FASHION REVIEWS

Spring 2008: What a Colorful World

2008-11-13T20:35:00.001-08:00

Spring 2008: What a Colorful World

From vibrant colors and bold patterns, to soft and flirty fabrics, this spring’s styles will brighten your life. With such a wide variety of trends, women this season will be able to reveal their personality through their wardrobe. This spring, colors are brighter, dresses are a must-have, and focus is on the waistline, making the belt an extremely important accessory.

“It’s time to leave the winter grays behind and let the sunshine in,” said style expert Amy Cafazzo. “We’ll be enjoying lots of color in our wardrobe this season from casual dresses to swing jackets. In the spring, who doesn’t want to lighten things up a bit?”

Follow these tips from Marshalls’ style expert, Amy Cafazzo, on ways to make your fashion statement this spring.

Bright ideas: Bright colors are everywhere this spring, especially when paired with classic neutrals, like black, white or khaki. Add some flair to your everyday office attire by accessorizing with patent leather pumps, a camisole or belt in vibrant candy colors like red, blue or brilliant yellow.

Not just for the beach: This year, shorts are for more than just your summer vacation. Whether running errands or spending a night on the town, shorts in both short and longer lengths can be a fun way to change up your outfit. With a matching jacket and small heel, the Bermuda short can go to work. For a more casual look, pair shorts with a ballerina flat or sandal.

April showers bring May flowers: But until then, stay warm and dry this spring with a trendy jacket in fun styles and bold colors. Replace your heavy sweaters with cropped swing jackets, trenches or a cute cardigan. Create a color-blocking affect by pairing a bold colored jacket with a contrasting pencil skirt. It’s a dramatic look that’s sure to turn heads.

Flaunt your femininity: You’ll need a dress for each day of the week this season and we’re seeing them in a broad range of styles varying from soft and flowing to classic tailored. No matter what style you prefer, all of this season’s dresses exemplify femininity and many emphasize the waistline for a slender look.

Strutting your stuff in wide-leg pants: Take a cue from the runway and add a pair of higher-waisted wide-leg trousers this spring. Fitted at the top to exemplify the natural waist line, wide-leg pants present a look that is sophisticated and chic. For a comfortable weekend look or a casual office day, wide-leg jeans are a must-have.

Dare to bare: Impress the sun gods this summer with a bathing suit that reflects your personality. Got a bold personality? Go for a one-piece in animal print, geometric shapes or a bold floral design. More of a colorful gal? Try a tankini in vibrant colors like pink, turquoise and orange or classic black and white. Need more bling? Choose a style with designs that are embellished with subtle accents like semi-precious stones, shiny gold and silver beads, ruffles and belts.

Versatility is key: Vibrant print tops are one of the most versatile items you can have in your closet this spring. A blouse with a simple design and vibrant hue can be worn under jackets on cooler days and paired with wide-leg linen pants or shorts as the weather warms. Available in a variety of styles, such as tunics and smocked-bottom blouses, colorful prints add a burst of color to your wardrobe.

For the love of shoes: Shoe lovers will be in heaven with styles ranging from wedges to peep-toe pumps – all in eye-catching spring colors. Menswear details or croc and snakeskin embossed patterns create a look that’s great for a day at the office. Look for oversized jewels and embellishments on thong sandals to finish off your beach beauty look.

Marshalls is one of the nation's leading off-price family retailers with more than 750 stores spanning 42 states and Puerto Rico. Marshalls offers a wide selection of current season, top quality, brand name fashions, giftware and domestics for the family and home. Great bargains can be found every day at Marshalls, at prices up to 60% less than department and specialty stores. Visit marshallspresskit.com for the latest seasonal fashion and home trend images.

PARADISE FASHION BOUTIQUE: BREAKEVEN ANALYSIS

2008-11-13T20:34:00.002-08:00

PARADISE FASHION BOUTIQUE: BREAKEVEN ANALYSIS

Gene Pike & Karen Squires
University of Tampa

Case Objectives and Use

The case objective is to enhance student understanding of importance of budgeting and forecasting when making a decision to purchase an ongoing business. The case has students develop an excel spreadsheet in order to calculate breakeven sales in the analysis of the potential purchase and operation of a retail fashion boutique. The spreadsheet must be formula based to also calculate the sales required to earn a net income of $22,500 which is a 15% ROE. This case is designed to provide a practical application for the students to develop a multi-step income statement using Excel.

The case was specifically written to illustrate the budgeting process and sensitivity analysis in an introductory class in Management Accounting. It could, however be used in a more advanced accounting or management class.

Case Synopsis

Elizabeth Morgan hires Hamilton & Phillips, PA CPA to help her analyze the possible purchase of Paradise Fashion Boutique, a retail fashion boutique in a Florida retail center specializing in fashionable sports clothing for active women. Elizabeth Morgan, a sports enthusiast, feels Paradise Fashion Boutique has the best selection of sports oriented clothing in the area and a loyal customer base. She feels she can continue to serve the needs of the current customers while also expanding on the sporting theme to include winter sports clothing for skiers since there are few shops in Florida offering skiing clothes. Winter skiing trips are popular travel options for Floridians and Elizabeth is confident there is a marketing opportunity in offering fashionable skiing clothes as well as possibly sponsoring ski trips through the boutique.

Students are cast in the role of a staff member of Hamilton & Phillips and asked to use EXCEL to prepare a twelve month income statement budget.

The authors developed the case for class discussion rather than to illustrate either effective or ineffective handling of the situation. The case, instructor’s manual, and synopsis were anonymously peer reviewed and accepted by the North American Case Research Association (NACRA) for its annual meeting, October 19-21, 2006, San Diego, CA. All rights are reserved to the authors and NACRA. © 2006 by Gene Pike and Karen Squires. Contact person: Gene Pike, University of Tampa, 401 West Kennedy Blvd., Tampa, FL 33606, 813-253-3333, gpike@ut.edu.

FASHION AND TEXTILE DESIGN PROGRAM

2008-11-13T20:34:00.001-08:00

FASHION AND TEXTILE DESIGN PROGRAM
2008 ACADEMIC YEAR
COURSE CONTENTS
I. YEAR / I. SEMESTER

BODTD101 Turkish Language - I
The purpose of this course is to introduce language in general and the fundamental characteristics of Turkish language in particular, examine the historical development of Turkish language and its place among the world languages today and analyze Turkish phonetics, phonology and syntax as well as Turkish word and sentence structure.

BODAI101 Principles of Ataturk and the History of the Turkish Revolution - I
This course covers the process of the transformation from an empire to a national state and the meaning and importance of the Turkish National Struggle for independence, the concept of revolution, the reasons of the Turkish Revolution, the demise of the Ottoman Empire, the preparation period of the War of Independence, the preparation of regular army, War and Peace, and Lausanne Peace Treaty.

BODGS101 Graphics - I
The objective is to present computer programs on graphics and design drawings of weaving, knitting, pressing and cloth by means of Photoshop and freehand programmes on computer.

BODYD101 Foreign Language - I
The objectives of this course are to teach students how to actively express themselves both orally and written at the beginner level, develop listening, speaking, reading and writing comprehension of students through exercises and practice speaking drills.

BODBG105 Computer - I
The aim is to present basic concepts of computer technology, operation systems (Win2000), computer networks, programming language (Pascal – C//), algorithm and data.

BISMT109 Mathematics
This course covers various math issues as well as calculations used in fashion and textile design so as to establish a basis for students.

BTTTS109 Basic Art Training
This course introduces form-fabric-colour composition, which are of great importance for visuality and sensory. It also introduces the subjects of basic approaches of constituting form, fabric values, colour scales and values, language of colour and drawing techniques with various materials (watercolour, pencil, etc.).

BTTGT111 General Textile Technology
The main objective of this course is to study raw materials (cotton, wool, syntactic) used in textile and confection industry, examine both the ways of getting raw materials and embroidering techniques of them, and teach and analyze the issues of quality standards and quality control methods.

BTTKT113 Ready - Made Clothing Technology - I
In this course, students are taught the following subjects: general situation of confection sector, stages, methods and style of production with current numeric data and examples, relationship between basic pattern and body, measurement systems, preparation of basic dress pattern, miniature applications of this basic pattern by minimizing it proportionally and sticking it on an onionskin.

BTTMT107 Fashion Technology
This course covers the following topics: research on types of cloth, types of production and colour effects according to trends and changes in fashion, relationship between colour and material, significance of measurement proportion, taking measurement by examining different model moves, ways of wearing a silhouette.

I. YEAR / II. SEMESTER

BODTD102 Turkish Language - II
This course aims at teaching students how to use their native language correctly and develop their linguistic talents to improve the use of Turkish language. Accordingly, creating thoughts and writing what you think is one of the core topics studied in this course. Punctuation and writing rules, the rules of composition, the types of writing and relevant examples are studied and mastered in great detail. Besides, variety of novels, poetry books and theater plays are read and examined. Reading theater is done in the classroom with different speaking methods. Pitch and intonation is mastered in the classroom as well.

BODAI102 Principles of Ataturk and the History of the Turkish Revolution - II
This course includes the following topics: the peace treaty of Sevres) after WWI, the establishment of The Grand National Assembly of Turkey and political and military consequences of its opening, political and military consequences of Sakarya War and the Great Attack, the significance and Treaty of Lausanne and its consequences.

BODYD102 Foreign Language - II
This course covers the methods to improve students’ listening, speaking, reading and writing skills. The main aim is to enable students express themselves freely and comfortably.

BODBG106 Computer - II
The basic objective is to introduce basic concepts in computer technology and examine the main topics of operation systems (Win2000), computer networks, programming language (Pascal and C //), data structures and filing systems.

BTTMR118 Fashion Drawing
In this course, considering measurement and its proportion, technical drawings are applied as fashion drawings so as to make the customer prefer the cloth. The details of these drawings become applicable by a modelist, the person who sews the cloths according to types of clothing such as dress, pants, jacket, coat etc.

BTTDT112 Weaving - Knitting - Pressing Technology
The aim of this course is to present the following topics: general information about weaving, weaving techniques and methods, general information about knitting, introduction to knitting machines, fabric types, general information about pressing, design, colour and design analysis, production through projects.

BTTTS110 Basic Art Design
This course introduces two and three dimensional designs by using elements and constituting plastic language of stylization so as to abstract an object by omitting all of its excesses such as point, line, balance, fabric, size, rhythm, symmetry, composition. The subjects of creating multi - dimensional designs via focusing on the relationship between objects and their geometric sizes, fabrics, perspectives and structures (inside - outside), surface design and fabric design are also among the topics to be covered in this course.

BTTKT114 Ready - Made Clothing Technology - II
In this course, students are taught various pattern applications such as pants, blouse, skirt, dress on basic patterns via computer. Cost of a piece of cloth, machines and secondary materials used in ready - made clothing technology sector and their characteristics, labels and label technology, analysis of quality from the beginning of production, and model application techniques are also part of the content of this course.

BTTMT116 Fashion Design - I
This course includes trends on adult and child dressing. Preparation of a catalogue by examining types of cloths, the concepts of season and fashion, measurement - proportion criteria, preparation of story and colour panels on a model according to target population are subjects to be studied in this course.

II. YEAR / I. SEMESTER

BTTDT201 Weaving Composition
The objective of this course is to present the topics of different fabric structures and introduction to weft and warp engaged double or multiple types of cloths after basic knitting and its various compositions.

