Build on the classics and become the next Coco Chanel" 

Fashion has been present in all civilizations From the Roman to the French era, setting trends has always been synonymous with status and wealth. Although for a long time this was the norm, in the 20th century, there was a growing desire to enhance the feminine figure, so fashion collections focused on pieces with simple lines and elegant cuts. During that period, the great designers and referents were able to establish themselves by adapting their own style to the different requirements of the public. 

For all these reasons, this Professional master’s degree in Women’s Fashion Design has been devised, representing an excellent opportunity to learn all the key aspects that will help students become an excellent designer.  In this sense, the program will begin by providing the historical context of the sector, allowing us to learn about the major milestones that led to the consolidation of the field today.

Also, an exhaustive study will be made on basic aspects of pattern making in the female figure, establishing how to make the different types of seams finished with a neat finish. In addition, a section of the program will be dedicated to sketch development, which allows designers to capture the main idea on paper and make it reality. 

On the other hand, with the arrival of new technologies and social media, designers have had to adapt and learn about the new platforms to make their work known. In this sense, it is important to keep in mind which marketing strategies big fashion labels and independent designers rely on in order to have an online presence. 

Finally, it is important to understand and analyze concepts such as "FastFashion", which has caused a major debate in recent years, as it favors the creation of large collections of clothing that are manufactured in an accelerated manner. In conclusion, this Professional master’s degree will become the best option for students who wish to become a new fashion leader, start their own brand, work as an image consultant, a mong other professional opportunities that will lead to a breakthrough in their professional career.  

Get qualified and see your designs parade down the world's great catwalks in Paris or New York Fashion Week"

This Professional master’s degree in Women’s Fashion Design contains the most complete and up-to-date educational program on the market. The most important features include:

• The latest technology in online teaching software
• A highly visual teaching system, supported by graphic and schematic contents that are easy to assimilate and understand
• Practical cases presented by practising experts
• State-of-the-art interactive video systems
• Teaching supported by telepractice
• Continuous updating and recycling systems
• Autonomous learning: full compatibility with other occupations
• Practical exercises for self-evaluation and learning verification
• Support groups and educational synergies: questions to the expert, debate and knowledge forums
• Communication with the teacher and individual reflection work
• Content that is available from any fixed or portable device with an Internet connection
• Supplementary documentation databases are permanently available, even after the program

In the words of Marc Jacobs: clothes mean nothing until so meone lives in them"

The program’s teaching staff includes professionals from sector who contribute their work experience to this training program, as well as renowned specialists from leading societies and prestigious universities. 

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive education programmed to learn in real situations. 

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. This will be done with the help of an innovative system of interactive videos made by renowned experts.

Turn fashion into your way of expression and create pieces that enhance the female figure"

Fashion is art and with this program you will learn to express yourself just like the great artists of the 19th century"

This Professional master’s degree meets students’ expectations thanks to its extensive and complete syllabus In this sense, it will allow them to understand basic aspects such as history of design, make patterns according to the age of the model and even technical aspects of photography to maximize the exposure of each piece made All this will be essential to guarantee the success of a collection and will turn students into multifaceted professionals, capable of working as designers, illustrators or directors of fashion companies, among others.

Learn about the history of the main figures in the fashion world in order to create a successful collection"

Module 1. Fundamentals of Design

1.1. History of Design 

1.1.1. Industrial Revolution 
1.1.2. The Stages of Design 
1.1.3. Architecture 
1.1.4. The Chicago School 

1.2. Styles and Movements of Design 

1.2.1. Decorative Design 
1.2.2. Modernist Movement 
1.2.3. Art Deco 
1.2.4. Industrial Design 
1.2.5. The Bauhaus 
1.2.6. World War II 
1.2.7. Transavantgarde 
1.2.8. Contemporary Design 

1.3. Designers and Trends 

1.3.1. Interior Designers 
1.3.2. Graphic Designers 
1.3.3. Industrial or Product Designers 
1.3.4. Fashion Designers 

1.4. Project Design Methodology 

1.4.1. Bruno Munari 
1.4.2. Gui Bonsiepe 
1.4.3. J. Christopher Jones 
1.4.4. L. Bruce Archer 
1.4.5. Guillermo González Ruiz 
1.4.6. Jorge Frascara 
1.4.7. Bernd Löbach 
1.4.8. Joan Costa 
1.4.9. Norberto Chaves 

