A comprehensive and 100% online program, exclusive to TECH, with an international perspective supported by our membership with The Design Society"

The world of Women’s Fashion Design has undergone a rapid transformation in recent decades, driven by globalization, the rise of digital platforms, and an increasing awareness of sustainability.  Today, professionals in this field are required not only to possess aesthetic and technical skills but also to have a holistic vision that enables them to address the new ethical, environmental, and technological challenges within the sector.

This Master's Degree in Women’s Fashion Design from TECH emerges as an innovative academic proposal, aimed at designers, textile engineers, artists, and related professionals seeking to refine their creative profile from a contemporary perspective. The journey through this academic experience will be structured around the key principles of current design: identity, functionality, and responsibility. Furthermore, the curriculum will be developed using a 100% online methodology, allowing access to content without temporal or geographic barriers. As such, materials will be available 24 hours a day, 7 days a week, and can be accessed from any device with an internet connection.

All of this is supported by the Relearning method implemented by TECH, which will enhance the deep understanding of concepts through intelligent repetition and the continuous support of a teaching team with extensive international experience in Women’s Fashion Design. As an exclusive benefit, graduates will receive 10 in-depth Masterclasses delivered by a high-prestige International Guest Director.

Thanks to TECH's membership with The Design Society (DS), students will become part of a global community dedicated to design and its study. They will have access to open-access publications and be able to participate in collaborative events. Additionally, the membership supports the maintenance of the society and its platforms, facilitating interaction and access to specialized resources for professional development in design.

You will have access to 10 detailed Masterclasses led by an International Guest Director. This will enable you to master the latest trends in Women’s Fashion Design"

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

• The development of practical case studies presented by experts in Women’s Fashion Design.
• The graphic, schematic, and practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• A special emphasis on innovative methodologies in Women’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

You will create complete women’s fashion collections, from designing the initial pieces to planning a coherent and marketable set”

The teaching staff includes professionals from the field of Women’s Fashion Design, who bring their work experience to this program, along with recognized 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 an immersive learning experience designed to prepare for real-life situations.

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

Boost your creativity, master the trends, and develop unique collections that set trends in the international fashion industry"

Thanks to the methodology of this postgraduate program, you will be able to internalize all the content from anywhere, without the need for any travel"

The content of this exclusive program at TECH has been designed by leading figures in design and the textile industry, with an integrative vision that connects art, technique, and environmental awareness. Throughout the course, graduates will develop skills in pattern making, garment construction, fashion illustration, and applied photography, in addition to exploring textile technologies and digital representation systems. Finally, designers will address key topics such as sustainability, fashion history, and advanced design, thereby strengthening their creative and strategic capabilities.

You will incorporate circular design practices and sustainable materials, positioning yourself as a creative professional capable of transforming ideas into iconic pieces”

Module 1. Design Fundamentals

1.1. Design History

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

1.2. Design Styles and Movements

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. Transvanguards
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. 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. Language in 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 Form
1.6.1.2. The Measurement
1.6.1.3. The Color
1.6.1.4. The 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. Gravity

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 Design Methods

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 Design Context

1.10.1. Current Design Issues
1.10.2. Current Design Issues
1.10.3. Contributions on Methodology

Module 2. Pattern Making and Garment Construction

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 Anatomical Measurements
2.1.4. Measurement Tables
2.1.5. Types of Pattern Making
2.1.6. Industrialization of Models
2.1.7. Information That the Pattern Must Contain

2.2. Female Pattern

2.2.1. Skirt Base Pattern
2.2.2. Body Base Pattern
2.2.3. Trouser Base Pattern
2.2.4. Dress Base Pattern
2.2.5. Collars
2.2.6. Sleeves
2.2.7. Details

2.3. Male Pattern

2.3.1. Body Base Pattern
2.3.2. Trouser Base Pattern
2.3.3. Coat Base Pattern
2.3.4. Collars
2.3.5. Sleeves
2.3.6. Details