BTTMT217 Fashion Design - II
This course includes preparation of a cloth collection by students with its technical drawings and fabric samples according to a theme decided in accordance with trends. Accordingly, production of the collection by doing design application and presentation of the studies of the collection are within the content of this course.

BTTOK203 Knitting Composition
The objective of this course is to present significance of knitting in Turkish textile sector. Accordingly, the differences among basic knitting techniques and the difference between weft and warp knitting, knitting machines and their properties, designing techniques in weft knitting and knitting techniques (e.g. horizontal knitting, cross knitting etc.) are taught during the semester.

BTTBK205 Pressing Composition
In this course, following issues are introduced: processes of preparation of designs used in printing textile materials, filming these designs so as to insert the design on a special piece of cloth by means of light, preparation of patterns, and production of ready designs by press machines.

BTTGK207 Clothing Composition
The aim of this course is to teach students how to use variety of essential and secondary materials and textile while producing a product from a designed collection. In every type of production, the issues of aesthetics, originality, pioneering in fashion as well as quality of sewing technique in the production process are considered.

BTTKT209 Costume History
This course presents fashion trends from the beginning. Furthermore, preparation of a protagonist’s costume of a play, opera, ballet or musical and the design of the show are also parts of the content in this course.

BTTDT201 Textile Design - I
During this course, through using a number of textile products and various essential and secondary materials, students are expected to develop original and aesthetically acceptable products showing their creativity.

BTTAT211 Accessory Design - I
The objective of this course is to develop students’ creative abilities in accessory design since it is the completing element of a cloth. Ergonomic standards in terms of material, production, design and quality are considered in accessories used in cloths.

BODMI219 Professional English - I
This course is designed to improve students' English language skills essential for success in their specific field of study by using four skills of language: reading, writing, listening and speaking. It also aims at developing academic writing with Process Approach technique and applies intensive, extensive and speed reading techniques.

OPTIONAL COURSES

BTTHC213 Haute Couture
In this course, clothing and fashion styles constituted by costume designers and fashion houses throughout the history are studied and applied exclusively.

BTTIM215 Design of Indoors
The objective is to introduce how to reshape indoors by using textile products. Shop window, bureau, floor and pavement materials, stage and saloon, boat textile products, technical textile products (e.g. T-box) are studied and used in order to make students indoor designers and enable them gain new dimensions in terms of colour, design and fabric. Free designs are also studied in this course.

BTTBD217 Contemporary Fashion Training
This course presents preparation of a fashion show attractively. The details behind the stage such as hair, make-up, accessories etc are studied in this course.

BTTSU221 Stylist Applications
The aim is to help students create new styles and creations; thus main concepts on stylistics are taught in this course.

II. YEAR / II. SEMESTER

BTTBT202 Computer - Aided Textile Design
In this course, by considering the topics of the basic textiles and fabrics, colour effects, types of cloth, types of production, planning of production, analysis of capacity, and designs are studied and application of them with various fabric textiles on miniature worktables are implemented. Complex fabric designs, their applications on the computer and evaluation of them are also taught in this course.

BTTBM204 Computer - Aided Fashion Design
The objective of this course is to cover following topics: present model designs on computer, composition of colour variations of a model, preparation and presentation of a collection on a computer, analysis of the theme of a project and evaluation of it by a report.

BTTMU206 Model Application Techniques
In this course, students are to study the following topics: analysis of all products containing historical fashion trends, developments of art and fine arts, patterns of textile products through models.

BTTBT208 Accessory Design - II
The aim of this course is to teach preparation and production of a collection of accessories (bags, shoes, jewellery, glasses, watches etc.) for a selected theme.

BTTPR210 Presentation
In order to present underwear and clothes produced from various textile products, from indoors products and from accessories appropriately, this course introduces advanced presentation techniques explaining how to be knowledgeable about the product as well as being social and communicative during the presentation of the product, and to have positive point of view while communicating about the product.

BOMMP218 Graduation Project
This course focuses on a presentation of a theme with its story and colour panel as well as its fabric sample and portfolio.

BCGGR202 Entrepreneurship
The objective of this course is to introduce the concept of entrepreneurship and its contribution to economy. Types of small enterprises, functions of operation of enterprises, recognition of enterprises, problems of enterprises and creating solutions for them are among the topics to be studied in this course.

BODMI220 Professional English - II
The aim is to develop students’ language skills so that they can comfortably express themselves both orally and written in their professional life.

OPTIONAL COURSES

BTTTS222 Customer - Focused Design Methods
This course aims to improve students’ abilities in design so that they can take into account the demands and problems of customers in the sector after the graduation. Examining how to establish a healthy relationship between the designer and the company they work with is also part of the content in this course.

BTTSK224 Coordination of Fashion Presentation
This specific course is given only by Fashion and Textile Design Programme in Anadolu BIL Professional School of Higher Education. The aim is to teach how to plan, organize and present a fashion show and its organization attractively in detail (light, sound, podium, effect, choreography, music etc.).

BTTDS222 Art of Leather and its Accessories
The aim of this course includes the followings: introduction of samples of leather art, presentation of functional and aesthetic leather products, examination of traditional and original saddlery and other accessories, analyzing various applications of the subject.

BTTYU224 Surface Production (Non -Woven Technology)
This course presents how to classify production methods of non-fabric surfaces. Production methods of needles and fibres in composition of tufting surfaces, production methods of non-fabric surfaces obtained by sticking, paint pressing and ending process on these surfaces, characteristics of non-fabric surfaces and where to use them are to be studied in this course.

LONDON FASHION

2008-11-13T20:33:00.001-08:00

LONDON FASHION

Short Module Title: London Fashion
Module Code: TBA
Module Level: 4
Academic credit weighting: 15
Length: Three weeks
School: Media, Art and Design
Department: Fashion, Film and Music
Module Leader(s): Andrew Groves
Host course: LMADSS
Status: Option
Subject Board: LMADSS
Pre-requisites: None
Co-requisites: None
Assessment: 100% Coursework

Summary of Module Content:
An introduction to the creative, seasonal and structural nature of the British fashion industry from both the media point of view and at an innovative design level. The London fashion retail market is researched via shop reports. The London fashion media is studied during the international collections and students review these based on press reportage and personal experience. Students develop trend boards from their research.
Module Aims:
• To enable students to recognise the designer’s role in industry and the production and marketing cycle of seasonal fashion merchandise
• To enable students to understand the role played by traditional and new media in disseminating ideas and information and influencing fashion trends.
• To introduce the disciplines of creative design, discussing artwork, drawing styles and presentation.
• To encourage the accessing of information on the fashion industry via multi media.

Learning Outcomes:
At the end of the module, the students will be able to:
• Understand concepts relevant to the fashion industry
• Research and investigate a topic and critically evaluate information
• Manage own learning and work independently
• Ability to evaluate qualitatively and quantitatively
• Communicate appropriately and effectively.
• Undertake research and take the initiative in thinking out new sources.
Indicative syllabus content:
This module introduces the student to the creative, seasonal and structural nature of the British fashion industry both from the media point of view, and at an innovative design level.

The fashion retail market is researched via London based Shops and a report is produced. Students select one area of fashion design to research, for example menswear, sportswear, eveningwear etc. Students then research London Fashion shops according to their selected genre.

The British fashion media – from daily to specialist, traditional and new – is studied at the time of the international designer collections and students prepare their own review of these collections based on press reportage and personal experience.

Having studied contemporary design via the media and through retail outlet visits, students will develop ideas for seasonal trend boards using their creative research recognising the methodology required for this type of project and its benefits as a design tool.

Students will study:
• The structure of the British designer fashion industry and the role of the fashion designer within this structure.
• The fashion calendar, its structure and its importance.
• The role of trends and predictions within the fashion industry.
• The role of fashion retail and how its feeds back into the designer cycle.
• The role of new media in the disseminating of information and ideas within the fashion cycle.
• The traditional media and its coverage and reporting of the international designer collections

The theoretical content of this module will focus on the show report that is researched and written after the international design shows in February. Students will be taught key skills of critically analysing research, the difference between secondary and primary sources, how to create a visual narrative and more. This will culminate in the writing of a 1000 word analytical review of the international designer collections and their coverage in the media.

Teaching and Learning Methods:
Lectures and seminars
Field trips
Individual and group research and design
Studio teaching

Assessment Rationale:
The shop report will demonstrate the students ability to understand concepts relevant to the fashion industry, research and investigate a topic and critically evaluate information, manage own learning and work independently, their ability to evaluate qualitatively and quantitatively, communicate appropriately and effectively. It will also demonstrate the students’ ability to undertake research and begin to take the initiative in thinking out new sources and show a basic understanding and use relevant IT such as word and PowerPoint. (Learning outcomes 1, 2, 3, 4, 5, 6, 7)

The show report will demonstrate the students ability to understand concepts relevant to the fashion industry, research and investigate a topic and critically evaluate information, manage own learning and work independently, their ability to evaluate qualitatively and quantitatively, communicate appropriately and effectively. It will also demonstrate the students’ ability to undertake research and begin to take the initiative in thinking out new sources and show a basic understanding and use of relevant IT such as word and PowerPoint. (Learning outcomes 1, 2, 3, 4, 5, 6, 7)

The seasonal trend board demonstrates the ability to understand concepts relevant to the fashion industry, research and investigate a topic and critically evaluate information, ability to evaluate qualitatively and quantitatively, communicate appropriately and effectively, verbally, visually, and in writing and to select language according to context and demonstrate basic understanding of appropriate IT programmes.(Learning outcomes 1, 2, 4, 5, 7)

Assessment criteria:

Seasonal trend board
The ability to research, analyse and record information
The capacity to understand and interpret research material.
The ability to reflect and evaluate research material

Shop report
The ability to research, analyse and record information
The capacity to understand and interpret research material.
The comprehension of appropriate specialist vocabularies and concepts.
The ability to reflect and evaluate research material
The extent to which the student is able to express ideas in a personal manner.

Show report (1000 words)
The ability to research, analyse and record information
The capacity to understand and interpret research material.
The comprehension of appropriate specialist vocabularies and concepts.
The ability to reflect and evaluate research matieral
The capacity to develop a critical response to the work and practice of others.

Assessment Methods and Weightings:
Seasonal trend board 20%
Shop report 40%
Show report (1000 words) 40%

Sources:

Essential reading

Richard M. Jones The Apparel Industry Blackwell Science 2002
Richard Martin, Alice Mackrell, The Fashion Book Phaidon Press 2001

World wide web

London fashion week http://www.londonfashionweek.co.uk
Paris Fashion week http://www.modeaparis.com
New York Fashion Week http://www.7thonsixth.com
Milan fashion Week http://www.cameramoda.it
Paris couture Week http://www.modeaparis.com
First view http://www.firstview.com
Showstudio http://www.showstudio.com
Vogue magazine http://www.vogue.co.uk
Worth Global Style network http://www.wgsn.com
Fashion fringe http://www.fashionfringe.co.uk
Style http://www.style.com
Fashion Net http://www.fashion.net
Colette http://www.colette.fr

KLFW 2008 FASHION TAKE-OFF

2008-11-13T20:32:00.001-08:00

KLFW 2008 FASHION TAKE-OFF

The fastest and longest catwalk in Malaysia 's history

Express Rail Link Sdn Bhd the concessionaire for the KLIA Ekspres – a direct 28- minute high-speed train from KLIA to Kuala Lumpur city - today announces that the company is the record holder for the fastest and longest catwalk procession host in Malaysia 's history.

