If you would like to see your designs on the main catwalks of Paris or New York, don't wait any longer. In this program you will find the key elements to creating the most innovative men's garments"

Mens Fashion Design has been evolving over the years. More and more people are opting for daring, new and innovative designs for their daily lives and, therefore, professionals in the sector must adapt to all tastes. However, it is also essential to have specific knowledge to understand the evolution of men's garments, their most common uses and future trends. Fabrics, patterns, drawings, colors etc: an endless number of elements that must be adapted to the most demanded characteristics in order to obtain the public's favor.  

This Men’s Fashion Design from TECH emphasizes all these elements with a high-level program, aimed at professionals seeking excellence, and created by a team of highly experienced professors. Theoretical content ranging from the design fundamentals, to representation systems applied to fashion, male pattern making or sustainability in the sector, among others. All these aspects are of great interest for those who are entering this sector for the first time, but also for those who have extensive experience, but wish to increase their skillset and update their knowledge.   

Therefore, in order to meet the demand for higher qualification of fashion designers, TECH offers this highly specialized program adapted to the latest developments in this sector. A 100% online program that will allow students to distribute their study time, not being conditioned by fixed schedules or the need to move to another physical location, being able to access all the contents at any time of the day, and therefore able to balance their work and personal life with their academic life.

Men's Fashion is becoming more and more innovative, adapting to today's society's needs. If you want to know all its features, do not hesitate and join TECH" 

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

• Practical cases presented by experts in fashion  
• The graphic, schematic, and practical contents with which they are created, provide practical information on the disciplines that are essential for professional practice 
• Practical exercises where self-assessment can be used to improve learning
• Special emphasis on innovative methodologies in men’s fashion 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 

Men's fashion sector has grown considerably in recent years. Specialize in this field and create those trends that will be sold in stores around the world" 

Its teaching staff includes professionals from the fashion industry, who bring to this program the experience of their work, as well as renowned specialists from leading societies and prestigious universities. 

Its multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will deliver an immersive learning experience, programmed to prepare for real situations. 

This program is designed around Problem-Based Learning, where Communication Management must try to solve the different professional practice situations that arise throughout the program. For this purpose, students will be assisted by an innovative interactive video system created by renowned and experienced experts.  

A program with practical teaching focus to help you develop the precise skills needed for Men’s Fashion Design and pattern making"

If you would like to dress the main celebrities, don't think twice. With this program you will acquire all the necessary knowledge to create attractive and exclusive designs"

The content of this Professional master’s degree compiles all the fundamental aspects for designers to develop the precise skills that will enable them to design and create men's garments that will gain the public's approval. To do so, the syllabus covers everything from pattern making and tailoring to the history of clothing, including relevant issues such as photography, design and textile technology, as well as new issues such as sustainability applied to the sector.   

Get to know the new trends in sustainable fashion and apply them successfully in your men's designs"  

Module 1. Design Fundamentals and Introduction

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. 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 Cháves 

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. Pattern Making Introduction 

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. Materials 

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 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 
3.7.5.2. 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. History of Clothing 

5.1. Prehistory 

5.1.1. Introduction 
5.1.2. Prehistoric Civilizations 
5.1.3. Trade in Prehistoric Times 
5.1.4. Prehistoric Costume 
5.1.5. Furs and Furshops 
5.1.6. Textiles and Techniques 
5.1.7. Chronological Concordances and Similarities in Prehistoric Costume 

5.2. Ancient Age Egypt and Mesopotamia 

5.2.1. Egypt 
5.2.2. Assyrian People 
5.2.3. Persian People 

5.3. Ancient Age: Classical Greece 

5.3.1. Cretan Costume 
5.3.2. Fabrics Used in Ancient Greece 
5.3.3. Ancient Greek Garments 
5.3.4. Ancient Greek Underwear 
5.3.5. Ancient Greek Footwear 
5.3.6. Ancient Greek Hats and Headdresses 
5.3.7. Ancient Greek Colors and Ornaments 
5.3.8. Ancient Greek Accessories 

5.4. Ancient Age: the Roman Empire 

5.4.1. Ancient Roman Fabrics 
5.4.2. Ancient Roman Garments 
5.4.3. Ancient Roman Underwear 
5.4.4. Ancient Roman Footwear 
5.4.5. Ancient Roman Hats and Headdresses 
5.4.6. Social Status vs Clothing in Ancient Rome 
5.4.7. Byzantine Style 

