Think of your favorite designers. If you want to achieve success just like them, this Master's Degree is what you need”

There are certain issues in daily life that, because they are so omnipresent, go unnoticed even though they are of great importance. One such element is fashion. No one can escape it. Whether we like it or not, fashion aesthetically shapes countries, cultures and social groups. Even people who do not consciously dress in a certain way are influenced by it. 

Therefore, it is a fundamental element on a social level. But it is also of capital importance in other areas such as the textile industry or the cultural world. Fashion moves billions of dollars a year and the most recognized designers are considered great artists of this era. 

For this reason, it is such a multidimensional discipline that covers a large percentage of the population directly, and all of it indirectly. Therefore, those who want to specialize in Textile Design for Fashion applied to fashion know that their role will be very influential and that their decisions when making their new creations can affect many people and can be a great economic boost for their company or brand. 

This Master's Degree in Textile Design for Fashion offers students all the tools required to specialize in the field and become important figures in fashion thanks to the spectacular designs they will be able to make. 

The fashion industry needs designers with new ideas. This program offers you the tools so that you can be one of them”

This Master's Degree in Textile Design for Fashion contains the most complete and up-to-date program on the market. Its most notable features are:

• Practical cases presented by experts in fashion 
• A general and, at the same time, specific perspective, thanks to which it covers the global panorama of textile design for fashion while teaching all kinds of specific knowledge to students 
• Practical exercises where self-assessment can be used to improve learning 
• Special emphasis on innovative methodologies in textile design 
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments 
• Content that is accessible from any fixed or portable device with an Internet connection 

Fashion is an essential element around the whole world. Specialize in textile design and start to change the world”

The program’s teaching staff includes professionals from the sector who contribute their work experience to this 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 learning programmed to train 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 throughout the program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts. 

Design all types of garments using your favorite textiles and achieve success"

Do you want to see your designs on the catwalk? This program will help you to achieve it"

This program is structured into 10 modules, with which students will deepen their knowledge in aspects such as artistic drawing, printing techniques, history of art applied to fashion, colorimetry, digital design tools or technical drawing. In this way, students will achieve comprehensive knowledge of this field, becoming true experts in the material and the next fashion designers to look out for. 

The best content in textile design applied to fashion”

Module 1. Artistic Drawing

1.1. History of Drawing

1.1.1. The Origin of Drawing
1.1.2. The First Drawings
1.1.3. Egyptian Era
1.1.4. Greek Culture
1.1.5. Middle Ages
1.1.6. The Renaissance
1.1.7. Modern Era

1.1.7.1. Futurism
1.1.7.2. Cubism
1.1.7.3. Expressionism
1.1.7.4. Surrealism

1.1.8. Digital Art

1.2. Materials and Supports

1.2.1. Traditional Materials
1.2.2. Non-Traditional Materials
1.2.3. Drawing Materials
1.2.4. Industrial Materials
1.2.5. Alternative Materials
1.2.6. Drawing Supports

1.3. Relationship of Art and Drawing

1.3.1. Painting
1.3.2. Sculpture
1.3.3. Music
1.3.4. Dance
1.3.5. Literature
1.3.6. Cinema

1.4. The Basic Elements of Drawing

1.4.1. The Line and the Dot
1.4.2. The Shape
1.4.3. Light and Shadow
1.4.4. Volume
1.4.5. The Proportion
1.4.6. The Outlook
1.4.7. Texture
1.4.8. Color

1.5. Classification of Drawing

1.5.1. Artistic Drawing
1.5.2. Technical Drawing
1.5.3. Geometric Drawing
1.5.4. Mechanical Drawing
1.5.5. Architectural Drawing
1.5.6. Cartoon Drawing
1.5.7. Freehand Drawing

1.6. Fit,Proportion, Chiaroscuro, Composition & Color

1.6.1. Lace
1.6.2. Proportion
1.6.3. Chiaroscuro
1.6.4. Composition
1.6.5. Color

1.7. Shape Analysis I: Flat Vision

1.7.1. The Outlook
1.7.2. Hierarchical Perspective
1.7.3. Military Perspective
1.7.4. Perspective from a Gentleman’s Perspectivet
1.7.5. Axonometric Perspective
1.7.6. Conical Perspective