ERLSB is hosting their first ever fashion show at KL CAT, in conjunction with the KL Fashion Week 2005 jointly organized with Utusan Malaysia Berhad. The event is graced by the Deputy Minister of Tourism, YB Datuk Ahmad Zahid Hamidi; and Executive Chairman Utusan Melayu ( Malaysia ) Berhad, YB Tan Sri Mohamed Hashim Ahmad Makaruddin. Officials from the Malaysian Book of Records are also there to witness the fashion show on the longest catwalk of 57 km and fastest at 160 km/hour .

Dr. Aminuddin Adnan , Chief Executive Officer of ERLSB, says that ERLSB will provide lots more surprises as they step into the hunt for the ten millionth' passenger. Citing that the company will soon receive the lucky ten millionth' passenger , he said that it is only appropriate that we host a record-breaking event leading to the main celebration.

The highlight of the event was the fashion show onboard the KLIA Ekspres at a speed of 160 km/hr, where guests were treated to a fashion show whilst on journey from KL Sentral to KLIA. A few local famous designers showed-off their latest creations on 24 stunning and graceful models.

For further enquiries, the public may call Customer Enquiry at 03- 2267 8000 or visit www.KLIAekspres.com for latest updates and information.

Media Release by Corporate Communications Management Express Rail Link Sdn Bhd

For further enquiries, please call our Corporate Communications Senior Executive Fara Ghazali at 03- 2267 8018 Email: fara@KLIAekspres.com

The IYFEY Award 2008

2008-11-13T20:31:00.001-08:00

The IYFEY Award 2008

International Young Fashion Entrepreneur of the Year (IYFEY 2008) - India finalist is Prachi Mishra.

We are delighted to announce that Prachi Mishra, Director of company from Delhi has won the exclusive title of 'Indian Young Fashion Entrepreneur of the Year 2008' which then throws wide open, the doors to the UK to compete for the International Title – International Young Fashion Entrepreneur of the Year Award.
As a winner of the International Young Fashion Entrepreneur of the Year title, Prachi will receive a financial award of £7,500 which will be linked to the UK and tailored to her specific needs. As a national finalist from India, Prachi will also get an opportunity to tour the UK fashion industry in February 2008.
London Fashion Week will form a key part of her UK visit. LFW is run by the British Fashion Council (BFC), the official voice of the designer fashion industry. It aims, with the help of industry benefactors, to promote British fashion design worldwide. London Fashion Week is now established as one of London's premier events, attracting a target audience of key fashion leaders, retailers and press who attend this biannual showcase for British designer fashion.

Short-listed candidates

Born in Rajasthan, Anuj Sharma did post graduation in Apparel Design at the National Institute of Design, India. He was then awarded prestigious Charles Wallace India Trust Scholarship in 2002 to study Masters in High performance Sportswear Design from the University of Derby, UK. He mainly works with areas of craft development and performance wear and has shown his collection in Japan and at the Lakme Fashion Week, Mumbai.

Born in Kolkata, Padmaja Krishnan graduated from National Institute of Fashion Technology and worked for a few years as a design and crafts consultant. She set up Transit Design in 2005, a small scale fashion and textile laboratory, developing non-confirmative, quirky and peaceful clothing and accessories that are exquisitely hand crafted with impeccable details. Through her work, Padmaja seeks to observe and reflect the relationship between design, clothing and human behavior.

Designer duo Rahul Mishra and Samar Firdos endorse the brand mutually Rahul & Firdos. Together the backgrounds of apparel design & textile design bring out the flavors of international fashion design.5 fashion week old (4 Lakme fashion weeks and 1 Australia Fashion Week) this designer duo has shown all on the platforms of national as well as international fashion scenarios.

Varun Sardana, an alumnus of National Institute of Fashion Technology (NIFT) Delhi 2003, launched his own label in August 2004 when he won the Bijenkorf Fashion Design Award 2004 held in Amsterdam. His debut Wills India Fashion Week collection, “The Grammar of Seeing” at the recently concluded event in Delhi, garnered rave reviews and was adjudged as the best debut collection for Spring/Summer ‘08. Varun has also been designing costumes for theatre and film, uniforms for Air India Express, the new Air India airline.

The Panelists

Alice Cicolini
Previously, British Council India’s Head of Arts and leads on the Innovation Economy programme currently in development. Alice was a design curator with British Council Art, Architecture & Design, with a specific focus on fashion. She trained in fashion theory, buying and art direction from the prestigious London College of Fashion and Central St Martins. She completed her Masters in Fashion History & Theory and published The New English Dandy with Thames & Hudson in 2005. She is currently working on her PhD on 1920s salon culture in the UK. She has worked for designers like Tom Dixon and curated various exhibitions - 21st Century Dandy, Inside Out-Underwear & Style in the UK, UK Styling, Sensurround Manchester (DJ/VJ project), Global Local. She also commissioned and produced the internationally acclaimed A Midsummer Nights Dream, directed by Tim Supple, as well as conceived and initiated Creative Futures, a creative entrepreneurship programme for young Indian entrepreneurs.

Archana Pillai
Group Publisher, Ogaan Publications Limited.
Archana has spent over 18 years in the media industry. She headed the marketing function for four years at Spectrum Magazines. In 1996, she joined the start up team at Ogaan Publications to launch ELLE in India. Starting out as vice president marketing, she took over as publisher in January 2000. Since then, the company has added three new magazines (ELLE Décor, Brides Now & Beautiful People). The Ogaan Cancer Foundation was set up by her, to channel funds raised through the ELLE Breast Cancer Campaign.

Bandana Tewari
Fashion Features Editor, VOGUE India.
Bandana Tewari heads the fashion features department at Vogue India. She brings with her immense experience in the field of fashion journalism and is responsible for planning, visualizing and ideating fashion features for the ultimate style bible. As fashion and lifestyle journalist, Bandana has comprehensively written on style for some of India’s leading lifestyle magazines and fashionweekdaily.com - the online edition of The Daily (NY).A regular attendee at fashion weeks, Bandana commissions fashion stories, presents fashion forecasts and decodes international trends providing the latest in fashion news, reviews and stories for Indian reader. Bandana was awarded as the Best Fashion Journalist of the Year at the ‘F’ Awards in 2006.

Sangita Kathiwada
Proprietor, Melange, Fashion House and Director, Morarka Centre for Craft (NCPA)
Sangita, born in Indore, established Mélange, one of the country's most significant fashion houses in 1993. She has identified and encouraged new talent making her a mentor to several now-famous designers including Priyadarshini Rao, Sabyasachi Mukherjee, Narendra Kumar, Savio Jon and Aki Narula to name a few. Mélange judiciously blends her passion with pragmatism, to create two groundbreaking organizations. Sangita is also committed to the cause of redefining the role and reach of the national fabric Khadi – Innovation of new threads from our tradition.

FASHION MERCHANDISING 108

2008-11-13T20:30:00.001-08:00

FASHION MERCHANDISING 108

RATIONALE: The field of fashion accessories, combined with
several resource-related industries concerned with manufacture and/or sale of a variety of small non-textile products comprise some of the most rapidly expanding as well as most highly profitable segments of today’s market.

Fashion emphasis, at present, centers around the “accessory” as the key to updating one’s existing wardrobe. As the American
consumer is confronted with the constantly rising costs of products and services, she/he often seeks to eliminate many of the expenditures, which are not absolutely necessary.

The economy has thus influenced, and to some extent accelerated the prosperous accessory industry, as it is often the accessory which provides the “NEW FASHION LOOK”. The coat, suit, dress, or pant ensemble may have been in the closet for several seasons, but the “RIGHT” accessory gives it the look of “NOW”.

What then is the “RIGHT” accessory? It is the combination of the “right” look, constructed in the “right” manner, using the “right” material for the purpose the accessory was intended. By definition, an accessory must satisfy two conditions: it must first complete an outfit; then it must also serve a useful purpose. While minor exceptions to this rule can be found, in general, most accessories comply with both.

As the FASHION student today, the FASHION executive of tomorrow, or in the role of consumer, one finds it necessary to have more than a nodding acquaintance with the vast number of products offered in today’s marketplace. It is this knowledge of its use, its construction, and the care that it will require, which often dictates which one, of several similar products really is “RIGHT”.

Design Collective Showcases

2008-11-13T20:29:00.001-08:00

Glasgow: Scotland with style Design Collective Showcases
Next Generation of Talent at London Fashion Week

The Glasgow: Scotland with Style Design Collective will return for a fourth season to London Fashion Week (LFW) in September 08 when the city’s next generation of exciting design talent will be showcased alongside some of its current fashion trail blazers.

Funded jointly by Glasgow City Marketing Bureau¹ and the Scottish Government – together with additional support this season from Scottish Enterprise Textiles Team - the initiative not only provides a platform for Glasgow’s design talent but also highlights the importance of the Scottish Textiles industry to the nation’s economy. The sector currently employs around 17,000 people in Scotland and generates more than £1.08 billion annually in economic benefit.

Applications for this season were received from eighteen designers and following a collegiate decision by the specially selected advisory panel², eight applicants were put forward to the British Fashion Council judging panel for vetting. All were subsequently approved for admission and will be showcased on the Glasgow: Scotland with style Design Collective Stand at London Fashion Week in September.

Joining fashion trailblazers Aimee McWilliams, Deryck Walker, Olanic and Vidler & Nixon on the Stand at LFW, are: Alice Palmer, Bebaroque, Graeme Armour and Jamie Bruski-Tetsill, who together represent the project’s Next Generation of design talent.

As in previous seasons all the designers are either from the Metropolitan Glasgow area, have trained there, or have chosen to be based in the city.

Commenting on the joint initiative, The Scottish Government’s Minister for Europe, External Affairs and Culture, Linda Fabiani, said: “Scotland’s textile industry is famous for quality and craftsmanship. Through innovative young designers from our Art and Design institutions, a contemporary take on tradition is helping to keep Scottish talent at the very centre of the fashion world.
“I am delighted that Scotland will once again have a presence at London Fashion Week. It gives a unique opportunity to profile our young emerging designers and plays an important role in showing the rest of the world what an exciting and diverse place Scotland is for innovative textiles, fashion and design.”

Bailie Liz Cameron, Vice-Chair - Glasgow City Marketing Bureau, added:
“Since its inception the Glasgow: Scotland with style Design Collective has played a key role in helping the city’s best young designers progress from emerging to established brands. A prime example of this is Christopher Kane who was a member of the initiative in its first three seasons and whose career has now gone stratospheric.”

“We are delighted to be working once again in partnership at LFW with The Scottish Government and are thrilled that this season Scottish Enterprise Textiles is also part of the team, which will help profile Glasgow - and Scotland’s - creativity on the international fashion stage.”

Speaking on behalf of all the participating designers, Deryck Walker, said:
“What the Glasgow: Scotland with style Design Collective does is to provide a high profile platform for young designers. Not only does it help raise awareness at London Fashion Week of the talent coming out of Scotland but it also helps convert this interest into actual sales and profile for us.

“The assistance being given to us through the initiative by the Scottish Government, Glasgow City Marketing Bureau and Scottish Enterprise Textiles Team is invaluable.”