2.4. Children’s Pattern

2.4.1. Body Base Pattern
2.4.2. Trouser Base Pattern
2.4.3. Leotard Base Pattern
2.4.4. One-Piece Base Pattern
2.4.5. Sleeves
2.4.6. Collars
2.4.7. Details

2.5. Transformation, Development and Scaling of the Pattern

2.5.1. Transformation of Patterns
2.5.2. Development of Pattern Making
2.5.3. Scale and Full-Size Patterns

2.6. Introduction to Cutting and Tailoring

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

2.7. Identifying Textiles

2.7.1. Flat Fabrics
2.7.2. Complex Fabrics
2.7.3. Technical Fabrics
2.7.4. Knitted Fabrics
2.7.5. Materials

2.8. Types of Sewing and Garment Transformation

2.8.1. Flat Seam
2.8.2. Interior Seam
2.8.3. Curved Seam
2.8.4. French Seam
2.8.5. Denim Seam
2.8.6. Overlock Seam
2.8.7. Ribbed Seam

2.9. Closures, Finishing and Textile Finishing

2.9.1. Fabric Dyeing
2.9.2. Buttons
2.9.3. Zippers
2.9.4. Appliques
2.9.5. Lining of the Piece
2.9.6. Trims
2.9.7. Ironed

2.10. Moulage

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

Module 3. Photography

3.1. History of Photography

3.1.1. Background of photography
3.1.2. Color Photography
3.1.3. Photographic Film
3.1.4. The Digital Camera

3.2. Image Formation

3.2.1. Camera
3.2.2. Basic Parameters in Photography
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 Movement in Photography
3.3.5. The Relationship of Photography with Reality and Truth

3.4. Camera

3.4.1. Analog and Digital Cameras
3.4.2. Simple Cameras
3.4.3. The Reflex Cameras
3.4.4. Basic Photographic Techniques
3.4.5. Exposure and Exposure Meters
3.4.6. The Digital Reflex Camera. The Sensor
3.4.7. The Handling of the Digital Camera versus the Analog Camera
3.4.8. Specific Aspects of Interest
3.4.9. Ways of Working with the Digital Camera

3.5. Digital Image

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

3.6. The Behavior of Light

3.6.1. The Photon
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 Diffuse Light

3.7. Expressiveness and Aesthetics of Lighting

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. The Photometer
3.7.4.2. Incident Light
3.7.4.3. Reflected Light
3.7.4.4. Measurement Over Several Points
3.7.4.5. Contrast
3.7.4.6. Medium Gray

3.7.5. Illumination Natural Light

3.7.5.1. Diffusers
3.7.5.2. Reflectors

3.7.6. Artificial Light Illumination

3.7.6.1. The Photographic Studio
3.7.6.2. Sources of Illumination
3.7.6.3. Cold Light
3.7.6.4. Studio Flash and Compact Flash
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. Camera RAW Development
3.9.2. Noise and Focus
3.9.3. Exposure, Contrast and Saturation Adjustments 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 Illustration

4.1. History of Illustration

4.1.1. History of Illustration
4.1.2. Types
4.1.3. The Poster
4.1.4. Illustrators

4.2. Materials and Mediums in Illustration

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. Head and Neck
4.3.3. Torso
4.3.4. Upper Limbs
4.3.5. Lower Limbs
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. Morphology

4.5. Basic Composition

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

4.6. The Human Face

4.6.1. The 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. Balance of the Body
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

4.8. Fashion Illustration Techniques

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

4.9. Illustration of Materials

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

4.10. Finding Personal Style

4.10.1. Fashion Figure
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. The Importance of Textiles in Fashion
5.1.5. Symbolism 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 Fibers
5.2.1.3. Synthetic Fibers