1.8. Shape Analysis II: 3D Vision

1.8.1. Monocular Three-Dimensionality: The Flat Image
1.8.2. Efficacy of Monocularity
1.8.3. Stereopsis
1.8.4. Simulation and Measurement of Stereopsis

1.9. Expression and Representation Techniques in the Design Process

1.9.1. Mental Map
1.9.2. Graphic Reports
1.9.3. Illustration
1.9.4. Comic Book
1.9.5. Storyboards

1.10. The Importance of Drawing for the Human Being

1.10.1. Freedom of Thought and Expression
1.10.2. Communication Skills
1.10.3. Artistic Sensitivity
1.10.4. Invention, Imagination and Creativity

Module 2. Technical Drawing

2.1. Introduction to Flat Geometry

2.1.1. The Fundamental Material and Its Use
2.1.2. Fundamental Tracings in the Plane
2.1.3. Polygons. Metric Ratios
2.1.4. Standardization, Lines, Writing and Formats
2.1.5. Standardized Dimensioning
2.1.6. Scales
2.1.7. Technical Representation Systems

2.1.7.1. Types of Projection

2.1.7.1.1. Conical Projection
2.1.7.1.2. Orthogonal Cylindrical Projection
2.1.7.1.3. Oblique Cylindrical Projection

2.1.7.2. Classes of Representation Systems

2.1.7.2.1. Measuring Systems
2.1.7.2.2. Perspective Systems

2.2. Fundamental Tracings in the Plane

2.2.1. Fundamental Geometrical Elements
2.2.2. Perpendicularity
2.2.3. Parallelism
2.2.4. Operations With Segments
2.2.5. Angles
2.2.6. Circumferences
2.2.7. Geometric Places

2.3. Geometric Transformations

2.3.1. Isometric

2.3.1.1. Equality
2.3.1.2. Translation
2.3.1.3. Symmetry
2.3.1.4. Turn

2.3.2. Isomorphic

2.3.2.1. Homothecary 
2.3.2.2. Similarities

2.3.3. Anamorphic

2.3.3.1. Equivalents
2.3.3.2. Investments

2.3.4. Projective

2.3.4.1. Homology
2.3.4.2. Affine Homology or Affinity

2.4. Polygons 

2.4.1. Polygon Lines

2.4.1.1. Definition and Types

2.4.2. Triangles

2.4.2.1. Elements and Classification
2.4.2.2. Construction of Triangles
2.4.2.3. Notable Lines and Points

2.4.3. Quadrilaterals

2.4.3.1. Elements and Classification
2.4.3.2. Parallelograms

2.4.4. Regular Polygons

2.4.4.1. Definition
2.4.4.2. Construction

2.4.5. Perimeters and Areas

2.4.5.1. Definition. Measuring Areas
2.4.5.2. Surface Units

2.4.6. Polygon Areas

2.4.6.1. Quadrilateral Areas
2.4.6.2. Triangle Areas
2.4.6.3. Regular Polygon Areas 
2.4.6.4. Irregular Areas

2.5. Tangents and Links. Technical and Conic Curves

2.5.1. Tangents, Links and Polarity

2.5.1.1. Tangents

2.5.1.1.1. Tangency Theorems
2.5.1.1.2. Drawings of Tangent Lines
2.5.1.1.3. Straight and Curved Links
2.5.1.2. Polarity at the Circumference
2.5.1.2.1. Drawings of Tangent Lines

2.5.2. Technical Curves

2.5.2.1. Ovals
2.5.2.2. Ovoids 
2.5.2.3. Spirals

2.5.3. Conical Curves

2.5.3.1. Ellipse
2.5.3.2. Parabola 
2.5.3.3. Hyperbola

2.6. Dihedral System

2.6.1. General Aspects

2.6.1.1. Point and Line
2.6.1.2. The Plane. Intersections
2.6.1.3. Parallelism, Perpendicularity and Distances
2.6.1.4. Plane Changes
2.6.1.5. Turns
2.6.1.6. Reductions
2.6.1.7. Angles