1.5. The Language of Design 

1.5.1. Objects and the Subject 
1.5.2. Semiotics of Objects 
1.5.3. The Object Layout and its Connotation 
1.5.4. Globalization of the Signs 
1.5.5. Proposal 

1.6. Design and its Aesthetic-Formal Dimension 

1.6.1. Visual Elements 

1.6.1.1. The Shape 
1.6.1.2. The Measure 
1.6.1.3. Color 
1.6.1.4. Texture 

1.6.2. Relationship Elements 

1.6.2.1. Management 
1.6.2.2. Position 
1.6.2.3. Spatial 
1.6.2.4. Severity 

1.6.3. Practical Elements 

1.6.3.1. Representation 
1.6.3.2. Meaning 
1.6.3.3. Function 

1.6.4. Frame of Reference 

1.7. Analytical Methods of Design 

1.7.1. Pragmatic Design 
1.7.2. Analog Design 
1.7.3. Iconic Design 
1.7.4. Canonical Design 
1.7.5. Main Authors and Their Methodology 

1.8. Design and Semantics 

1.8.1. Semantics 
1.8.2. Meaning 
1.8.3. Denotative Meaning and Connotative Meaning 
1.8.4. Lexis 
1.8.5. Lexical Field and Lexical Family 
1.8.6. Semantic Relationships 
1.8.7. Semantic Change 
1.8.8. Causes of Semantic Changes 

1.9. Design and Pragmatics 

1.9.1. Practical Consequences, Abduction and Semiotics
1.9.2. Mediation, Body and Emotions
1.9.3. Learning, Experiencing and Closing
1.9.4. Identity, Social Relations and Objects

1.10. Current Context of Design 

1.10.1. Current Problems of Design 
1.10.2. Current Themes of Design 
1.10.3. Contributions on Methodology

Module 2. Pattern Making and Tailoring

2.1. Introduction to Pattern Making

2.1.1.    Basic Concepts of Pattern Making
2.1.2. Tools and Materials in Pattern Making
2.1.3. Obtaining Anatomic Measurements
2.1.4. Measuring Tables
2.1.5. Pattern Typologies
2.1.6. Model Industrialization
2.1.7. Information That a Pattern Must Contain

2.2. Feminine Pattern

2.2.1. Basic Skirt Pattern
2.2.2. Basic Body Pattern
2.2.3. Basic Pants Pattern
2.2.4. Basic Dress Pattern
2.2.5. Collars
2.2.6. Sleeves
2.2.7. Details

2.3. Masculine Pattern

2.3.1. Basic Body Pattern
2.3.2. Basic Pants Pattern
2.3.3. Basic Coat Pattern
2.3.4. Collars 
2.3.5. Sleeves
2.3.6. Details

2.4. Children’s Pattern

2.4.1. Basic Body Pattern
2.4.2. Basic Pants Pattern
2.4.3. Basic Leotard Pattern
2.4.4. Basic Onesie Pattern
2.4.5. Sleeves 
2.4.6. Collars
2.4.7. Details

2.5. Pattern Transformation, Development and Scaling

2.5.1. Pattern Transformations
2.5.2. Pattern Development
2.5.3. Scale and Full-Size Patterns

2.6. Introduction to Cutting and Sewing

2.6.1. Introduction to Sewing
2.6.2. Sewing Tools and Materials
2.6.3. The Cut
2.6.4. Hand Sewing
2.6.5. Machine Sewing
2.6.6. Types of Sewing Machines

2.7. Textile Identification

2.7.1. Woven Fabrics
2.7.2. Complex Fabrics
2.7.3. Technical Fabrics
2.7.4. Knitted Fabrics
2.7.5. Materi-als

2.8. Sewing Types and Garment Transformation

2.8.1. Flat Seam
2.8.2. Inner Seam
2.8.3. Curved Seam
2.8.4. French Seam
2.8.5. Textile Sewing
2.8.6. Overlock Stitching
2.8.7. Ribbed Seam

2.9. Closures, Finishes and Textile Refinement

2.9.1. Fabric Dyeing
2.9.2. Buttons
2.9.3. Zippers
2.9.4. Appliqués
2.9.5. Garment Lining 
2.9.6. Finishing Touches
2.9.7. Ironing

2.10. Moulage

2.10.1. Preparation of the Mannequin
2.10.2. Mannequin Research
2.10.3. From the Mannequin to the Pattern
2.10.4. Modeling a Garment

Module 3. Photography.