5.2.2. Properties of the Fibers
5.2.3. Recognizing Textile Fibers

5.3. Threads

5.3.1. Basic Ligaments
5.3.2. General Characteristics of Threads
5.3.3. Classification of Threads
5.3.4. Spinning Phases
5.3.5. Machines Used
5.3.6. Yarn Numbering Systems

5.4. Openwork Textiles

5.4.1. Openwork Fabrics
5.4.2. Ligament Staggering
5.4.3. Ligaments in Openwork Fabrics
5.4.4. Classification of Ligaments
5.4.5. Types of Ligaments
5.4.6. Types of Openwork Fabrics
5.4.7. The Openwork Weave
5.4.8. Special Weaves

5.5. Knitted Fabrics

5.5.1. History of Knitted Fabric
5.5.2. Classification
5.5.3. Types
5.5.4. Comparison Between Flat Fabric and a Knitted One
5.5.5. Characteristics and Behavior According to its Construction
5.5.6. Technology and Machinery for Obtaining It

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 Change of Fabrics

5.7. Dye

5.7.1. Previous Treatment
5.7.2. Dye
5.7.3. Equipment
5.7.4. Inputs
5.7.5. Optical Brightening
5.7.6. The 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. Thermotransfer 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-Dye

5.8.3. Other Types of Printing

5.8.3.1. Differential Printing
5.8.3.2. Polychromatic Electrostatic

5.9. Technical and Intelligent Fabrics

5.9.1. Definition and Analysis
5.9.2. Application of Textiles
5.9.3. New Materials and Technologies

5.10. Skin, Leather and Others

5.10.1. Skin and Leather
5.10.2. Classification of Leather
5.10.3. Tanning Process
5.10.4. Post-Tanning Process
5.10.5. Technological Process of Tanning
5.10.6. Conservation Methods
5.10.7. Synthetic Leather
5.10.8. Debate: Natural or Synthetic Leather

Module 6. Representation Systems Applied to Fashion

6.1. Introduction to the Technical Drawing of Fashion

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. Technical Guidelines in Fashion

6.2. Documentation Preparation

6.2.1. Preparing the Document for Technical Drawing
6.2.2. Anatomical Base Mannequin
6.2.3. Color, Texture and Prints

6.3. Lower Body Garments

6.3.1. Skirts
6.3.2. Trousers
6.3.3. Stockings

6.4. Upper Body Garments

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

6.5. Underwear Garments

6.5.1. Bra
6.5.2. Briefs
6.5.3. Underpants

6.6. Details of the Model

6.6.1. Neckline
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. Binding

6.8. Fasteners and Trimmings

6.8.1. Zippers
6.8.2. Buttons
6.8.3. Hooks
6.8.4. Ribbons
6.8.5. Knots
6.8.6. Buttonholes
6.8.7. Velcro
6.8.8. Eyelets
6.8.9. Loops
6.8.10. Studs
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. Jewelry

6.10. The Technical Data Sheet

6.10.1. Technical Drawing Export
6.10.2. Information of the Technical Data Sheet
6.10.3. Models and Types of Technical Data Sheet
6.10.4. Realization of the Technical Data Sheet

Module 7. Fashion Design

7.1. Methodology of Fashion Design

7.1.1. Concept of a Fashion Project
7.1.2. Project Methodology Applied to Fashion
7.1.3. Research Methods in Fashion Design
7.1.4. The Design Brief or Design Request
7.1.5. Documentation
7.1.6. Analysis of Current Fashion
7.1.7. Forming Ideas

7.2. Creative Processes Applied to Fashion Design

7.2.1. The Field Notebook
7.2.2. Moodboard
7.2.3. Graphic Research
7.2.4. Creative Techniques

7.3. Referrals

7.3.1. Commercial Fashion
7.3.2. Creative Fashion
7.3.3. Stage Fashion
7.3.4. Corporative Fashion

7.4. Collection Concept

7.4.1. Functionality of the Garment
7.4.2. Clothing as a Message
7.4.3. Ergonomic Concepts

7.5. Stylistic Codes

7.5.1. Permanent Stylistic Codes
7.5.2. Seasonal Stylistic Codes
7.5.3. The Search for Personal Stamp

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. Representation of the Collection