As part of the joint activity at LFW, Scottish Enterprise Textiles Team will take the opportunity to highlight signature pieces on The Stand from its designer/manufacturer collaboration³ project.

Robin Walden, Project Manager - Scottish Enterprise Textiles Team, commented:

“This high profile showcase event at London Fashion Week will allow us to promote the breadth of talent and expertise that exists in Scotland’s fashion and textiles industry and attract the interest of buyers from around the world.”

In addition to designer support, PR and marketing, The Scottish Government, Glasgow City Marketing Bureau and Scottish Enterprise Textiles Team will also co-host a reception during London Fashion Week for buyers, media and key influencers.

Past members of the initiative include:
Christopher Kane – now firmly established as one of the biggest stars on the international fashion stage; textiles designer Jennifer Lang; jewellery/silversmith collective Brazen, and Scott Ramsay-Kyle.

ABOUT PARIS PASHION

2008-11-13T20:27:00.000-08:00

How do you feel after your first Paris fashion show? Are you satisfied with the result?

I am quite satisfied with the result. The first presentation of my creation work in October 2005 in Paris coincided for me with the output of my tenth pret-a-porter collection. So by that moment there has been acquired enough experience of fashion show preparations which do not considerably differ in Paris of the preparations we do in Russia. Me and my team always make careful calculations; draw our attention to all details: lighting design, decorations, musical accompaniment, casting, make-up, hair-dresses and etc. I wanted to make the first show the way it would be certainly kept in mind. Obviously Russian authentical approach to the suject of the collection masks of animals and birds, folk images of village masked in Russian Christmas-tide festivals – all that should have stressed the origin of my ideas.

How come the inspiration from Six Girls Seeking Shelter?

I came across a book of TASCHEN Publishing House, which collected all the masterpieces of the Russian Soviet cinema posters of the 20-s – 30-s of the XX century. This was the first impulse for the creation of the new collection in this theme. As it went on, I studied closely different sources telling me everything what was connected with the way of life, clothes and accessories of those times. The books by the fashion historian Alexander Vasiliev were a great help for me too.

What do you want to express and achieve with this collection?

I wanted to create good-looking, comfortable, contemporary clothes, containing the features of the epoch of rapid development of the Constructionism. The artisits of those times were genuine Avant Guardists; their creation works were revolutionary in the positive sence of this word. They were really outstanding and impress us up to these days.

Do you have political ambition in your design?

Probably not. I am interested in different periouds of Russian history, wether these were the times when zars or comissars governed. Outstanding cultural phenomenas, able to influence the creation of clothes’ design, occur in all times. Fashion can flirt with politics. But one shouldn’t get politicaly oriented being in fashion.

General Design Questions:

Who is behind the stage settings and decorations of your fashion shows?

I work with the team which includes director, graphical designer, composer, make-up designer and others. All of them are specialist of exalted rank. The team stays unchangable for many seasons. I have been cooperated with Dmitry Solntsev, graphical designer, with whom we think over all the visual part of the show: invitations, decorations, images - since the very first collection. Usually I gather the team in three or four months before the show and we make a brainstorming. Then I control all the process to the very last moment.

Is it the same person who made the animal settings of the Spring/Summer 2006 show that has created the show for Fall/Winter 2006/2007?

I have already told that I work in the matched team. Yuri Davidov always stages all the show together with me. He is experienced professional in the sphere of staging defiles, as well as in lighting and in making video. Together with him and our composer Viktor Sologub we try to feel the right rythm and mood of the show, debated and even argued with each other. Viktor arrived to the defile from London where he works at Piter Gabriel studio as the producer of one unique Uzbek singer in order to mix the music himself even though everything has been recorded in advance.

Who made the masks that was shown in the show for Spring/Summer 06?
What was the idea with them?

The masks based on the special technology similar to papier-mache were elaborated by me and my assistants at my studio. By the way, shoes and accessories are produced here as well. It was of prime importance for me to use visually vivid and impressive story. The masks fitted this idea in the best way. According to the press, edited later on, it was the right move: they appeared in many editions.

How and where are the hand made items produced?

I live in Saint-Petersburg, where one can find a number of unique masters carring old traditions. We try our best to find them. In the most cases all the job is done at our manufacture, which is about 800 square meters. Something is always cut, colored or polished here. But sometimes working with glass beads or with hand-knitting requires an out-work. My manufacture is situated at the territory of ex-factory which used to produce paper-producing equipment. Now these workshops are rented by different entrepreneurs. But the kind of old spirit is left there.

In which countries are your collections sold?

In Italy our collections are sold in Milano, DAAD-Dantone, and in some other cities. There are some multibrand boutiques in Holland, Swiss and Southern France. In Paris there is Tabula Rasa on the Rive Gauche. Detail from Korea and D-Mop from Hong-Kong always make orders. Not long ago the orders from New Zealand, Japan and Australia has appeared. Moreover we have customers in Los-Angeles, San-Francosco and New-York.

Designer Portrait Questions:
In reviews your are often written about as an Avant Garde designer and the one who brought Bourgeois Punk to Russian fashion design. Are you a fashion rebel?

Of course, it is always interesting to create something new. But the contemporary fashion mooves towards mixing the elements which used to appear before. Fashion for me is a cocktail of numerous ingridients, chaning all the time, depening on the different circumstances. And in case the early collections were “Bourgeois Punk” (as critics named them, not me!!!), later my interests has changed, and for example today I am very much interestd in Postdecadance Glamour and classical forms. I can not stand at one place. Soon I will moove away from the second decade of the XX century and will proceed to the theme of Russia by the end of the XIX century. If there is something revolutionary in it, it is not me who judges it. The time will show.

Your collections seem to, in different ways, be inspired by different periods of Russian history. How much does your Russian heritage affect your work?

It affects my work really strong. The place where I was born, the atmosphere where I grow up and was moulded as a personality, Russian history, Russian culture, Soviet cinema – all that brought me up and made me who am I now. In further times I will try my best to stay exactly Russian designer. Even creating quite European collections in future, I would like to stay in touch with my background. This is what I know and feel really good.
What other scenes of culture are you interested in and inspired by?

Actually I am very impressionable person with inquiring mind. And I permit the idea that I could be influenced by the culture of other nations while creating new coollections. Such things always happen while travelling. But still Russian history and culture are “fathomless pit” for my inspiration and new ideas. Gaultier didn’t come to Russia immediately as well in order to create the Russian-themed collection. Metre had altered much for the decades of his work, before he could easely “point the finger into the globe”. Everything has its periods and stages of development.

China's First Fashion

2008-11-13T20:26:00.002-08:00

China's First Fashion and Luxury Advanced Management Program
is a great success!

China's ground-breaking Advanced Management Program in Fashion and Luxury will graduate its first class of 51 managers in March 2007. The program, the first of its kind in China, was developed by three prestigious international institutes: Tsinghua School of Economics and Management, Institut Français de la Mode and the HEC School of Management-Paris*.
The course has been an unprecedented success. More than 50 graduates from senior level management from 24 companies in the fashion and luxury sectors will receive international certificates for completing this management training. The average age of the first graduating class was 38 years, and they came to the program with 14 years of work experience.
To mark this very special event, a graduation ceremony will be held at Tsinghua SEM on Saturday 17 March 2007. Mr. Marc Dubrule, Strategic Development Director for L'OREAL Produits de Luxe International and an expert business leader for the Asian luxury market, will be the special guest speaker.
The objective of the Advanced Management Program in Fashion and Luxury is to prepare senior managers for the challenges in the rapidly evolving Chinese fashion and luxury markets. The six-module executive program comprises a wide range of subjects including global strategy and brand management, globalization and innovation, product strategy and brand management. Each module is run over a 3-day weekend on the Tsinghua campus in Beijing.
HEC Paris, the IFM and the Tsinghua SEM have all contributed a number of their internationally-recognized faculty to teach in this program. These include Professor Jean-Noël Kapferer, a globally recognized expert in luxury and brand management, Professor Florence Muller, a leading French expert on fashion & luxury culture and history and Professor Li Fei, a leading expert on China's retail management and brand positioning management. The Chinese executives on the course can further enhance their international exposure in the fashion and luxury sector by taking an optional study trip to Paris, the world's fashion capital, in May 2007. This eight-day trip will give participants the opportunity to encounter the luxury industry and attend high-level meetings and conferences led by authorities in the field.
The next intake of managers will be in September 2007. Application brochures and materials for the Advanced Management Program in Fashion and Luxury 2007-8 are available at http://www.hec.fr/hec/eng/fashion-luxury

Note on fashion

2008-11-13T20:26:00.001-08:00

Note on fashion
Fashion signals are signals whose form changes over time while their referent, the quality they indicate, remains the same. The item “m” that signaled quality “A” at time t1 no longer does so at time t2 – instead, a new item “n” signals “A”, while “m” now signals “B”.
Fashion signals indicate one’s position in a mobile, information-based hierarchy. When we speak of fashion here, we are not talking only about clothing, but about any changeable, information-based expression. There are fashions in clothing, music, language and ideas.
In a mobile hierarchy (which may or may not be information-based), the signals that indicate one's status need to be frequently renewed because one’s status is subject to change. If your status was 1 last week it may not be 1 this week; you should be able to signal a status of 1 only if your status has indeed remained 1. The strength hierarchies of the antler-bearing moose are mobile: illness, a bad fight, etc. can change a moose's position from strong to weak and the antlers, not being permanent, will bear this out. Similarly, the wealth hierarchies in many human societies are quite mobile, and signals that require repeated expenditures (rather than a single big expense) ensure that the representation is an up-to-date assessment of the underlying quality. Examples include hosting elaborate and expensive parties, or owning items that require a great amount of upkeep, such as an immense lawn or a yacht. Note that not all mobile hierarchies use fashion as a signal – only those based in part on access to information. The examples above (moose strength, personal wealth) are not fashion signals, for while the signals must be renewed frequently to maintain accuracy, the form of the signal itself does not change (moose don’t demonstrate strength with antlers one year and giant tusks the next). And indeed, they are not signaling about access to information, but about other qualities, such as strength and wealth.
Fashion signals change over time. Fashion signals indicate the signaler’s access to information because the signaler must have access to current information about the new form of the signal. Often, this means that fashion is an indicator of social networks and connections. The club fashions that Sarah Thornton describes (the fashions here being where to go and what music is it this week) map the social networks connecting DJs, music makers, club goers. There are fashions in language, such as colloquial expressions, jokes, quotes - these chart social structures as people choose certain models to mimic and particular memes to pass on.
Fashion signals are costly. It is expensive in time and often in money to continuously reformulate a signal. If I want my blog to feature breaking news and the coolest links before anyone else’s does, I must devote a lot of time to exploring the world to find these items. If I want my clothing to express my central position in the coterie of “ladies who lunch”, I must devote not only time, but quite a bit of money, to seasonally updating an expensive wardrobe.
The classic descriptions of fashion (Veblen 1899) and (Simmel 1904) posit differentiation and imitation as the driving forces. Those at the top of a hierarchy attempt to differentiate themselves from those below, who are attempting to imitate those above them.
Yet fashion/information hierarchies are not simple linear structures. A footrace has a linear structure: someone is first, which is best, someone else is second, which is second-best, someone is third, etc. There is no advantage to being in the middle. In fashion hierarchy, being the front-running trendsetter is risky. There is the risk of making a mistake, of choosing a novel form of expression that does not catch on or is misunderstood. Trend-setters are not necessarily even part of the status hierarchy that imitates them. For example, the status hierarchy of a group of high-school girls might involve many shifting changes of clothing and makeup style, based on the similarly rapidly changing styles of a small set of celebrities. The celebrities are the trendsetters, but they are outside of the high-school girls’ hotly contested hierarchy. (Suzuki and Best 2003) have a good discussion of what makes a trendsetter. And Veblen observed that the struggle for social position takes place both within and between social classes.
Fashion can signal both one’s dedication to status in a hierarchy as well as one’s ability to achieve that status. The fact that the signal must be continuously renewed and refreshed means that one cannot rest on one's laurels, on one's past signalling efforts. Time and energy must be repeatedly spent in obtaining and displaying the new signal. At the top of a fashion hierarchy one must spend considerable time maintaining contacts who provide one with access to the newest of things. As things move down the hierarchy and become mainstream, less effort is required to know about them.
Once a particular fashion becomes mainstream, it signals conformity, safety, a willingness to be one of the crowd. Many of the cultural expressions and behaviors that appear mundane today, from wearing jeans, to using email, to listening to rock music, were once avant-garde choices – risky in that one could be labeled as strange or different, a rebel or a hopeless nerd
Also, those who are strongly identified with a particular subculture also pay the opportunity costs that aligning with that group may involve. These may not be the first trendsetters, whose signals are novel enough to sometimes be ambiguous – and who may not even be participants in that particular status hierarchy, but the front-runners of the hierarchy itself

