Creativity does not mean improvisation. Learn Bruno Munari's methodology to create your next collection"

Creating a Fashion Collection is a thoughtful and organized process, with a series of steps that help guide all the work. It involves research to define the target audience, a survey on the latest trends, putting together a concept, creating several sketches, choosing textiles, along with other steps that each designer must understand and execute to ensure that the season's deadlines are met.

In this sense, this Postgraduate diploma will help students to learn the basics and fundamentals of design, starting with a review of the history of the sector to understand the different styles and movements that were created from the Industrial Revolution and the Chicago School. Then, different design methodologies can be analyzed, such as the one proposed by Gui Bonsiepe, who establishes the basis of the organization in the planning of activities divided into hierarchical subproblems.

Although for many the creative process should be free and spontaneous, in the fashion world it is ideal to maintain a structure that helps the designer to focus on the collection. Therefore, students must know how to create Moodboards and graphic research, taking into account commercial, creative, scenic and corporate fashion. This will help you identify the type of textile you want to use for sketching and pattern making to begin the process of creating a great fashion collection.

This is why, by completing this program, students will be able to plan and create their own projects, understanding the different methodologies applied to the sector. Then students will become versatile, organized, creative and, above all, capable of creating unique pieces for different female audiences.

If fashion is your passion, with this program you will be one step closer to creating your own collection”

This Postgraduate diploma in Creating a Fashion Collection contains the most complete and up-to-date program on the market. The most important features include:

• The development of case studies presented by experts in the Creation of Fashion Collections
• The graphic, schematic and practical contents with which they are created, gather theoretical and practical information on those disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• Special emphasis is placed on innovative methodologies in fashion collection creation
• 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

Get to know the beauty ideology used in different periods and get inspired to set a new trend"

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 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. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

Discover how Carolina Herrera managed to make femininity and women's empowerment her trademark"

A non-fashion collection cannot be completed without runway planning"

This program is designed to provide students with the most current knowledge in fashion collection organization. This way, they will be able to use different methodological strategies to help them structure their ideas in a coherent way, through the creation of Moodboards They will also develop the concept of editorial shoots to present the collection before going to the runway. Therefore, students who graduate from the program will be able to work as designers, creative directors or researchers of new concepts, among other professional opportunities that will improve their work profile.

Develops a working methodology to present a coherent collection on the runway"

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. Fashion Design

2.1. Fashion Design Methodology

2.1.1. Concept Fashion Projects
2.1.2. Design Methodology Applied to Fashion
2.1.3. Research Methods in Fashion Design
2.1.4. Briefing
2.1.5. Documentation
2.1.6. Current Fashion Analysis
2.1.7. Idea Formation

2.2. Creative Procedures Applied to Fashion Design

2.2.1. Field Notebooks
2.2.2. Moodboard
2.2.3. Graphic Research
2.2.4. Creative Techniques

2.3. Referrals

2.3.1. Fashion Retail
2.3.2. Creative Fashion
2.3.3. Performing Arts Fashion
2.3.4. Corporate Fashion

2.4. Collection Concept

2.4.1. Garment Wearability
2.4.2. Garment as a message
2.4.3. Ergonomic Concepts

2.5. Stylistic Codes

2.5.1. Permanent Stylistic Codes
2.5.2. Stationary Stylistic Codes
2.5.3. Search for Personal Seal

2.6. Collection Development

2.6.1. Theoretical Framework
2.6.2. Context
2.6.3. Research
2.6.4. Referrals
2.6.5. Conclusions
2.6.6. Collection Representation

2.7. Technical Studies

2.7.1. Textile Chart
2.7.2. Color Chart
2.7.3. Toile
2.7.4. Technical Data Sheets
2.7.5. Prototypes
2.7.6. Pricing

2.8. Interdisciplinary Projects

2.8.1. Drawing
2.8.2. Pattern Making
2.8.3. Sewing

2.9. Collection Production

2.9.1. From Sketches to Technical Drawings
2.9.2. Craft Workshops
2.9.3. New Technologies

2.10. Communication and Presentation Strategy

2.10.1. Fashion Photography: Lookbook, Editorial and Campaign
2.10.2. Portfolios
2.10.3. Catwalks
2.10.4. Other Ways to Present a Collection

Module 3. History of Fashion

3.1. From Clothing to Fashion

3.1.1. New Contexts and Social Change
3.1.2. The Liberation of Women
3.1.3. New Concepts of Fashion Designers
3.1.4. Beginning of the 20th century

3.2. Modern Clothing

3.2.1. Modern Clothing
3.2.2. The Rise of American Designers
3.2.3. The London Scene
3.2.4. New York in the 70s
3.2.5. 80s Fashion
3.2.6. Multi-Brand Luxury Groups
3.2.7. Functional Fashion
3.2.8. Activewear
3.2.9. Fashion, Art and Pop Culture
3.2.10. Celebrities
3.2.11. Photography and the Internet

3.3. Great Female Fashion Masters

3.3.1. Jeanne Lanvin
3.3.2. Jeanne Paquin
3.3.3. Emilie Flöge
3.3.4. Madeleine Vionnet
3.3.5. Gabrielle Chanel
3.3.6. Elsa Schiaparelli
3.3.7. Carolina Herrera

3.4. Great Male Fashion Masters

3.4.1. Charles Frederick Worth
3.4.2. Jacques Doucet
3.4.3. Paul Poiret
3.4.4. Cristóbal Balenciaga
3.4.5. Christian Dior
3.4.6. Karl Lagerfeld
3.4.7. Alexander McQueen

3.5. Haute Couture

3.5.1. History of Haute Couture
3.5.2. Haute Couture and Fashion Federation
3.5.3. Members of the Federation
3.5.4. From Haute Couture to Prêt-à-Porter

3.6. Crafts

3.6.1. Textiles as an Art Form
3.6.2. Crafts that Complement Clothing
3.6.3. Artists and Craftsmen Related to Fashion

3.7. Fast Fashion

3.7.1. History and Origin of Fast Fashion
3.7.2. Fast Fashion Business Model
3.7.3. Fast Fashion ‘s Impact on the World

3.8. Advertising and Fashion Photography

3.8.1. Archetypes and Stereotypes
3.8.2. Fashion Images
3.8.3. Visual Communication of Fashion
3.8.4. Great Fashion Photographers

3.9. Repercussions of Fashion

3.9.1. The Textile Industry
3.9.2. Relationship of Art and Fashion
3.9.3. Fashion and Society

3.10. Fashion Theory and Criticism

3.10.1. Current Designers and Their Influence
3.10.2. Current Trends
3.10.3. The Trivialization of Fashion

Find your muse and plan a trend-setting fashion collection for the upcoming season"