2.6.2. Curves and Surfaces

2.6.2.1. Curves
2.6.2.2. Surfaces
2.6.2.3. Polyhedra
2.6.2.4. Pyramids
2.6.2.5. Pryzm
2.6.2.6. Cone
2.6.2.7. Cylinder
2.6.2.8. Revolution Surfaces
2.6.2.9. Intersection of Surfaces

2.6.3. Shade

2.6.3.1. General Aspects

2.7. System Boundary

2.7.1. Point, Line and Plane
2.7.2. Intersections and Reductions

2.7.2.1. Reductions
2.7.2.2. Applications

2.7.3. Parallelism, Perpendicularity, Distance and Angles

2.7.3.1. Perpendicularity
2.7.3.2. Distances
2.7.3.3. Angles

2.7.4. Line, Surfaces and Terrains

2.7.4.1. Terrains

2.7.5. Applications

2.8. Axonometric System

2.8.1. Orthogonal Axonometry: Point, Line and Plane
2.8.2. Orthogonal Axonometry: Intersections, Reductions and Perpendicularity

2.8.2.1. Reductions
2.8.2.2. Perpendicularity
2.8.2.3. Flat Shapes

2.8.3. Orthogonal Axonometry: Body Perspective

2.8.3.1. Representation of Bodies

2.8.4. Oblique Axonometry: Abatisms, Perpendicularity

2.8.4.1. Frontal Perspective
2.8.4.2. Reduction and Perpendicularity
2.8.4.3. Flat Figures

2.8.5. Oblique Axonometry: Body Perspective

2.8.5.1. Shade

2.9. Conical System

2.9.1. Conical or Central Projection

2.9.1.1. Intersections
2.9.1.2. Parallelisms
2.9.1.3. Reductions
2.9.1.4. Perpendicularity
2.9.1.5. Angles

2.9.2. Lineal Perspective 

2.9.2.1. Auxiliary Constructions

2.9.3. Lines and Surfaces Perspective

2.9.3.1. Practical Perspective

2.9.4. Perspective Methods

2.9.4.1. Tilted Frame

2.9.5. Prospective Restitutions

2.9.5.1. Reflexes 
2.9.5.2. Shade

2.10. The Sketch

2.10.1. Objectives of the Sketch
2.10.2 Proportion
2.10.3. Sketch Process
2.10.4. Point of View
2.10.5. Labeling and Graphic Symbols
2.10.6. Measurement

Module 3. Colorimetry

3.1. Color Theory

3.1.1. Perception of Form and Space
3.1.2. Color. Definition
3.1.3. Color perception
3.1.4. Color Properties or Dimensions
3.1.5. Color Classification

3.2. Color Perception

3.2.1. The Human Eye
3.2.2. Color Vision
3.2.3. Variables in Color Perception
3.2.4. Non-Visual Color Perception

3.3. Color Modeling and Standardization

3.3.1. History of Color

3.3.1.1. First Theories
3.3.1.2. Leonardo Da Vinci
3.3.1.3. Isaac Newton
3.3.1.4. Moses Harris
3.3.1.5. Goethe
3.3.1.6. Runge
3.3.1.7. Chevreul
3.3.1.8. Rood
3.3.1.9. Munsell
3.3.1.10. Ostwald

3.3.2. Visual Perception

3.3.2.1. Absorption and Reflection
3.3.2.2. Pigment Molecules

3.3.3. Color Attributes

3.3.3.1. Tone
3.3.3.2. Luminance
3.3.3.3. Saturation

3.3.4. Warm and Cool Colors
3.3.5. Harmony in Colors
3.3.6. Contrast
3.3.7. Color Effects

3.3.7.1. Size
3.3.7.2. Transparency, Weight and Mass

3.4. Semiotics and Semantics of Color

3.4.1. Semiotics of Color
3.4.2. Color Description
3.4.3. Colors: Material, Light, Perceptions, Sensations
3.4.4. Color and Material
3.4.5. The Truth of a Color
3.4.5. Color perception
3.4.6. The Weight of a Color
3.4.7. The Color Dictionary

3.5. Color in Design

3.5.1. Chromatic Trends
3.5.2. Graphic Design
3.5.3. Interior Design
3.5.4. Architecture
3.5.5. Landscape Design
3.5.6. Fashion Design