FASION FISH

2008-11-13T20:25:00.000-08:00

In this activity you will be marine biologists who have discovered a new species of fish. Think about what you have learned about fish adaptations such as body shapes, mouth shapes, coloration, camouflage, and defense mechanisms.

Materials: large sheet of white bulletin board paper
markers
scissors
glue
pencil
stapler

Instructions:
1. Draw a large picture of your fish on a large sheet of folded paper.
2. Draw the pectoral and pelvic fins on a separate piece of paper.
3. Trace the drawing with a permanent black marker.
4. Turn the paper over and trace the drawing on the other side.
5. Color both sides of the paper and keeping the paper folded, cut it out.
6. Staple the two sides together leaving an opening.
7. Stuff the fish with crumpled paper to give it a three-dimensional look and staple it closed.
8. Glue on the pectoral and pelvic fins.
9. Write a description of your fish. Be creative. You may write your description in the form of a newspaper article, an interview or a scientific journal report. Your information may be hand written or typed.

Fashion Photography Workshop

2008-11-13T20:24:00.000-08:00

The Royal Photographic Society Fashion Photography Workshop

This workshop is for anyone who wants to know what it’s like to be a fashion photographer. Attendees will learn lighting techniques that can be applied to fashion or creative portraiture. You will learn how to bring out the best in clothes as well as creating dramatic lighting setups. You will also be guided through how to use studio flash lighting – as well as how to emulate studio lighting with off-camera flash units.

Creative Fashion:
Attendees will be guided through the lighting principles for fashion photography, then work in a studio with a professional model. There will be extensive photography time with multiple sets available to create distinctive and creative fashion images.

Figure Movement Study
An important part of fashion photography is being able to freeze movement. Attendees will be shown the principles and theory of movement photography then have the opportunity to take their own shots using studio flash and capturing motion blur using second curtain flash and continuous lighting.

Evaluation
During each session attendees images will be evaluated on the spot. Those who wish to have them looked at afterwards can submit them for a critique at the end of the workshop.

What to bring
Please bring your digital SLR camera and flash – you should also bring your camera user manual as well. You my wish to bring your laptop if you have one but also please ensure you come with lots of memory as there is going to be a lot of time spent photographing.

About Simon Q. Walden
Simon is an award winning professional photography who’s work has been exhibited worldwide and appeared in many UK magazines. His work for the RPS includes training, publication in the RPS magazine and exhibitions with the RPS. He has written or been featured in several books and will shortly be launching a DVD series of training programmes for photographers.

Fashion Design

2008-11-13T20:21:00.001-08:00

Fashion Design

Tel: +82-2-901-8431
Fax: +82-2-901-8431
fdesign@duksung.ac.kr
www.dsfd.co.kr
Chairperson : Dong-rim Chang, M.A.

Associate Professor
Dong-rim Chang
Columbia University (M.A.)
Parsons School of Design (B.F.A.)
Art Education
+82-2- 575-9865
dongrim@duksung.ac.kr

Associate Professor
Hyun-shin Park
Hong-ik University (Ph.D.)
Ewha Womans University (M.F.A.)
The Academy of Art College (M.F.A.)
Ewha Womans University (B.F.A.)
Fashion Design
+82-2-3461-8900
hyunshin@duksung.ac.kr

Full-time Lecturer
Yeosun Kang
Ewha Womans University (Ph. D.)
Ewha Womans University (M.A)
Ewha Womans University (B.F.A)
Clothing Technology
+82-2-901-8432
yskang@duksung.ac.kr

Creative thinking, visualization of ideas, observation and expression of objects, skillful expression and construction, and understanding and analysis of clothing culture are cultivated to produce futuristic, wholesome fashion specialists.

Course Descriptions

Basic Fashion Design 1
Through understanding of various materials and techniques necessary for fashion design, capabilities to apply the knowledge to actual designs are acquired.

Basic Fashion Design 2
For conception and expression of creative ideas of fashion design, production methods of various shapes and basic patterns are studied on the basis of the human body.

Color and Design
As an important element of fashion design, through a correct understanding of colors, creativity and expressions are enhanced.

Fashion Drawing 1, 2
The course teachers some basic anatomy, proportions of the model in relation to proportions of clothes, body movement and gesture, and focuses on the fashion silhouette.

Pattern Drafting 1
Students learn principles and basic techniques of flat pattern design as well as construction techniques of skirts and blouses. Through the use of basic flat pattern techniques, students will be able to create a multitude of skirt designs as well as blouse designs.

History of Costume
Students study the changes and development of western and eastern costumes in an attempt to understand their basic concept of modifications and cultural patterns. Western and eastern histories of costumes on the basis of political, economical, social, and cultural backgrounds are covered.

Digital Computer Fashion
Approaches to fashion designs and patterns are learned with the aid of a computer.

Pattern Drafting 2
Students learn principles and techniques of pattern design as well as construction techniques. Through this course, students will be able to create a multitude of Jacket and coat designs.

Fashion Design 1
This course explores the main principles and elements of design through an overall survey of design theory. In addition, students are expected to develop the ability to match figure, material, color, and usage based upon the theory.

Textiles
Through analysis of clothing materials, knowledge about the nature and form of textiles is acquired so that the knowledge can be applied to creation of fashion designs in accordance with a certain purpose.

Draping 1, 2
Students learn how to express their ideas and images in a completed, three-dimensional work. Using muslin material, students will also practice shape building and cutting skills. Further development skills are also covered.

Fashion Design 2, 3
Students learn how to analyze various fields of the industry in order to design and present their portfolio - accordingly. Design concept, fabrication, color, illustration of design, and presentation are covered. Some of the topics discussed in reference to preparing a professional portfolio.

Fashion Croquis 1, 2
Teaches advanced fashion croquis through detailed observation of the human body. Students can develop their ability to express creative and sensuous description using advanced skills and various materials.

Knit Design
Students can understand an important of occupied position in the fiber industry and a fundamental principle of knit structure. Also students will practice various techniques of knitting such as Crochet, hand knitting and Machine knitting.

Korean Costume
Teaches theoretical and historical backgrounds of Korean costumes by examining the basic concepts of modifications or change in the trends of Korean costume. Students design and produce traditional Korean costumes from an understanding of the history of Korean and Eastern Asian clothing and significance and direction of the contemporary costume.

Fashion Design Senior Project 1, 2
Aims to help senior students to plan a systematic fashion design by learning the entire process of clothing design. Brainstorming for ideas to pattern drafting, draping, color, grouping by use, and critical evaluation of works of art are all covered.

Fashion Illustration 1, 2
This course provides practical knowledge, skills, and insights in the field of fashion illustration. Illustration for advertising, and magazines are considered.

Fashion Marketing 1, 2
Examines theoretical and practical studies of marketing management techniques in the fashion industry ranging from the planning of new design products, analysis of marketing structure, to potential sales. Familiarizes students with the business side of the fashion industry rather than the creative act of designing.

Global fashion and globalisation

2008-11-13T20:20:00.001-08:00

Global fashion and globalisation

cash crop – a crop grown for export. For example cotton, tobacco, tea, coffee.

commodity – a raw material that is bought and sold around the world. Crude oil, iron ore and coffee are commodities.

corporation – an American word for a company. It carries on a business.

exploit – make use of someone or something for profit.

exports – things a country sells to other countries.

fair trade – where the producer of the goods gets a fair share of the profits.

free trade – when goods and services can flow freely from country to country, without any taxes.

global – to do with the whole world. For example global trade, or global warming.

globalisation – the way businesses, ideas and lifestyles are spreading more and more easily around the world. For example the spread of Nike and McDonalds.

IMF – the International Monetary Fund. It is a joint fund set up by governments to provide loans to countries, for trading.

imports – things a country buys from other countries.

international – to do with more than one country. For example the Olympic Games are an international event.

internet – the network of millions of computers around the world, all linked together.

local actions, global effects – how our actions can affect people and places in other parts of the world (for better or worse).

producers – the people who produce the goods and services we use. They may live thousands of miles away.

profit – the amount of money left when you subtract the cost of something from what you sold it for.

raw material – material that has not yet been processed. For example cotton before it is spun and woven into cloth.

revenue – money you take in from selling goods and services.

sanctions – penalties that countries impose on another country. For example trade sanctions mean they refuse to trade with it.

sweatshop – a place where people are forced to work long hours for low pay (usually making clothing).

taxes – money we pay to the government. Most workers pay income tax, which is a % of the money they earn.

TNC – transnational corporation. It is a company with branches in many countries. For example McDonalds, Coca Cola, Nike.

trade – buying and selling.

trade war – where a country ‘fights’ another country by refusing to import its goods, or by placing big taxes on them (to put people off buying them).

trading exchange – a trading centre where commodities like coffee and cocoa are bought and sold. (They are often bought by TNCs.)

working conditions – things to do with your job, like how many hours you have to work, how much holiday you get, and what kind of environment you work in.

World Bank – a joint bank owned by governments of over 180 countries, set up to provide loans for development.

WTO – World Trade Organisation. A body set up to help trade between countries. Over 140 countries belong to it.

FASHION & TEXTILES

2008-11-13T20:19:00.000-08:00

HIGHER NATIONAL DIPLOMA (HND) IN FASHION & TEXTILES
1. What is the history behind the BTEC HND’s?

The BTEC Higher National Diplomas are part of the British Education Framework. It is a unique program with a heritage of almost 30 years of solid experience within the British and global education industries. BTEC HND’s also have a unique curriculum which has a blended match of theory and practical elements to prepare and better equip students to the world of work. HND’s are also flexible as students have the option or choice to either proceed onto a degree program usually to the final year in the United Kingdom, Australia or America for example or gain valuable work experience and continue further studies at a later date or on a part time basis. This could be achieved as the HND’s on their own are solid qualifications to gain entry into their chosen vocation or industry. The curriculum on the HND’s is also up to date as it is based on current happenings in any given industry.