3.1. History of Photography

3.1.1. Photography Background
3.1.2. Color Photography
3.1.3. Movie Photography
3.1.4. Digital Camera

3.2. Image Formation

3.2.1. Cameras
3.2.2. Basic Photographic Parameters
3.2.3. Photometry    
3.2.4. Lenses and Focal Length

3.3. Photographic Language

3.3.1. Types of Plans
3.3.2. Formal, Compositional and Interpretative Elements of the Photographic Image
3.3.3. Framing
3.3.4. Representation of Time and Motion in Photography
3.3.5. The Relationship of Photography to Reality and Truth

3.4. Cameras

3.4.1. Analog and Digital Cameras
3.4.2. Simple Cameras
3.4.3. SLR cameras
3.4.4. Basic Photography Techniques
3.4.5. Exposure and Exposure Meters
3.4.6. Digital SLR Cameras Sensors
3.4.7. Digital vs. Analog Cameras
3.4.8. Specific Points of Interest
3.4.9. Working Modes with Digital Cameras

3.5. Digital Images

3.5.1. File Formats
3.5.2. Balance of Whites
3.5.3. Color Temperature
3.5.4. Histogram Exposure in Digital Photography
3.5.5. Dynamic Range

3.6. Light Behavior

3.6.1. Photons 
3.6.2. Reflection and Absorption
3.6.3. Quantity and Quality of Light

3.6.3.1. Hard and Soft Light
3.6.3.2. Direct and Diffused Light

3.7. Lighting Expressiveness and Aesthetics

3.7.1. Shadows, Modifiers and Depth
3.7.2. Lighting Angles
3.7.3. Lighting Schemes
3.7.4. Light Measurement

3.7.4.1. Photometers
3.7.4.2. Incoming Light
3.7.4.3. Reflected Light
3.7.4.4. Multi-point Measurement
3.7.4.5. Contrast
3.7.4.6. Medium Gray

3.7.5. Natural Light Illumination

3.7.5.1. Diffusers
3.7.6.2. Reflectors

3.7.6. Artificial Light Illumination

3.7.6.1. Photographic Studios
3.7.6.2. Sources of Lighting
3.7.6.3. Cold Light
3.7.6.4. Studio and Compact Flashes
3.7.6.5. Accessories

3.8. Editing Software

3.8.1. Adobe Lightroom
3.8.2. Adobe Photoshop 
3.8.3. Plugins

3.9. Photo Editing and Development

3.9.1. Developing Camera RAW
3.9.2. Noise and Focus
3.9.3. Exposure, Contrast and Saturation Settings Levels and Curves

3.10. References and Applications

3.10.1. Most Important Photographers in History
3.10.2. Photography in Interior Design
3.10.3. Photography in Product Design
3.10.4. Photography in Fashion Design
3.10.5. Photography in Graphic Design

Module 4. Fashion Drawing

4.1. History of Illustration 

4.1.1. History of Illustration
4.1.2. Typology
4.1.3. Posters
4.1.4. Illustrators

4.2. Illustration Materials and Mediums

4.2.1. Materials
4.2.2. Mediums
4.2.3. New Technologies

4.3. Artistic Anatomy    

4.3.1. Introduction to Artistic Anatomy 
4.3.2. Heads and Necks
4.3.3. Body
4.3.4. Arms
4.3.5. Legs
4.3.6. The Movement

4.4. Proportion of the Human Body

4.4.1. Anthropometry
4.4.2. Proportion
4.4.3. Canons
4.4.4. Morphological
4.4.5. Proportion

4.5. Basic Composition

4.5.1. Front
4.5.2. Back
4.5.3. Profile
4.5.4. Portrait
4.5.5. Movement

4.6. The Human Face

4.6.1. Head
4.6.2. The Eyes
4.6.3. The Nose
4.6.4. The Mouth
4.6.5. The Eyebrows
4.6.6. The Ears
4.6.7. Hair

4.7. The Human Figure

4.7.1. Body Balance 
4.7.2. The Arm
4.7.3. The Hand
4.7.4. The Foot
4.7.5. The Leg
4.7.6. The Bust
4.7.7. The Human Figure

4.8. Fashion Illustration Techniques

4.8.1. Traditional Techniques
4.8.2. Digital Techniques
4.8.3. Mixed Techniques
4.8.4. Collage Techniques

4.9. Illustration of Materials

4.9.1. Tweed
4.9.2. Patent Leather
4.9.3. Yarn
4.9.4. Sequins
4.9.5. Transparency
4.9.6. Silk
4.9.7. Denim
4.9.8. Leather
4.9.9. Fur
4.9.10. Other Materials