5.5. High Middle Ages and Low Middle Ages 

5.5.1. General Historical Features of Medieval Times 
5.5.2. Early Medieval Clothing 
5.5.3. Carolingian Period Clothing 
5.5.4. Romance Period Clothing 
5.5.5. Gothic Clothing 

5.6. The Modern Age: Renaissance, Baroque and Rococo 

5.6.1. 15th and 16th centuries: Renaissance 
5.6.2. 17th century: Baroque Period 
5.6.3. 18th century: Rococo 

5.7. Contemporary Age: Neoclassicism and Romanticism 

5.7.1. Apparel Industry 
5.7.2. Charles Fréderick Worht 
5.7.3. Jacques Doucet 
5.7.4. Women’s Clothing 
5.7.5. Josephine Bonaparte: Empire Style 

5.8. Contemporary Age: Victorian and Belle Époque Era 

5.8.1. Queen Victoria 
5.8.2. Men’s Clothing 
5.8.3. Dandy 
5.8.4. Paul Poiret 
5.8.5. Madeleine Vionnet 

5.9. Contemporary Age: from Clothing to Fashion 

5.9.1. New Contexts and Social Change 
5.9.2. Fashion Designers 
5.9.3. Coco Chanel 
5.9.4. New Look 

5.10. Contemporary Age: The Century of Designers and Fashion 

5.10.1. Modern Clothing 
5.10.2. The Rise of American Designers 
5.10.3. The London Scene 

Module 6. Textile Technology 

6.1. Introduction to Textiles 

6.1.1. History of Textiles 
6.1.2. Textiles Over Time 
6.1.3. Traditional Textile Machinery 
6.1.4. Importance of Fashion Textiles 
6.1.5. Symbology Used in Textile Materials 
6.1.6. Fabric Technical Data Sheet 

6.2. Textile Materials 

6.2.1. Classification of Textile Fibers 

6.2.1.1. Natural Fibers 
6.2.1.2. Artificial Fibers 
6.2.1.3. Synthetic Fibers 

6.2.2. Properties of Fibers 
6.2.3. Textile Fibers Recognition 

6.3. Threads 

6.3.1. Basic Ties 
6.3.2. General Characteristics of Thread 
6.3.3. Thread Classification 
6.3.4. Spinning Phases 
6.3.5. Machinery 
6.3.6. Thread Numbering Systems 

6.4. Lace Textiles 

6.4.1. Lace Fabrics 
6.4.2. Phased Ties 
6.4.3. Ties in Lace Fabric 
6.4.4. Tie Classification 
6.4.5. Types of Ties 
6.4.6. Types of Lace Fabric 
6.4.7. Weaving Lace 
6.4.8. Special Weaving Machines 

6.5. Knitted Fabrics 

6.5.1. History of Knitting 
6.5.2. Classification 
6.5.3. Typology 
6.5.4. Comparison between Flat and Knitted Fabrics 
6.5.5. Characteristics and Behavior according to its Design 
6.5.6. Technology and Machinery for its Production 

6.6. Textile Finishes 

6.6.1. Physical Finishes 
6.6.2. Chemical Finishes 
6.6.3. Fabric Resistance 
6.6.4. Pilling 
6.6.5. Dimensional Changes of Fabrics 

6.7. Dyeing 

6.7.1. Pretreatments 
6.7.2. Dyeing 
6.7.3. Machinery 
6.7.4. Materials 
6.7.5. Optical Bleaching 
6.7.6. Color 

6.8. Printing 

6.8.1. Direct Printing 

6.8.1.1. Block Printing 
6.8.1.2. Roller Printing 
6.8.1.3. Heat Transfer Printing 
6.8.1.4. Screen Printing 
6.8.1.5. Warp Printing 
6.8.1.6. Corrosion Printing 