Following this HND’s provide students with a firm footing in theory as well as giving them a chance to apply what they have learned within the classroom itself. Coupled with the fact they have a progression onto a degree with the added benefit of ground in industry related core skill areas, It is no surprise that the HND qualification is a strong qualification which has provided lots of young adults world over with industry relevant skills and a higher chance to get a job on the first time around after completing their studies. Students can elect to study HND’s in most areas such as business, engineering, computers, hospitality, tourism, fashion and etc.

Note: BTEC stands for Business and Technological Education Council and its part of a qualification from Edexcel International which is a globally recognized awarding body with almost 30 years of experience world over. Currently Edexcel has offices in all major continents around the world and offer a variety of courses which include, HND’s HNC, A Levels, O levels and etc. For more information on HND’s and Edexcel in general please feel free to contact Edexcel International at http://www.edexcelinternational.org

2. What will be the title of my award in HND Programme?
The title of the Award is BTEC Higher National Diploma in Fashion & Textiles

3. Who is responsible to provide me with my award?

Our partner institution is Edexcel International. The website URL:

http://edexcelinternational.org

4. Is my award recognized by the Malaysian government ?

Recognition: MOHE Approved

5. How many subjects will I have to study to get this award?

There are 6 Core Modules and 10 Electives totaling 16 modules + 3 LAN subject to graduate with the award.

6. What pre-requisite qualification is needed for me to enrol into this program?

The Entry Requirement is 3 credits at S.P.M plus a foundation in the form of STPM, A levels, (1 principal pass), SAM, TEE CPU, SAT, ABE certificate, matriculation, business foundations, Olympia Access program, CES from Olympia, LCCI or any other qualification of equal standing. Mature students who are 21 years and above with 3 credits at S.P.M and 2 years relevant work experience could also get onto the program.

For those who do not have the 3 credits in their SPM, they have to join an access programme which is for 1 semester comprising foundation subjects.

7. What is the shortest time for me to graduate with this award?

The minimum duration requires students to sit for 6 Semesters to graduate with the award.

8. What is the maximum time I can take to graduate and get this award?

Students can take up to 5 years to complete the award as their registration with Edexcel is valid for 5 years from the time they are first registered. In case the students take longer then that, they will have to resit all assessments that they have sat for as the curriculum would be reviewed on a 5 years basis.

9. When can I register onto the program ?

The intake dates are in February, June and October every year.

10. Can I do this qualification in all Olympia Campuses?

This programme is run only at the Olympia College Petaling Jaya

11. Will I get any additional local awards?

There are no Internal awards. Students will only be given an internal transcript of attainment following confirmation of grades on each semester. The award will only be issued by Edexcel International upon successful completion of the program.

12. What mode of study is offered ?

The study mode is either a Full time or Part time basis.

13. What types of assessments will I be faced with over the duration of study ?

There is a mixture of individual assignments, group assignments, presentations and final projects for assessment at an exhibition.

14. Do I have to pay exam fees ?

1st sitting of the exams and assignments fees are included in the external registration process therefore students need not need to pay any exam fees for the 1st sitting for the total of 16 modules.

15. When will I have to register for exams ?

Students can register for exams 1 month from their actual registration/intake onto the program. The exam deadline will remain open 1 month from that date. The course coordinator will remind the students as to this deadline.

16. Will I have to pay a fee if I fail an exam or mode of assessment?

Re-sits are charged at RM 300.00 per module irrelevant of a re-sit in exam or assignments. The payment is per sitting or attempt meaning if the student does not clear the re-sit, they would have to repay RM 300.00 to attempt it again.

17. When can I clear my pending papers ?

Students can elect to actually re-sit pending papers after the ending semester or sit for it again while the module runs again.

18. What is the average number of assessments in a given module ?

Students are required to submit 3-4 pieces of work on each module and one final major project. Students should also include the official cover sheet by Edexcel in submitting their assignments.

19. What is the passing mark for any given piece of assessment ?

Student are required to get a pass to at least pass any given module.

20. What is the types of grades can I achieve on this program ?

The grades are: Fail, Refer, Pass, Merit and Distinction on the HND program whereby the Distinction is the highest possible grade that a student can achieve and Fail is the lowest possible grade that the student can achieve.

21. Can I get exemptions on previous studies?

Since the curriculum of the HND is very unique, exemptions are rarely given. However if there is a claim, the claim should be made to the Course Coordinator which will then take the application upwards.

22. When can I go for full certification?

Successful completion of the 16 modules will entitle the student to be awarded the award BTEC Higher National Diploma in Fashion & Textiles

23. Can I get certification if I stop mid stream in the program?

Students can also elect to go for partial certification if they want to stop the program mid stream. However partial certification is not advised as students cannot elect to continue back if they intend to come back to finish up a total of 16 modules to get the Higher National Diploma award. In an instance of partial certification, the student will only be awarded a certification of completion on any given module that they have passed.

24. Can I get financial assistance to help me with my payments ?

Students are entitled to apply for PTPTN loans in following the program. To apply for this facility, Students are required to have at least 3 credits at S.P.M and of financial need. PTPTN is only applicable to full time study to Malaysian citizens. However the amount given does not usually cover the whole fees and usually PTPTN only gives a total of RM 5000 for diploma courses in private colleges. The forms can be obtained from the front desk and the counselors in the center can actually brief the students to apply. For more information, students can actually obtain it from the PTPTN official website as follows :-

http://www.ptptn.gov.my/

RHB also offers study loans if they are full-time or part-time courses approved by the Ministry of Education, Jabatan Pentadbiran Awam when applying for the RHB Study Loan, both for local or overseas education. Students have to jointly apply with their parents, brother, sister, spouse or children.
For more information on applying of this loan, Students can refer to the website as given below where the application could be started from there. The website is as follows :-

http://www.rhbbank.com.my/personal/services/loan/study_loan.shtm

The processing time is dependent on the information and documentation given by the students and applicants. Please check with the banks for estimated processing times.

25. How often would I have to come to the college ?

Students are required to come in on an average of 4-5 days in a week and spend and average of 8 hours in a day. However this is dependent on semesters and modules running. For example a short semester will entail less frequency.

26. Will I be given any study materials?

Students are at present not given any study manuals on the program of study. They are only issued a learning guide to support them through the program of study.

27. What can I do after I complete this program of study ?

The progression route is as follows: Students can elect to progress to Bradford College in United Kingdom to the final year of a Fashion & Textiles degree upon completion of the HND at a discounted rate which includes tuition fees and accommodation. Students can also apply on their own for entry to most U.K or U.S.A universities to usually the final year of their degree. Students could also elect to join a 3+0 degree program locally usually at the 2nd year as the HND’s are considered to be Diploma qualification following the Malaysian Education Framework stipulated by L.A.N. However students can get into the final year of a distant/blended learning program as these programs do not fall under the Malaysian Education Framework as stipulated by L.A.N. A complete list of foreign universities could be obtained from :-

http://www.edexcelinternational.org

28. What sort of career am I able to go into?

Student can progress into the world of work either globally or locally upon completion of the HND program of study in any area of their specialization or in any given business jobs. Students can actually go into full time employment or start a business on their own and follow onto a degree on a part time basis. It is been claimed that HND graduates could expect around RM 1500- RM 1800 per month in medium or large scale organizations. The rate given is based on market rates. This proposed salary could decrease or increase depending on market forces.

YOUTUBE UNVEILS FASHIONWEEK360

2008-11-13T20:17:00.000-08:00

YOUTUBE UNVEILS FASHIONWEEK360

Content to include highlights from the American Express Fashion Network

ELLE, Ford Models, NYLON TV and William Sledd to Deliver Video

from International Fashion Weeks to YouTube Community

SAN BRUNO, CA – February 4, 2008 – YouTube, the leading online video community that allows people to discover, watch and share originally created videos, today announced the debut of FashionWeek360, in partnership with American Express. This centralized hub is the first dedicated fashion week channel on YouTube (www.youtube.com/fashionweek360) and it is exclusively populated with videos from ELLE, Ford Models, NYLON TV, fashion video blogger, William Sledd and highlights from the American Express Fashion Network including live runway shows. Their on-the-ground footage will showcase the vibrant fashion week scenes as they unfold in New York, London, Milan and Paris.

FashionWeek360 will be updated with new videos from international fashion weeks through the end of February. The channel, covering all aspects of fashion week, will include highlights of top runway shows, insider-interviews, collections from emerging talents, daily party and trend reports and insights from designers and industry experts.

William Sledd, YouTube’s notable fashion personality, will be the official YouTube fashion week correspondent in New York. “I love all things style and being immersed in fashion week is a dream come true,” says William Sledd. “There’s nothing better than being in the tent trench excitement and sharing that experience with other fashion-obsessed people though YouTube.”

“With FashionWeek360, people can immerse themselves in everything from the behind-the-scenes experiences to the celebrity filled after parties and truly get to experience fashion week from every angle” said Sadia Harper, community manager for fashion and beauty, YouTube. “Our partners, like no one else, have their fingers on the industry’s pulse and will share their insights with the millions of fashion fans on YouTube..

In addition, YouTube enables people to respond to and interact with fashion week videos at their own convenience. As the style scene unfolds across the globe, YouTube users and those interested in the direction fashion is headed can be a part of the events that make fashion fabulous.

About YouTube

YouTube is the world's most popular online video community allowing millions of people to discover, watch and share originally created videos. YouTube provides a forum for people to connect, inform and inspire others across the globe and acts as a distribution platform for original content creators and advertisers large and small. YouTube, LLC is based in San Bruno, Calif., and is a subsidiary of Google Inc.

About American Express

American Express Company is a leading global payments, network and travel company founded in 1850. For more information, visit http://www.americanexpress.com.

American Express is dedicated to providing unique and compelling content and experiences for its Cardmembers. Knowing that fashion is a core interest of Cardmembers, American Express is supporting the CFDA/Vogue Fashion Fund, partnering with IMG to deliver special Cardmember experiences on-site at Fashion Week in New York, and now for the first time presenting the American Express Fashion Network at www.americanexpress.com/style which will deliver live runway shows as well as insider and celebrity interviews and commentary hosted by Robert Verdi and Roshumba Williams.

Designing New Hope

2008-11-13T20:16:00.000-08:00

Designing New Hope for Women Living with HIV/AIDS

Hope can take many forms. But no matter what it looks like – it’s always a welcome sight – and a welcome feeling. For a group of women living with HIV/AIDS in a support group in Kwazulu Natal, South Africa, in an income-generation program that is part of the SECURE THE FUTURE-sponsored Mpilonhle project there, hope is being designed by them – every day. That hope came thanks to a program first conceived by a small Paris-based NGO founded by a group of designers called – appropriately enough - Designing Hope.

“We first became involved with SECURE THE FUTURE on this project when we visited South Africa, and came to a community-based treatment support program where women who were HIV positive were doing beadwork and other traditional crafts to give them some income,” says Safy Nezam, Africa program coordinator for the NGO. “The problem was that they needed to sell more of their objects and to develop a network where they could be known elsewhere in order to increase their income. These lovely ladies were doing traditional designs and South African flags in beadwork – nice for people passing through the place and buying souvenirs, but it wouldn’t afford them a higher income.”