7.7. Technical Study

7.7.1. Textile Chart
7.7.2. Chromatic Chart
7.7.3. The Glaze
7.7.4. The Technical Data Sheet
7.7.5. Prototype
7.7.6. Price Tag

7.8. Interdisciplinary Projects

7.8.1. Drawing
7.8.2. Pattern Making
7.8.3. Sewing

7.9. Production of a Collection

7.9.1. From Sketch to Technical Drawing
7.9.2. Artisanal Workshops
7.9.3. New Technologies

7.10. Communication and Presentation Strategy

7.10.1. Fashion Photography: Lookbook, Editorial and Campaign
7.10.2. Portfolio
7.10.3. The Catwalk
7.10.4. Other Forms of Exhibiting the Collection

Module 8. Sustainability in Fashion

8.1. Reconsidering Fashion Design

8.1.1. The Supply Chain
8.1.2. Key Aspects
8.1.3. Development of Sustainable Fashion
8.1.4. Future of Fashion

8.2. Life Cycle of an Item of Clothing

8.2.1. Think in the Life Cycle
8.2.2. Actions and Impact
8.2.3. Evaluation Tools and Models
8.2.4. Strategies for Sustainable Design

8.3. Quality and Safety Standards in the Textile Sector

8.3.1. Quality
8.3.2. Labeling
8.3.3. Safety of Garments
8.3.4. Consumption Inspections

8.4. Planned Obsolescence

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

8.5. Sustainable Design

8.5.1. Garment 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. Sustainable Production
8.6.2. Techniques For Zero Waste
8.6.3. Construction
8.6.4. Design to Last

8.7. Sustainable Distribution

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

8.8. Sustainable Use of the Garment

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

8.9. Recycling

8.9.1. Reusing and Remanufacturing
8.9.2. Revaluing
8.9.3. Recycling Materials
8.9.4. Closed Cycle Production

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 Context and Social Change
9.1.2. Women's Liberation
9.1.3. New Concept of Fashion Designer
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 Masters of Fashion

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 Masters of Fashion

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. Federation of Haute Couture and Fashion
9.5.3. Members of the Federation
9.5.4. From Haute Couture to Ready-to-Wear

9.6. Handicrafts

9.6.1. Fabric as Art
9.6.2. Crafts that Complement Clothing
9.6.3. Artists and Artisans Related to Fashion

9.7. Fast-Fashion

9.7.1. History and Origin of Fast-Fashion
9.7.2. Business Model of Fast-Fashion
9.7.3. Consequences of Fast-Fashion on the World

9.8. Advertising and Photography in Fashion

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

9.9. Repercussion of Fashion

9.9.1. The Textile Industry
9.9.2. Relationship between 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. Markets for Fashion

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. The Cycle of Fashion
10.2.3. Trends in Fashion
10.2.4. Trend Analysis
10.2.5. Project Development

10.3. Creative Reasearch

10.3.1. Inspiration
10.3.2. The Field Notebook
10.3.3. Materials
10.3.4. Moodboard

10.4. Development and Techniques

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

10.5. Fashion Design

10.5.1. What Fashion Design Is
10.5.2. Garment Making
10.5.3. The Fashion Industry
10.5.4. Fashion Collection
10.5.5. Cutting, Sewing, and Finishing

10.6. Fashion Accessories

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

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

10.9. Communication Strategies of the Project

10.9.1. Second Lines
10.9.2. Expanding the Collection
10.9.3. Practice

10.10. Design and the Company

10.10.1. Fashion Entrepreneurship
10.10.2. Branding
10.10.3. Marketing as Promotion
10.10.4. Rights of the Author

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