creator and confection collections. Designer collections have a higher quality and finish as well as an unique design. They often represent a certain philosophy and are created to make a statement rather than for sale.
    [Show full text]
  • Fashion Design in the 21St Century A
    TECHNOLOGY AND CREATIVITY: FASHION DESIGN IN THE 21 ST CENTURY A Dissertation Presented to the Faculty of the Graduate School at the University of Missouri In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy by MARY RUPPERT-STROESCU Dr. Jana Hawley, Dissertation Supervisor May 2009 © Copyright by Mary Ruppert-Stroescu 2009 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled TECHNOLOGY AND CREATIVITY: FASHION DESIGN IN THE 21 ST CENTURY Presented by Mary Ruppert-Stroescu, a candidate for the degree of doctor of philosophy and hereby certify that, in their opinion, it is worthy of acceptance. _______________________________ Dr. Kitty Dickerson _______________________________ Dr. Jana Hawley _______________________________ Dr. Laurel Wilson _______________________________ Dr. Julie Caplow I dedicate this dissertation to my sons, Matei and Ioan Stroescu, who are continuous sources of inspiration and joy. ii ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation supervisor, Dr. Jana Hawley, for inspiring and challenging me without fail. I will remain eternally grateful as well to Dr. Laurel Wilson & Dr. Kitty Dickerson, for their patience, insight, and guidance. I must also recognize Dr. Jean Hamilton, whose courses I will never forget because her ability to communicate a passion for research sparked my path to this dissertation. Dr. Julie Caplow built upon the appreciation for qualitative research that began with Dr. Hamilton, and I thank her for her support. Without Peter Carman I would not have had a platform for connecting with the French industry interviewees. I thank my family for their support, and all those who took time from their professional obligations to discuss technology and creativity with me.
    [Show full text]
  • Fashion Design
    FASHION DESIGN OVERVIEW Students have the opportunity to research, develop, and create teams participate in an on-site event in which they present their potential garment designs to the judges on a TSA runway. Participants are responsible for creating three (3) items total that children’s fairy tale storybook character. Participants are responsible for creating three (3) items total that can be worn with either of the PURPOSE Humans need protection from weather, environmental factors, occupational hazards, and other adversaries. Clothing is designed and modesty. TSA members will demonstrate an understanding of and expertise in using design and technology processes to convey a fashion concept. ELIGIBILITY Entries are limited to one (1) team of two to four (2-4) members per chapter. TIME LIMITS A. Entries must be started and completed during the current school year. presentation time limit. 2013 & 2014 High School Technology Activities, National TSA Conference Competitive Events Guide 183 Fashion Design ATTIRE Professional dress as described in Competitive Events Attire is the PROCEDURE member models and the team-created garments to compete in Read the General Rules and Regulations in the front of this guide REGULATIONS for information that 184 2013 & 2014 High School Technology Activities, National TSA Conference Competitive Events Guide Fashion Design
    [Show full text]
  • Fashion Design| 120 Credits
    EXAMPLE FOUR-YEAR PLAN FASHION DESIGN | 120 CREDITS MAJOR CORE ELECTIVES ! indicates sequential courses that must be taken in the semester noted | (*) indicates a major course that also fulfills a core requirement Fashion electives can include NYC Study Tour, Paris Study Tour, Machine Knitting, Advanced Construction and Fiber & Fabric Design. FALL Courses SPRING Courses FRESHMAN YEAR ENG 110 or ENG 120 (depending on placement) 3 ENG 120 (if needed) 3 SYM 110 Leadership for Social Justice 3 ! ART 101 Drawing 3 FSH 107 Fashion Concepts & Careers 2 Core 3 ART 105 2D Design & Color Theory (*Fine Art) 3 MAT 104 or higher 4 ! FSH 110 Clothing Construction 3 ! FSH 160 Flat Patternmaking Fundamentals 4 COM 104 Public Speaking or COM 205 2 TOTAL 16 credits TOTAL 14 credits SOPHOMORE YEAR ! FSH 220 Fashion Art 3 ! GRD 200 Professional Practice 1 FSH 235 Textiles 3 ! FSH 212 Draping 4 ! GRD 232 Adobe Tech Principles 3 ! FSH 215 Digital Fashion Art 3 ! FSH 355 Digital Patternmaking 3 FSH 356 Digital 3D Rendering 3 SEA 101 Search for Meaning 4 Core 3 TOTAL 16 credits TOTAL 14 credits JUNIOR YEAR FSH 331 Trend Forecasting 3 FSH 321 Fashion History (*Global) 3 ! FSH 342 Fashion Design I 3 ! FSH 363 Fashion Design II 3 FSH 398 Internship 2 ! FSH 352 Junior Design Studio 4 Core 3 Core 3 Core World Language 3 Elective 2 Elective 2 TOTAL 16 credits TOTAL 15 credits SENIOR YEAR ! FSH 344 Fashion Career Strategies 1 ! FSH 463 Senior Capstone II 3 ! FSH 462 Senior Capstone I 3 ! FSH 322 Product Analysis 3 ! FSH 320 Fashion Lifecycle 3 Elective 2 Elective 2 Elective 3 Core 3 Core 3 Core 3 TOTAL 15 credits TOTAL 14 credits UPDATED FEB.
    [Show full text]