3.6. Composition

3.6.1. General Aspects

3.6.1.1. Codes Used
3.6.1.2. Originality and Banality
3.6.1.3. Degree of Iconicity and Abstraction

3.6.2. Configurational Organization of the Image: Relation between Background and Figure
3.6.3. Configurational Organization of the Image: Gestalt Laws
3.6.4. Configurational Organization of the Image: Systems of Spatial Organization

3.6.4.1. Balance: Static or Dynamic. Focal or Orthogonal System
3.6.4.2. Proportion
3.6.4.3. Symmetry
3.6.4.4. Movement and Rhythm

3.6.5. Field Study

3.7. Image Functions

3.7.1. Representative 

3.7.1.1. Cartographic 
3.7.1.2. Scientist 
3.7.1.3. Architectural 
3.7.1.4. Projectual

3.7.2. Persuasive
3.7.3. Artistic

3.8. Color Psychology

3.8.1. Warm Colors and Cool Colors
3.8.2. Physiological Effects
3.8.3. Color Symbolism
3.8.4. Personal Color Preferences
3.8.5. Emotional Effects
3.8.6. Local Color and Expressive

3.9. The Meaning of Color

3.9.1. Blue
3.9.2. Red
3.9.3. Yellow
3.9.4. Green
3.9.5. Black
3.9.6. White
3.9.7. Orange
3.9.8. Violet
3.9.9. Pink
3.9.10. Gold
3.9.11. Silver
3.9.12. Brown
3.9.13. Gray

3.10. Color Use

3.10.1. Sources of Dyes and Pigments
3.10.2. Lighting
3.10.3. Mixture of Oils and Acrylics
3.10.4. Glazed Ceramics
3.10.5. Colored Glass
3.10.6. Color Printing
3.10.7. Color Photography 

Module 4. History of Contemporary Art

4.1. Fauvism

4.1.1. Origin and Influences
4.1.2. Features
4.1.3. Works
4.1.4. Main Representatives

4.2. Expressionism

4.2.1. Origin and Influences
4.2.2. Features
4.2.3. Works
4.2.4. Main Representatives

4.3. Futurism

4.3.1. Origin and Influences
4.3.2. Features
4.3.3. Works
4.3.4. Main Representatives

4.4. Abstract Art

4.4.1. Origin and Influences
4.4.2. Features
4.4.3. Works
4.4.4. Main Representatives

4.5. Constructivism

4.5.1. Origin and Influences
4.5.2. Features
4.5.3. Works
4.5.4. Main Representatives

4.6. Dadaism 

4.6.1. Origin and Influences 
4.6.2. Features 
4.6.3. Works 
4.6.4. Main Representatives

4.7. Surrealism

4.7.1. Origin and Influences
4.7.2. Features
4.7.3. Works
4.7.4. Main Representatives

4.8. Early Artistic Currents of Post-Conceptual Art 

4.8.1. Informalism
4.8.2. New Figures
4.8.3. Kinetic Art
4.8.4. Pop Art
4.8.5. New Realism
4.8.6. Art Action

4.9. Second Artistic Currents of Post-Conceptual Art

4.9.1. Minimalism
4.9.2. Hyperrealism
4.9.3. Conceptual Art
4.9.4. Post-Modernism
4.9.5. Street Art
4.9.6. Land Art

4.10. Current Situation of Post-Conceptual Art

4.10.1. Pop Art
4.10.2. Object Art
4.10.3. Body Art
4.10.4. Performance
4.10.5. Installations 

Module 5. Digital Tools in Design

5.1. Introduction to Digital Imaging

5.1.1. ICT
5.1.2. Description of Technologies
5.1.3. Commands

5.2. Vector image. Working with Objects

5.2.1. Selection Tools
5.2.2. Grouping
5.2.3. Align and Distribute
5.2.4. Intelligent Guides
5.2.5. Symbolism
5.2.6. Transform
5.2.7. Distortion
5.2.8. Enclosures
5.2.9. Tracehunter
5.2.10. Compound Forms
5.2.11. Compound Plots
5.2.12. Cutting, Splitting and Separating

5.3. Vector image. Color

5.3.1. Color Modes
5.3.2. Dropper Tool
5.3.3. Samples
5.3.4. Gradients
5.3.5. Motif Filling
5.3.6. Appearance Panel
5.3.7. Attributes