4.10. Search for Personal Styles

4.10.1. Fashion Mannequin
4.10.2. Styling
4.10.3. Fashion Poses
4.10.4. Hairstyles
4.10.5. The Design

Module 5. Textile Technology

5.1. Introduction to Textiles

5.1.1. History of Textiles
5.1.2. Textiles Over Time
5.1.3. Traditional Textile Machinery
5.1.4. Importance of Fashion Textiles
5.1.5. Symbology Used in Textile Materials
5.1.6. Fabric Technical Data Sheet

5.2. Textile Materials

5.2.1. Classification of Textile Fibers

5.2.1.1. Natural Fibers
5.2.1.2. Artificial Fiber
5.2.1.3. Synthetic Fibers

5.2.2. Properties of Fibers
5.2.3. Textile Fibers Recognition

5.3. Threads

5.3.1. Basic Ties
5.3.2. General Characteristics of Thread
5.3.3. Thread Classification
5.3.4. Spinning Phases
5.3.5. Machinery 
5.3.6. Thread Numbering Systems

5.4. Lace Textiles

5.4.1. Lace Fabrics
5.4.2. Phased Ties
5.4.3. Ties in Lace Fabric
5.4.4. Tie Classification
5.4.5. Types of Ties 
5.4.6. Types of Lace Fabric
5.4.7. Weaving Lace
5.4.8. Special Weaving Machines

5.5. Knitted Fabrics

5.5.1. History of Knitting
5.5.2. Classification
5.5.3. Typology
5.5.4. Comparison between Flat and Knitted Fabrics
5.5.5. Characteristics and Behavior according to its Design 
5.5.6. Technology and Machinery for its Production

5.6. Textile Finishes

5.6.1. Physical Finishes
5.6.2. Chemical Finishes
5.6.3. Fabric Resistance
5.6.4. Pilling
5.6.5. Dimensional Changes of Fabrics

5.7. Dyeing

5.7.1. Pretreatments
5.7.2. Dyeing
5.7.3. Machinery
5.7.4. Materials
5.7.5. Optical Bleaching
5.7.6. Color

5.8. Printing

5.8.1. Direct Printing

5.8.1.1. Block Printing
5.8.1.2. Roller Printing
5.8.1.3. Heat Transfer Printing
5.8.1.4. Screen Printing
5.8.1.5. Warp Printing
5.8.1.6. Corrosion Printing

5.8.2. Reserve Printing

5.8.2.1. Batik
5.8.2.2. Tie-Dyeing

5.8.3. Other Types of Printing

5.8.3.1. Differential Printing
5.8.3.2. Electrostatic Printing

5.9. Technical and Intelligent Fabrics

5.9.1. Definition and Analysis
5.9.2. Textiles Applications 
5.9.3. New Materials and Technologies 

5.10. Fur, Leather and Others

5.10.1. Fur and Leather
5.10.2. Leather Classification
5.10.3. Tanning Process
5.10.4. Post-Tanning Treatment
5.10.5. Technological Process of Tannery
5.10.6. Preservation Methods
5.10.7. Synthetic Leather
5.10.8. Debate: Natural or Faux Fur

Module 6. Representation Systems Applied to Fashion

6.1. Introduction to Technical Fashion Drawing

6.1.1. How and When Technical Drawings Are Used
6.1.2. How to Create Technical Drawings for Fashion
6.1.3. Drawing from a Physical Garment
6.1.4. Fashion Technician Standards

6.2. Documentation Preparation

6.2.1. Preparing Documents for Technical Drawing
6.2.2. Anatomical Mannequin
6.2.3. Color, Texture and Patterns

6.3. Undergarments

6.3.1. Skirts
6.3.2. Pants
6.3.3. Stockings

6.4. Overgarments

6.4.1. Shirts 
6.4.2. T-Shirts
6.4.3. Vests
6.4.4. Jackets
6.4.5. Coats

6.5. Undergarments

6.5.1. Bra
6.5.2. Panties
6.5.3. Briefs

6.6. Model Details

6.6.1. Necklines
6.6.2. Collars
6.6.3. Sleeves
6.6.4. Cuffs
6.6.5. Pockets

6.7. Design Details

6.7.1. Construction Details
6.7.2. Decorative Design Details
6.7.3. Pleats
6.7.4. Seams
6.7.5. Stitches
6.7.6. Ribbing

6.8. Fasteners and Clasps

6.8.1. Zippers
6.8.2. Buttons
6.8.3. Hook and Eyes
6.8.4. Tape
6.8.5. Knots
6.8.6. Buttonholes
6.8.7. Velcro
6.8.8. Eyelets
6.8.9. Loops
6.8.10. Pins
6.8.11. Rivets
6.8.12. Rings
6.8.13. Buckles