Safy’s group had already initiated a number of creative, design-related projects in Africa to help those affected by AIDS, including, most notably, fashion designer-inspired lightbulbs. Beginning in 2003, 60 internationally known fashion designers contributed drawings that were then interpreted by women living with HIV/AIDS and placed on light bulbs that were then sold. The design campaign also helped to build additional awareness about the disease.

Designing Hope took a different idea to a number of fashion designers in Paris and elsewhere, including Sonia Rykiel, Paul Smith, Pierre Cardin and Cacharel – about 20 in all.

Each designer agreed to contribute original designs that would then be replicated in beadwork by the women in South Africa. These particular “squares of hope” would then be incorporated onto the backs of pockets mirrors. Larger standing mirrors – also with their designs on back – would be auctioned off at a major fundraiser in Paris to launch the project and gain additional visibility.

“The women did a great job,” Safy reports. “The fashion designers we showed their work too were delighted. The mirrors are being presented at a major European crafts fair where we hope to get orders from smaller shops to sell them.”

So far 15 women are involved from Kwazulu Natal, though Safy believes that, having been trained to recreate these designs, they will be able to teach other HIV positive women in other support groups to expand their horizons and possibilities to generate additional income.

“Now these women – and potentially many others – will have a new way of working and a new skill,” she adds. “We know that this is a group of only 15 people – a very small number when compared to the extent of the problem of women living with HIV/AIDS. But if we can get these 15 women to be more secure, in the long run, then we’re happy with our contribution.”

The Bristol-Myers Squibb Foundation SECURE THE FUTURE program has also helped support another Designing Hope project called “I Love You Positive or Negative,” which features posters printed with messages from South African celebrities, who address a message of hope for people with AIDS. Their aim is to help fight the stigma that remains attached to the disease. The program has also been involved in other Designing Hope income-generation projects, providing food vouchers to women for their efforts.

“For the women,” Safy concludes, “It’s not only about the money. The feeling of being able to work, to do something, to bring something for their community, also has a psychological aspect that is important in their treatment and cure. It even helps with adherence to treatment, because these women are all involved in a group. They meet with each other and support each other. They also give each other hope.”

Paris Fashion Week

2008-11-13T20:09:00.002-08:00

Paris Fashion Week

Its fashion week and down in South African retail is working a frantic dizzy height to get summer 2007 booked. No glits and glam for us, All the suppliers and design centres are working day and night to Dassel the buyers and intern the buyers are being wined and dinned with fantastic showings and good food and bubbly While viewing the best SA can give.

How does this process work you ask mmmmm. Its all starts off glamorous with the kings and queens of the fashion world launching their collections at Paris fashion week. Where all the Celebes and paparazzi and world fashion slaves go to be fed what will be the next colour, fabrication and silhouette for the season. It then takes on its own look in the top leading stores where retail buyers go shopping all over the world to get inspiration and key items to workshop for the up and coming season and bring it back to basic for you and me. The SA designers and suppliers put together their own shows and present to the buyers who then select newest fabrications and hottest trends and accessories (which by the way SA suppliers and designers rock, work hard to bring originality make it truly south African) and mass exploit It into SA stores where we finally come in and make it our own.

Some of the summer trends for 2007 coming through at Paris Fashion week on the run way………

At fashion week Marc Jacobs played around with his bags for Louis Vuitton, This collection for Spring 2007 was pyful to say the least, cut and paste Marc brought about some fantastic innovative bag collection

WHAT TO DO WITH ALL THIS INFO……SHOP FOR THE MUST HAVE ITEM

We all know what to look out for this summer the colour is white, the silhouette is tight and their look out for rock printed T’s lots and lots of foil print and even foil paint on denim, fabrications for the season is modal, or a cheaper take on modal which is a viscose/spandex blend which just makes any women feel good. Word to wise all ways buy a size bigger as this fabrication shows all that we so desperately try to hide but love to flaunt.

WHAT ARE THE STARS UP TO ?

Stars that taking fashion to the max . Jay-Zowns ( Rocca Wear line), Beyonce ( Dereon label named after her grandmother. ) P.Diddy ( Sean John).

Now clearly m2x does not need to fly me off to Paris to get the what’s hot on the catwalk all I need to do is “make it a double” at anyone of these parties and be blown away by the fashion trend setters our very own m2x crazy peeps. Beside bring along madness these guys strut it like its hot… If its not in costume or a crazy theme party then you will surely see these guys looking the fashionista part. Sporting the latest trends in must have items and sexy hot accessories be its killer heals or a hot chic on the side these party peeps bring it on.

Clothes and Fashion

2008-11-13T20:09:00.001-08:00

Clothes and Fashion

What are you wearing?
Where did you buy your clothes?
Where is your favorite place to shop for clothes?
What clothes would you like to buy right now?
Do you own any handmade clothing?
Do you own any secondhand clothing?
Do you generally wear tight or baggy clothes?
What colors look best on you?
Do you shop around when you look for clothes or do you buy the first thing you like?
Do you buy brand name clothing?
Do you think expensive name brands are worth it?
Have you ever been to a fashion show?
Do you think you are fashionable?
What is trendy for clothing these days?
Who is the most stylish person in the class?
What do you think about fur coats?
How about leather products?
Do you ever wear silk clothing such as silk shirts or ties?
Do you ever wear wool clothing? Do you think wool is itchy?
How do clothes affect your confidence or personality?
Have you ever dreamt that you had no clothes on in public?
Do you have anything that is revealing such as a mini-skirt or a tank top?
Men go topless at the beach. Why not women?
Are your shoes comfortable?
What do you think of high heels?
Without looking, what do you have on your feet right now?
What do you wear at night when you go to bed?
Did you wear hand-me-downs as a kid?
Can you remember any of your childhood clothes?
What is traditional clothing in your country?
Are you neat or messy when it comes to clothing?
How often do you do laundry?
Do you iron your clothes?
What do you wear when you are home alone?
What do you wear on formal occasions?
What would you wear to a job interview?

ALTERNATIVE FASHION WEEK

2008-11-13T20:06:00.000-08:00

ALTERNATIVE FASHION WEEK

Spitalfields Traders Market, Crispin Place, Brushfield St, London E1 (Liverpool St Station)

ALTERNATIVE ARTS presents East London’s major fashion event – Alternative Fashion Week. From April 21 to 25 Spitalfields will play host to the most original and creative collections by a fresh crop of new designers with truly innovative ideas.

ALTERNATIVE FASHION WEEK is where new designers really want to be discovered as it provides a genuine alternative for them to present their work directly to the press, public and the fashion industry.

OVER SIXTY YOUNG DESIGNERS have been selected to show their work. Hundreds of applications are received from independent designers aiming to establish their labels to recent fashion and textile graduates. Expect anything from elegant to edgy.

TWELVE DIFFERENT designers will show each day. Original and recycled textiles are a major feature. There’ll be womenswear and menswear from the sublime to the sensational, but NO FUR in support of the ‘No Fur Trade’ campaign.

STUNNING NEW MODELS will be taking to the catwalk with many arriving hot from the special model training course run for 6 weeks prior to Alternative Fashion Week.

FASHION SHOWS will be open to the Press and Public daily at 1.15pm accompanied by live contemporary jazz from The Groove Collection.

THE FASHION MARKET that surrounds the catwalk from 12 noon to 3pm each day is a shopping sensation with stalls selling an exotic range of clothes, textiles and accessories.

ALTERNATIVE ARTS is a publicly funded arts organisation presenting fashion as an exciting and original art form and supporting fresh talent by producing and directing Alternative Fashion Week at no charge to the designers.

ADMISSION IS FREE to this event and includes a programme listing every designer.
Collections will be taken up for the BARNARDO’S charity.

THE EVENT will be held in the Spitalfields Traders Market and is supported by the Spitalfields Estate, Alternative Arts and Fashion UK at fuk.co.uk.

THE PRESS AND BUYERS are invited to reserve front row seats at each Fashion Show
by email/phone/fax to ALTERNATIVE ARTS. Special spaces will be allocated for photographers and film crews.

ALTERNATIVE ARTS PRESENTS COLLECTION 2008

Valentina Abdi VALENTINA environmentally friendly and ethical origami collection
Bahar Alipour sophisticated & sensual femininity inspired by women’s wrestling
Kelly Ashworth KELLY ASWORTH white reinvented vintage domestic linen
Wayne Bailey L.U.G.E. CLOTHING inspired by snails in hibination mode`
Barnet College latest collection
Chelsea College of Art & Design the ’Revolution’ collection
City & Islington College ‘Sailor Chic’ & ‘Orientalism’
Colchester School of Art & Design latest collection
Cooltan Arts kimono style tea gowns & summer dresses
Nicola Cox knitted & woven fabrics inspired by the ageing woman
Jane Dennerly & Kay Haskins J.K DESIGNS using recycled materials
Karen Dennis & Lizzie Harrison KETCHUP VS. ANTIFORM found & reclaimed materials
Derby University bold, bright block colours for their latest collection
Aaron Ray Dowie foreshortened tailoring with a sinister edge
Kate Edwards sculptural futuristic dresses with geometric shapes
Linzie Elliott influenced by the street scene & how it expresses raw, pure self-expression
Kerry Fewster AESTHETIC VICTIM independent fashion fighting against the mass produced
Sabine Fouchier SABINE FOUCHIER exquisite millinery
Jasmin Frei JASFREE sharp, modern, simple yet refined, sophisticated & wearable
Karen Helen Grontvedt Totally Trashed collection inspired by Tokyo street wear
Hackney Community College, Art Dept experimental textiles
Hackney Community College, Fashion Dept latest collection
Victoria Harley TORI HARLEY mixture of electric, zany colours to create vibrant prints & textiles.
Sally Harper & Amanda Matthews SHARPER MILLINERY/ ALLUDE DESIGNS oriental fusion
Hasan Hejazi HASAN HEJAZI Madonna inspired, muslim designer from Manchester
Rachel Hines bright, vibrant collection influenced by music & attitude
Amy Hostler AMY HOSTLER FASHION & TEXTILE DESIGN inspired by the rag time era
Ching-Yu Huang based on fugue music in Baroque period combined with contemporary design
Leah Hutchinson & Emma Fisk 'ANNIE BO' pleating, pannelling and linear forms
Shahkella Ijaz COURT 2 combination of formal wear & sporty street wear
Saia Ikavalko FUNKY HOMO SAPIENS a mixture of Victorian & modern urban chic
Imanni IMANNI DA SILVA Planet Earth a dazzling show of plumes, sequins, crystals & glitter
Adil Iqbal ADIL ethnic influences from the Kalash people in Nothern Pakistan
Lucy Jackson LUCY ANNE JACKSON restricting the body & playing with proportions
Kensington & Chelsea College ‘The Alternative Black Dress’ & ‘Faded Memories’
Claire Madelin modern silhouettes complemented by bold structural laser cut detail
Sarina Mantle WILDSUGA unusual fabric mixes & handmade appliqué and embroidery
Kaori Matsubara KAORI'S LATEX DREAMS sumptuous, fetish latex wear
Maryanne Mbira MARYANNE MBIRA textile sculptures fused with traditional weaving
Middlesex University latest collection
Robert Miller PRETTY PERVY theatrical latex designs creating curvaceous, organic forms
Lova Moller LOVA MOLLER twisting, folding, creating three dimensional squares and pleats
Newham College latest collection
Mia Nisbet MIA funky, stylish collection for todays urban pixies inspired by recycling
Akpo Obruche HEATH-OBRUCHE a collection of corsets with bold fabrics & colours
Jessica Odoi JBABY reflecting the flamboyant richness of the 18th century
Sarah Ormanroyd SARAH ORMANROYD a collection for the modern urbanite
Pandemonia PANDEMONIA exploring female myths using humour & sexual energy
Isabella Pepper ISABELLA PEPPER/CUT HERE sculpted shapes & layering
Lloyd Perry BIG RICHARD men’s underwear from down under
Amelia Quiambao AMELIA QUIAMBAO DESIGNS a winter fairytale
Ricardo Ramos RICARDO RAMOS collection inspired by folklore festivals in Colombia
Mary Ratcliffe MARY iconic religious imagery re-interpreted creating unique dresses
Keerthi Ravi elegant ‘curry’ of stylish fashion with flirty options
Ellie Savage inspired by old birthday cards & holiday postcards from the 1940’s and 50’s
Fannie Schiavoni FANNIE SCHIAVONI inspired by origami and the Art Deco era.
Kerrie Scott ROCK ROMANCE fresh, funky, rock look with an exciting mix of colour & prints
Hannah Tamplin PRINTED LOVE an exciting take on 17th Century children’s clothes
Tower Hamlets 'A' Team Arts latest collection
TRAID Remade an ethical alternative to high street fashion
Stephanie Tsang STEPHANIE TSANG architectural shapes, presenting inhuman silhouettes
UCreative at Rochester innovative textile prints inspired by aspects of 1960s culture
Irving Vorster IRVINX architectural shapes & organic forms with fluent lines
Waltham Forest College Holi – festival of colour
Yeshaswini & Manit from Delhi, Indian spices go international
Olga Yuzhaninova NUVABA PAGURNA structured, tailoring mixed with subtle draping