5.4. Vector image. Advanced Editing

5.4.1. Gradient Mesh
5.4.2. Transparency Panel
5.4.3. Fusion Modes
5.4.4. Interactive Tracing
5.4.5. Clipping Masks
5.4.6. Text

5.5. Image Bitmap. The Layers

5.5.1. Creation 
5.5.2. Liaison
5.5.3. Transformation
5.5.4. Grouping
5.5.5. Adjustment Layers

5.6. Image Bitmap. Selections, Masks and Channels

5.6.1. Frame Selection Tool
5.6.2. Lasso Selection Tool
5.6.3. Magic Wand Tool
5.6.4. Menu Selections. Color Range
5.6.5. Channels
5.6.6. Mask Retouching
5.6.7. Clipping Masks
5.6.8. Vector Masks

5.7. Image Bitmap. Blending Modes and Layer Styles

5.7.1. Layer Styles
5.7.2. Lens opacity
5.7.3. Layer Style Options
5.7.4. Fusion Modes
5.7.5. Examples of Fusion Modes

5.8. The Editorial Project. Types and Forms

5.8.1. The Editorial Project
5.8.2. Typologies of the Editorial Project 
5.8.3. Document Creation and Configuration

5.9. Compositional Elements of the Editorial Project

5.9.1. Master Pages 
5.9.2. Reticulation
5.9.3. Text Integration and Composition
5.9.4. Image Integration

5.10. Layout, Export and Printing

5.10.1. Layout

5.10.1.1. Photo Selection and Editing
5.10.1.2. Preliminary Check 
5.10.1.3. Packaging

5.10.2. Export

5.10.2.1. Export for Digital Media
5.10.2.2. Export for Physical Media

5.10.3. Print

5.10.3.1. Traditional Printing

5.10.3.1.1. Binding

5.10.3.2. Digital Printing

Module 6. Fashion Drawing

6.1. History of Illustration 

6.1.1. History of Illustration
6.1.2. Typology
6.1.3. Poster
6.1.4. Illustrators

6.2. Materials and Supports in Illustration

6.2.1. Materials
6.2.2. Supports
6.2.3. New Technologies

6.3. Artistic Anatomy 

6.3.1. Introduction to Artistic Anatomy 
6.3.2. Head and Neck
6.3.3. Torso
6.3.4. Upper Limbs
6.3.5. Lower Limbs
6.3.6. The Movement

6.4. Human Body Proportion

6.4.1. Anthropometry
6.4.2. Proportion
6.4.3. Canons
6.4.4. Morfoligical
6.4.5. Proportion

6.5. Basic Composition

6.5.1. Front On
6.5.2. Back
6.5.3. Profile
6.5.4. Torsions
6.5.5. Movement

6.6. The Human Face

6.6.1. Head
6.6.2. The Eyes
6.6.3. The Nose
6.6.4. The Mouth
6.6.5. The Eyebrows
6.6.6. The Ears
6.6.7. Hair

6.7. Human Figure

6.7.1. Body Balance 
6.7.2. Arm
6.7.3. Hand
6.7.4. The Foot
6.7.5. Leg
6.7.6. Chest 
6.7.7. Human Figure

6.8. Illustration Techniques in Fashion

6.8.1. Traditional Technique
6.8.2. Digital Technique
6.8.3. Mixed Technique
6.8.4. Collage Technique

6.9. Illustration of Materials

6.9.1. Tweed
6.9.2. Patent Leather
6.9.3. Wool
6.9.4. Sequins
6.9.5. Transparency
6.9.6. Silk
6.9.7. Denim
6.9.8. Leather
6.9.9. Animal Fur
6.9.10. Other Materials

6.10. Searching for Personal Style

6.10.1. Fashion Figure
6.10.2. Styling
6.10.3. Fashion Poses
6.10.4. Hairstyles
6.10.5. The Design 

Module 7. Textile Technology

7.1. Introduction to Textile

7.1.1. History of Textiles
7.1.2. Textile Throughout Time
7.1.3. Traditional Textile Machinery
7.1.4. The Importance of Textiles in Fashion
7.1.5. Symbology Used in Textile Materials
7.1.6. Fabric Technical Data Sheet