6.9. Accessories

6.9.1. Bags
6.9.2. Glasses 
6.9.3. Footwear
6.9.4. Jewellery 

6.10. Technical Data Sheets

6.10.1. Technical Drawing Exportation
6.10.2. Information about the Technical Data Sheets
6.10.3. Models and Types of Data Sheets
6.10.4. Data Sheet Completion

Module 7. Fashion Design

7.1. Fashion Design Methodology

7.1.1. Concept Fashion Projects
7.1.2. Design Methodology Applied to Fashion
7.1.3. Research Methods in Fashion Design
7.1.4. Briefing 
7.1.5. Documentation
7.1.6. Current Fashion Analysis
7.1.7. Idea Formation

7.2. Creative Procedures Applied to Fashion Design

7.2.1. Field Notebooks
7.2.2. Moodboard
7.2.3. Graphic Research
7.2.4. Creative Techniques

7.3. Referrals

7.3.1. Fashion Retail
7.3.2. Creative Fashion
7.3.3. Performing Arts Fashion
7.3.4. Corporate Fashion

7.4. Collection Concept

7.4.1.    Garment Wearability
7.4.2. Garment as a message
7.4.3. Ergonomic Concepts

7.5. Stylistic Codes

7.5.1. Permanent Stylistic Codes
7.5.2. Stationary Stylistic Codes
7.5.3. Search for Personal Seal

7.6. Collection Development

7.6.1. Theoretical Framework
7.6.2. Context
7.6.3. Research
7.6.4. Referrals
7.6.5. Conclusions
7.6.6. Collection Representation

7.7. Technical Studies

7.7.1. Textile Chart
7.7.2. Color Chart
7.7.3. Toile
7.7.4. Technical Data Sheets 
7.7.5. Prototypes
7.7.6. Pricing

7.8. Interdisciplinary Projects

7.8.1. Drawing
7.8.2. Pattern Making
7.8.3. Sewing

7.9. Collection Production

7.9.1. From Sketches to Technical Drawings
7.9.2. Craft Workshops
7.9.3. New Technologies

7.10. Communication and Presentation Strategy

7.10.1. Fashion Photography: Lookbook, Editorial and Campaign
7.10.2. Portfolios
7.10.3. Catwalks
7.10.4. Other Ways to Present a Collection

Module 8. Fashion Sustainability

8.1. Rethinking Fashion Design

8.1.1. Supply Chains
8.1.2. Main Aspects
8.1.3. Development of Sustainable Fashion
8.1.4. The Future of Fashion

8.2. The Life Cycle of Garments

8.2.1. Thinking About the Life Cycle
8.2.2. Activities and Impact
8.2.3. Assessment Tools and Models
8.2.4. Sustainable Design Strategies

8.3. Quality and Safety Standards in the Textile Industry

8.3.1. Quality
8.3.2. Labelling
8.3.3. Garment Security
8.3.4. Consumer Inspections

8.4. Planned Obsolescence

8.4.1. Planned Obsolescence and Waste of Electrical and Electronic Devices
8.4.2. Resource Extraction
8.4.3. Waste Generation
8.4.4. Recycling and Reuse of Electronic Waste 
8.4.5. Responsible Consumption

8.5. Sustainable Design

8.5.1. Garment Design
8.5.2. Designing with Empathy
8.5.3. Fabric, Material and Technique Selection
8.5.4. Use of Monomaterials

8.6. Sustainable Production

8.6.1. Pattern Making and Modeling
8.6.2. Zero-Waste Techniques
8.6.3. Construction
8.6.4. Made to Last

8.7. Sustainable Distribution

8.7.1. Suppliers and Manufacturers
8.7.2. Commitment to Local Communities
8.7.3. Sales
8.7.4. Design According to Needs
8.7.5. Inclusive Fashion Design

8.8. Sustainable Garment Use

8.8.1. Patterns of Use
8.8.2. How to Reduce Washing
8.8.3. Repairs and Maintenance
8.8.4. Design for Repairs
8.8.5. Modular Garment Design