6.8.2. Reserve Printing 

6.8.2.1. Batik 
6.8.2.2. Tie-Dyeing 

6.8.3. Other Types of Printing 

6.8.3.1. Differential Printing 
6.8.3.2. Electrostatic Printing 

6.9. Technical and Intelligent Fabrics 

6.9.1. Definition and Analysis 
6.9.2. Textiles Applications 
6.9.3. New Materials and Technologies 

6.10. Fur, Leather and Others 

6.10.1. Fur and Leather 
6.10.2. Leather Classification 
6.10.3. Tanning Process 
6.10.4. Post-Tanning Treatment 
6.10.5. Technological Process of Tannery 
6.10.6. Preservation Methods 
6.10.7. Synthetic Leather 
6.10.8. Debate: Natural or Faux Fur 

Module 7. Men’s Patterns 

7.1. Men’s Fashion Evolution 

7.1.1. Social and Historical Context of Men’s Fashion 
7.1.2. Ornamentation Renunciation and Reconquest of Fashion Rights 
7.1.3. History of Sastre 

7.2. Men’s Clothing 

7.2.1. Garment Types and Variations 
7.2.2. Men’s Accessories 
7.2.3. Brand and Communication Analysis 
7.2.4. Current Trends 

7.3. Male Morphology Study 

7.3.1. Male Body Evolution 
7.3.2. Male Body Study 
7.3.3. Male Body Typology 

7.4. Shirt Pattern 

7.4.1. Measurements 
7.4.2. Trace 
7.4.3. Variations 

7.5. Pants Pattern 

7.5.1. Measurements 
7.5.2. Trace 
7.5.3. Variations 

7.6. Jacket Design 

7.6.1. Measurements 
7.6.2. Trace 
7.6.3. Variations 

7.7. Jacket Flap Designs 

7.7.1. Measurements 
7.7.2. Trace 
7.7.3. Variations 

7.8. Vest Pattern 

7.8.1. Measurements 
7.8.2. Trace 
7.8.3. Variations 

7.9. Men’s Coats 

7.9.1. Measurements 
7.9.2. Trace 
7.9.3. Variations 

7.10. Traditional Suit Tailoring 

7.10.1. Materials 
7.10.2. Lining 
7.10.3. Assembly 
7.10.4. Seams 

Module 8. Representation Systems Applied to Fashion 

8.1. Introduction to Technical Fashion Drawing 

8.1.1. How and When Technical Drawings Are Used 
8.1.2. How to Create Technical Drawings for Fashion 
8.1.3. Drawing from a Physical Garment 
8.1.4. Fashion Technician Standards 

8.2. Documentation Preparation 

8.2.1. Preparing Documents for Technical Drawing 
8.2.2. Anatomical Mannequin 
8.2.3. Color, Texture and Patterns 

8.3. Undergarments 

8.3.1. Skirts 
8.3.2. Pants 
8.3.3. Stockings 

8.4. Overgarments 

8.4.1. Shirts 
8.4.2. T-Shirts 
8.4.3. Vests 
8.4.4. Jackets 
8.4.5. Coats 

8.5. Undergarments 

8.5.1. Bra 
8.5.2. Panties 
8.5.3. Briefs 

8.6. Model Details 

8.6.1. Necklines 
8.6.2. Collars 
8.6.3. Sleeves 
8.6.4. Cuffs 
8.6.5. Pockets 

8.7. Design Details 

8.7.1. Construction Details 
8.7.2. Decorative Design Details 
8.7.3. Pleats 
8.7.4. Seams 
8.7.5. Stitches 
8.7.6. Ribbing 

8.8. Fasteners and Clasps 

8.8.1. Zippers 
8.8.2. Buttons 
8.8.3. Hook and Eyes 
8.8.4. Tape 
8.8.5. Knots 
8.8.6. Buttonholes 
8.8.7. Velcro 
8.8.8. Eyelets 
8.8.9. Loops 
8.8.10. Pins 
8.8.11. Rivets 
8.8.12. Rings 
8.8.13. Buckles 

8.9. Accessories 

8.9.1. Bags 
8.9.2. Glasses 
8.9.3. Footwear 
8.9.4. Jewellery 

8.10. Technical Data Sheets 

8.10.1. Technical Drawing Exportation 
8.10.2. Information about the Technical Data Sheets 
8.10.3. Models and Types of Data Sheets 
8.10.4. Data Sheet Completion 