7.2. Textile Materials

7.2.1. Classification of Textile Fibers

7.2.1.1. Natural Fibers
7.2.1.2. Artificial Fibers
7.2.1.3. Synthetic Fibers

7.2.2. Properties of the Fibers
7.2.3. Recognition of Textile Fibers

7.3. Threads

7.3.1. Basic Joins
7.3.2. General Characteristics of Thread
7.3.3. Classification of Thread
7.3.4. Spinning Phases
7.3.5. Machines Used 
7.3.6. Numbering Systems of Threads

7.4. Openwork Textiles

7.4.1. Openwork Fabrics
7.4.2. Ligament Staggering
7.4.3. Ligaments in Openwork Fabrics
7.4.4. Classification of Ligaments
7.4.5. Types of Ligaments
7.4.6. Types of Openwork Fabrics
7.4.7. The Openwork Loom
7.4.8. Special Looms

7.5. Knitted Fabrics

7.5.1. History of Knitted Fabrics

7.5.2. Classification
7.5.3. Typology
7.5.4. Comparison between Flat and Knitted Fabrics
7.5.5. Characteristics and Behavior According to Construction 
7.5.6. Technology and Machinery for Obtaining It

7.6. Textile Finishes

7.6.1. Physical Finishes
7.6.2. Chemical Finishes
7.6.3. Fabric Resistance
7.6.4. Pilling
7.6.5. Dimensional Change of Fabrics

7.7. Dyeing

7.7.1. Previous Treatment
7.7.2. Dyeing
7.7.3. Machinery
7.7.4. Consumables
7.7.5. Optical Brightening
7.7.6. Color

7.8. Print

7.8.1. Direct Printing

7.8.1.1. Block Printing
7.8.1.2. Roller Printing
7.8.1.3. Thermotransfer Printing
7.8.1.4. Screen Printing
7.8.1.5. Warp Printing
7.8.1.6. Corrosion Printing

7.8.2. Reserve Printing

7.8.2.1. Batik
7.8.2.2. Tie-Dye

7.8.3. Other Printed Types

7.8.3.1. Differential Printing
7.8.3.2. Polychromatic Electrostatic

7.9. Technical and Intelligent Fabrics

7.9.1. Definition and Analysis
7.9.2. Application of Textiles 
7.9.3. New Materials and Technologies 

7.10. Leather, Fur and Others

7.10.1. Fur and Leather
7.10.2. Classification of Leather
7.10.3. Tanning Process
7.10.4. Post-Tanning Process
7.10.5. Technological Process of Tanning
7.10.6. Conservation Methods
7.10.7. Synthetic Leather
7.10.8. Debate: Natural or Synthetic Leather 

Module 8. Sustainability in Fashion

8.1. Reconsidering Fashion Design

8.1.1. The supply chain
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 a Garment

8.2.1. Thinking in 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 Regulations in the Textile Sector

8.3.1. Quality
8.3.2. Labelling
8.3.3. Garment Safety
8.3.4. Consumption Inspections

8.4. Programmed Obsolescence

8.4.1. Planned Obsolescence and Electrical and Electronic Appliance Waste
8.4.2. Resource Extraction
8.4.3. Waste Generation
8.4.4. Recycling and Reusing Electronic Waste
8.4.5. Responsible Consumption

8.5. Sustainable Design

8.5.1. Clothes Design
8.5.2. Design with Empathy
8.5.3. Selection of Fabric, Materials and Techniques
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. Design to Last

8.7. Sustainable Distribution

8.7.1. Providers and Producers
8.7.2. Commitment with Local Communities
8.7.3. Sales
8.7.4. Design According to Need
8.7.5. Inclusive Fashion Design

8.8. Sustainable Use of Clothes 

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

8.9. Recycling

8.9.1. Reuse and Re-manufacturing
8.9.2. Revaluing
8.9.3. Recycling Materials
8.9.4. Closed Cycle Production

8.10. Sustainable Fashion Design

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. Creation of Textile Materials

9.1. The Art of Embroidery

9.1.1. Origins of the Art of Embroidery
9.1.2. First Manifestations of Embroidery Art
9.1.3. Embroidery Among the Egyptians, Greeks and Romans
9.1.4. The Byzantine Cycle and its Western Expansion
9.1.5. Currents of the Bizantine Expansion 
9.1.6. Chronological Outline of Proceedings
9.1.7. Materials and Supports of Embroidery
9.1.8. Embroidery in Contemporary Fashion