8.9. Recycling

8.9.1. Reuse and Remanufacturing
8.9.2. Revaluation
8.9.3. Material Recycling
8.9.4. Closed-Cycle Productions

8.10. Sustainable Fashion Designers

8.10.1. Katharine Hamnett
8.10.2. Stella McCartney
8.10.3. Annika Matilda Wendelboe
8.10.4. Susan Dimasi
8.10.5. Isabell de Hillerin

Module 9. History of Fashion

9.1. From Clothing to Fashion

9.1.1. New Contexts and Social Change
9.1.2. The Liberation of Women
9.1.3. New Concepts of Fashion Designers
9.1.4. Beginning of the 20th century

9.2. Modern Clothing

9.2.1. Modern Clothing
9.2.2. The Rise of American Designers
9.2.3. The London Scene
9.2.4. New York in the 70s 
9.2.5. 80s Fashion
9.2.6. Multi-Brand Luxury Groups
9.2.7. Functional Fashion
9.2.8. Activewear
9.2.9. Fashion, Art and Pop Culture
9.2.10. Celebrities
9.2.11. Photography and the Internet 

9.3. Great Female Fashion Masters

9.3.1. Jeanne Lanvin 
9.3.2. Jeanne Paquin 
9.3.3. Emilie Flöge 
9.3.4. Madeleine Vionnet
9.3.5. Gabrielle Chanel 
9.3.6. Elsa Schiaparelli 
9.3.7. Carolina Herrera

9.4. Great Male Fashion Masters 

9.4.1. Charles Frederick Worth 
9.4.2. Jacques Doucet 
9.4.3. Paul Poiret
9.4.4. Cristóbal Balenciaga
9.4.5. Christian Dior
9.4.6. Karl Lagerfeld
9.4.7. Alexander McQueen

9.5. Haute Couture

9.5.1. History of Haute Couture
9.5.2. Haute Couture and Fashion Federation
9.5.3. Members of the Federation    
9.5.4. From Haute Couture to Prêt-à-Porter

9.6. Crafts

9.6.1. Textiles as an Art Form
9.6.2. Crafts that Complement Clothing
9.6.3. Artists and Craftsmen Related to Fashion

9.7. Fast Fashion

9.7.1. History and Origin of Fast Fashion
9.7.2. Fast Fashion Business Model
9.7.3. Fast Fashion's Impact on the World

9.8. Advertising and Fashion Photography

9.8.1. Archetypes and Stereotypes
9.8.2. Fashion Images
9.8.3. Visual Communication of Fashion
9.8.4. Great Fashion Photographers

9.9. Repercussions of Fashion

9.9.1. The Textile Industry
9.9.2. Relationship of Art and Fashion
9.9.3. Fashion and Society

9.10. Fashion Theory and Criticism

9.10.1. Current Designers and Their Influence
9.10.2. Current Trends
9.10.3. The Trivialization of Fashion

Module 10. Advanced Fashion Design

10.1. Fashion Markets

10.1.1. Female Fashion
10.1.2. Fashion Markets
10.1.3. Specialized Markets

10.2. Seasons

10.2.1. Seasons 
10.2.2. Fashion Cycles
10.2.3. Fashion Tendencies
10.2.4. Trend Analysis
10.2.5. Development of Projects

10.3. Creative Research

10.3.1. Inspiration
10.3.2. Field Notebooks
10.3.3. Materials
10.3.4. Moodboard

10.4. Technical Development 

10.4.1. Development Strategies
10.4.2. Design Elements
10.4.3. Construction Techniques
10.4.4. Development Techniques
10.4.5. Collection Rationale

10.5. Fashion Design

10.5.1. What is Fashion Design Like? 
10.5.2. Manufacturing
10.5.3. Fashion Industries
10.5.4. Fashion Collections
10.5.5. Cutting, Sewing and Finishing

10.6. Fashion Accessories

10.6.1. Definition of Accessory 
10.6.2. Most Used Accessories in Collections
10.6.3. Industry and Accessories

10.7. How to Present a Project

10.7.1. Fashion Presentation
10.7.2. Collection Presentation
10.7.3. Fashion Styling    

10.8. How and When to Present a Project

10.8.1. The Fashion Calendar
10.8.2. Fashion Press
10.8.3. Fashion Editorials
10.8.4. Fairs and Events

10.9. Project Communication Strategies 

10.9.1. Second Lines
10.9.2. Collection Expansions
10.9.3. Practicality

10.10. Design and Company

10.10.1. Fashion Entrepreneurship
10.10.2. Branding
10.10.3. Marketing to Promote
10.10.4. Copyright

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