SIXTIES FASHION

2008-11-13T20:03:00.000-08:00

SIXTIES FASHION

40 years after Time Magazine's famous 1966 'Swinging London' cover, the V&A explores the Swinging Sixties. Sixties Fashion will feature designs by Mary Quant, Ossie Clark, Pierre Cardin and Paco Rabanne among others. The display will explore the role of fashion in fixing the idea of London as the ‘swinging’ city in the popular imagination from the mid 1950s (when Mary Quant established her first boutique) to the early 1970s.

Through the display of around 60 garments, Sixties Fashion will show how a series of key ‘looks’ evolved in London, the influence of King’s Road and Carnaby Street and their impact on international trends.

The display will look at different themes and designers, and the ‘rise and fall’ of the swinging look. The era started in the mid 1950s with the opposing influences of traditional couture and Mary Quant, it closed with the decadent allure of Biba in the early 1970s.

• Mayfair Elegance & Chelsea Rebellion – showcases Incorporated Society of London Fashion Designers, including Norman Hartnell and Hardy Amies, alongside more radical Mary Quant pieces.
• Piccadilly Peacocks – focuses on the tailors who ‘broke the stuffed shirt barrier’ in menswear, including pioneers Mr. Fish and Rupert Lycett Green.
• Knightsbridge Chic – the response of middle-market designers and department stores to the new fashions; new talent influenced by Quant and other trend setters.
• Carnaby Street and the King’s Road – examines the quintessential swinging designers and entrepreneurs at the heart of Swinging London such as John Stephen, Michael Rainey, Foale & Tuffin and Ossie Clark.
• Kensington Haze – the exploration of London ends with the shift from clean mid 60s cool to the escapism and nostalgia typified by Thea Porter and Biba.
• Out of London – establishes parallel themes and influences beyond the UK, looking at designers working in Paris and New York, such as Pierre Cardin and Yves St Laurent.

Sixties Fashion will look at the central role played by the boutique and street style in bringing the phenomenon to the world’s attention. The display will bring together items from the V&A and other museums’ dress collections and show them alongside previously unseen garments from private lenders. Archive films of fashion shows and shopping in the most fashionable boutiques will also be on show.

Swinging Sixties edited by Christopher Breward, David Gilbert and Jenny Lister (£24.99 pb) will be published by V&A Publications to accompany the display. Containing lively contributions from prominent authors and stunning new shots of key pieces from the V&A's dress collection, it looks at the role played by designers, retail entrepreneurs, journalists, photographers and film-makers in promoting a new way of dressing that reverberated far beyond the British capital. It also explores the interaction of the fashion scene with the worlds of art, education, journalism, music, the beauty industry and new social and political climate.

Fashion Marketing

2008-11-13T20:01:00.000-08:00

This course is designed for students to gain basic knowledge of the fashion marketing industry and provide the learner with skills for a career in the field of Fashion Marketing.

Standard 1: Nature of Fashion (0407.S.1)

Explore the Nature of Fashion.

Nature of Fashion Objectives

Students will:

0407.1.1 Explain the concept of fashion in terms of apparel, home fashion and accessories.

0407.1.2 Explain the components of fashion.

Standard 2: Fundamentals of Marketing (0407.S.2)

Describe the Fundamentals of Marketing.

Fundamentals of Marketing Objectives

Students will:

0407.2.1 Define the role of marketing and its importance.

0407.2.2 List examples of marketing functions and related activities.

0407.2.3 Differentiate between the concepts of marketing segmentation, niche and mass marketing.

0407.2.4 Identify the elements of the marketing mix.

0407.2.5 Demonstrate the flow of products in the channel of distribution.

0407.2.6 State the marketing concept.

Standard 3: History and Trends of Fashion (0407.S.3)

Explore the History and Trends of Fashion.

History and Trends of Fashion Objectives

Students will:

0407.3.1 Research and describe the theories of the origin of fashion.

0407.3.2 Describe the influence of historical events on fashion.

0407.3.3 Analyze the influences that economic, culture, social, political, geographic and psychological factors have on fashion.

0407.3.4 Explain the use and importance of fashion cycles.

0407.3.5 Differentiate between fashion trends, fads and classics.

0407.3.6 Identify current trends in fashion.

Standard 4: Color and Design Fundamentals (0407.S.4)

Analyze Color and Design Fundamentals.

Color and Design Fundamentals Objectives

Students will:

0407.4.1 Describe elements and principles of line and design.

0407.4.2 Discuss how to use design to create illusions that enhance appearance.

0407.4.3 Analyze standardized sizing in the fashion industry.

0407.4.4 Explain the principles of color psychology and symbolism and its relationship to fashion.

0407.4.5 Identify purpose of color wheel and analyze color schemes.

Standard 5: Textile Characteristics (0407.S.5)

Evaluate Textile Characteristics.

Textile Characteristics Objectives

Students will:

0407.5.1 Identify the characteristics of natural and man-made fibers.

0407.5.2 Describe the relationship between fabric characteristics and product use.

0407.5.3 Identify the most common fabric constructions.

Standard 6: Economic Principles as Related to the Fashion Industry (0407.S.6)

Describe the Importance of Economic Principles as it relates to the Fashion Industry.

Economic Principles Objectives

Students will:

0407.6.1 Differentiate between goods and services.

0407.6.2 Discuss advantages and disadvantages of the different types of economic systems.

0407.6.3 Explain the concept of profit.

0407.6.4 Discuss the benefits of competition.

0407.6.5 Analyze the law of supply and demand.

0407.6.6 Examine the relationship between cost and price.

0407.6.7 Explain utility.

Standard 7: Communication Skills (0407.S.7)

Enhance Communication Skills.

Communication Skills Objectives

Students will:

0407.7.1 Explain the importance of verbal and nonverbal communication.

0407.7.2 Demonstrate proper telephone communication skills.

0407.7.3 Use effective writing skills.

Standard 8: Customer Service Skills (0407.S.8)

Develop Customer Service Skills.

Customer Service Skills Objectives

Students will:

0407.8.1 Explain the importance of customer service as it relates to a retail business.

0407.8.2 Demonstrate procedures for handling customer complaints.

0407.8.3 Handle multiple tasks simultaneously.

0407.8.4 Interpret company policies to customers.

Standard 9: Principles of Selling (0407.S.9)

Apply the Principles of Selling.

Principles of Selling Objectives

Students will:

0407.9.1 Identify the steps in the selling process.

0407.9.2 Identify and explain the different approaches of opening a sale.

0407.9.3 Conduct a sales presentation for a product or service.

0407.9.4 Choose the proper method of handling objections in order to close a sale.

0407.9.5 Identify and explain the different types of closing a sale.

0407.9.6 Explore various sales careers in the fashion industry.

0407.9.7 Apply textile knowledge to a sales presentation.

Standard 10: Careers in Fashion Marketing (0407.S.10)

Research Careers in Fashion Marketing.

Careers in Fashion Marketing Objectives

Students will:

0407.10.1 Identify personal traits important in a fashion career.

0407.10.2 Identify career opportunities in fashion sales, textiles and manufacturing industries.

0407.10.3 Identify an acceptable fashion image for work, school and social activities.

Standard 11: Technology in the Fashion Industry (0407.S.11)

Explore Technology in the Fashion Industry.

Fashion Industry Technology Objectives

Students will:

0407.11.1 Investigate computer technology applications in fashion marketing.

0407.11.2 Identify computer technology used in fashion/fabric design and production.

Standard 12: Principles of Promotion (0407.S.12)

Demonstrate the Principles of Promotion.

Principles of Promotion Objectives

Students will:

0407.12.1 Identify the elements of the promotional mix in fashion marketing.

0407.12.2 Analyze types of media used in fashion retail advertising.

0407.12.3 Identify the parts of a print advertisement.

0407.12.4 Prepare a broadcast advertisement.

0407.12.5 Analyze visual merchandising displays using the elements of display arrangements, color schemes, display background, mannequins and lighting.

Standard 13: Workplace Skills (0407.S.13)

Develop Job-Seeking, Job-Keeping and Job Learning Skills for the Workplace.

Job-Seeking, Job-Keeping and Job Learning Objectives

Students will:

0407.13.1 Explain the concept of work ethics.

0407.13.2 Explain the importance of positive working relationships and employer expectations.

0407.13.3 Complete the procedures for obtaining employment (resume, cover letter, job application, job search, interview, follow-up letter).

Standard 14: Risk Management (0407.S.14)

Explore Risk Management.

Risk Management Objectives

Students will:

0407.14.1 Identify the impact of internal theft and shoplifting.

0407.14.2 Demonstrate basic safety rules relevant to job safety.

0407.14.3 Describe the first aid measures to be used in case of an emergency or accident.

0407.14.4 Classify type A, B, and C fires and describe their characteristics in order to extinguish them properly.

Standard 15: Inventory Control Procedures (0407.S.15)

Describe Inventory Control Procedures.

Inventory Control Procedure Objectives

Students will:

0407.15.1 Describe the importance of inventory control.

0407.15.2 Describe receiving procedures.

0407.15.3 Explain procedures used to issue items and keep track of inventory.

Standard 16: Fashion Market Centers and Designers (0407.S.16)

Identify Fashion Market Centers and Designers.

Fashion Market Centers and Designers Objectives

Students will:

0407.16.1 Identify domestic fashion market centers.

0407.16.2 Identify international fashion market centers.

0407.16.3 Recognize influential fashion designers.