9.2. Classification of Embroidery

9.2.1. By Relief
9.2.2. By Material
9.2.3. By Shape
9.2.4. By Knit
9.2.5. By Motive

9.3. Cross Stitch

9.3.1. History of Cross Stitch
9.3.2. Materials for Cross Stitch
9.3.3. Doing Cross Stitch

9.4. Machine Embroidery

9.4.1. Industrial Machine
9.4.2. Functioning of Embroidery Machine
9.4.3. Doing Machine Embroidery

9.5. Weaving

9.5.1. The Beginnings of Weaving
9.5.2. Fabric Classification 
9.5.3. Flat Fabric
9.5.4. Knitted Fabrics
9.5.5. Manual Loom
9.5.6. Mechanical Loom

9.6. Loom

9.6.1. History of the Loom
9.6.2. Artisan Looms
9.6.3. Industrial Looms
9.6.4. Weaving with Loom

9.7. Lace

9.7.1. History of Lace
9.7.2. Lace and Embroidery
9.7.3. Styles of Lace
9.7.4. Types and Knits of Lace
9.7.5. Varieties of Lace Knits 
9.7.6. Lace in Contemporary Fashion

9.8. Lace Bordering

9.8.1. Types of Lace Bordering
9.8.2. Material for Doing Lace Bordering
9.8.3. Carrying Out Lace Bordering
9.8.4. Lace Bordering in Contemporary Fashion

9.9. Crochet

9.9.1. History of Crochet
9.9.2. Materials for Doing Crochet
9.9.3. Doing Crochet
9.9.4. Crochet in Contemporary Fashion

9.10. Knitting

9.10.1. History of Knitting
9.10.2. Materials for Knitting
9.10.3. Doing Knitting
9.10.4. Knitting in Contemporary Fashion 

Module 10. Textile Printing Methods

10.1. History of Print

10.1.1. History of Print
10.1.2. Evolution of Prints
10.1.3. Printing Systems

10.2. Previous Treatment

10.2.1. Gassing 
10.2.2. Thermosetting
10.2.3. Unglued
10.2.4. Scouring
10.2.5. Bleaching
10.2.6. Mercerized
10.2.7. Antipilling
10.2.8. Carbonized
10.2.9. Decorated
10.2.10. Washing
10.2.11. Hydro-Extraction
10.2.12. Drying
10.2.13. Opening of Tubular Knitted Fabrics

10.3. Dyeing

10.3.1. Dyeing by Discontinuous System
10.3.2. Dyeing by Continuous System
10.3.3. Defects of Bad Dyeing

10.4. Machinery

10.4.1. Discontinuous Processes
10.4.2. Foulard Impregnated Dyeing 
10.4.3. Semi-Continuous Processes

10.5. Consumables

10.5.1. Water
10.5.2. Chemical Products
10.5.3. Auxiliary Products
10.5.4. Dyes
10.5.5. Enzymes
10.5.6. Optical Brighteners

10.6. Examples of Processes

10.6.1. Cotton Processing
10.6.2. Polyester Processing
10.6.3. Wool Dyeing
10.6.4. Acrylic Fiber Dyeing
10.6.5. Optical Brightening

10.7. Color

10.7.1. Color Study
10.7.2. Modification of Attribute of Color
10.7.3. Instruments for Measuring Color

10.8. Quality Control in Dyed Textiles

10.8.1. Visual Assessment of Color
10.8.2. Color Difference Assessment
10.8.3. Spectrophotometry
10.8.4. Dye Bath Control
10.8.5. Solidity of Colors

10.9. Natural Dyes

10.9.1. Historical Background of Natural Dyes
10.9.2. Natural Dyes
10.9.3. Techniques for the Application of Natural Dyes to Different Materials and Surfaces
10.9.4. Reserve Techniques
10.9.5. The HP (Hydrogen Potential)
10.9.6. Materials and Tools for the Natural Dyes Workshop
10.9.7. Pigment Extraction Techniques
10.9.8. Dy

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