Module 9. Fashion Design 

9.1. Fashion Design Methodology 

9.1.1. Concept Fashion Projects 
9.1.2. Design Methodology Applied to Fashion 
9.1.3. Research Methods in Fashion Design 
9.1.4. Briefing or Design Brief 
9.1.5. Documentation 
9.1.6. Current Fashion Analysis 
9.1.7. Idea Formation 

9.2. Creative Procedures Applied to Fashion Design 

9.2.1. Field Notebooks 
9.2.2. Moodboards 
9.2.3. Graphic Research 
9.2.4. Creative Techniques 

9.3. Referrals 

9.3.1. Fashion Retail 
9.3.2. Creative Fashion 
9.3.3. Performing Arts Fashion 
9.3.4. Corporate Fashion 

9.4. Collection Concept 

9.4.1. Garment Wearability 
9.4.2. Garment as a message 
9.4.3. Ergonomic Concepts 

9.5. Stylistic Codes 

9.5.1. Permanent Stylistic Codes 
9.5.2. Stationary Stylistic Codes 
9.5.3. Search for Personal Seal 

9.6. Collection Development 

9.6.1. Theoretical Framework 
9.6.2. Context 
9.6.3. Research 
9.6.4. Referrals 
9.6.5. Conclusions 
9.6.6. Collection Representation 

9.7. Technical Studies 

9.7.1. Textile Chart 
9.7.2. Color Chart 
9.7.3. Toile 
9.7.4. Technical Data Sheets 
9.7.5. Prototypes 
9.7.6. Pricing 

9.8. Interdisciplinary Projects 

9.8.1. Drawing 
9.8.2. Pattern Making 
9.8.3. Sewing 

9.9. Collection Production 

9.9.1. From Sketches to Technical Drawings 
9.9.2. Craft Workshops 
9.9.3. New Technologies 

9.10. Communication and Presentation Strategy 

9.10.1. Fashion Photography: Lookbook, Editorial and Campaign 
9.10.2. Portfolios 
9.10.3. Catwalks 
9.10.4. Other Ways to Present a Collection 

Module 10. Fashion Sustainability 

10.1. Rethinking Fashion Design 

10.1.1. Supply Chains 
10.1.2. Main Aspects 
10.1.3. Development of Sustainable Fashion 
10.1.4. The Future of Fashion 

10.2. The Life Cycle of Garments 

10.2.1. Thinking About the Life Cycle 
10.2.2. Activities and Impact 
10.2.3. Assessment Tools and Models 
10.2.4. Sustainable Design Strategies 

10.3. Quality and Safety Standards in the Textile Industry 

10.3.1. Quality 
10.3.2. Labelling 
10.3.3. Garment Security 
10.3.4. Consumer Inspections 

10.4. Planned Obsolescence 

10.4.1. Planned Obsolescence and Waste of Electrical and Electronic Devices 
10.4.2. Resource Extraction 
10.4.3. Waste Generation 
10.4.4. Recycling and Reuse of Electronic Waste 
10.4.5. Responsible Consumption 

10.5. Sustainable Design 

10.5.1. Garment Design 
10.5.2. Designing with Empathy 
10.5.3. Fabric, Material and Technique Selection 
10.5.4. Use of Monomaterials 

10.6. Sustainable Production 

10.6.1. Pattern Making and Modeling 
10.6.2. Zero-Waste Techniques 
10.6.3. Construction 
10.6.4. Made to Last 

10.7. Sustainable Distribution 

10.7.1. Suppliers and Manufacturers 
10.7.2. Commitment to Local Communities 
10.7.3. Sales 
10.7.4. Design According to Needs 
10.7.5. Inclusive Fashion Design 

10.8. Sustainable Garment Use 

10.8.1. Patterns of Use 
10.8.2. How to Reduce Washing 
10.8.3. Repairs and Maintenance 
10.8.4. Design for Repairs 
10.8.5. Modular Garment Design 

10.9. Recycling 

10.9.1. Reuse and Remanufacturing 
10.9.2. Revaluation 
10.9.3. Material Recycling 
10.9.4. Closed-Cycle Productions 

10.10. Sustainable Fashion Designers 

10.10.1. Katharine Hamnett 
10.10.2. Stella McCartney 
10.10.3. Annika Matilda Wendelboe 
10.10.4. Susan Dimasi 
10.10.5. Isabell de Hillerin

Take an academic tour through the main trends in men's fashion and achieve success with your own designs"