PGCHE: 2014: SECTION-C

SECTION-C

Course Name: B.A. (Hons.) Fashion Design Module Name: Fashion Design 2 Module Leader : Module tutors :

Darshan Chandekar Darshan Chandekar, Ankur Gulati, Prateek Vashist, Maya Keischgens, G.S. Dhapodkar, Seema Singh, Prasanna Baruah, Sundeep

Number of Credits: Level/Year/Semester: Type of Module:

Ramudamu, Sonika Khar, Suranjan Lahiri, Aditya Vij 40 2/ 2014/ V Core

Module Assessment: Assignment 20% Project 80% Cohort: FD 2012 - 2016

Introduction to the module The focus of this module is to develop an in-depth understanding of design process of designing and developing fashion for a specific target market and end consumer including understanding trends and fashion forecasting, product development, marketing and merchandising. The experience includes specific genre of clothing, in this case, Indian occasion wear or evening wear, where the students integrate precise components of design and technical aspects of the same.

Aim The aim of this module is to facilitate: - Understanding of fashion design process along with fashion forecasting and trend study.

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Further development of illustration, graphic and visualization skills.

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Advanced knowledge in pattern cutting for Evening Wear and Indian Occasional Wear.

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Advanced pattern development techniques relating to the constraints and properties of various fabric types and train for independent research and study.

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Students to address a market oriented design brief.

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Students with entrepreneurial process and provide a framework for learning.

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Development of knowledge of various production methods and evaluation of various

clothing manufacturing systems and equipment in the industry.

Learning Outcomes

Knowledge and understanding: After studying this module you should be able to:

1. Demonstrate understanding and application of advanced level of design principles and related technology, materials and processes.

2. Develop an individual style in illustration using various color mediums and innovative techniques.

3. Cut advanced styles of Evening Wear and Indian Occasional Wear keeping into account fabric properties and look.

4.

5.

Demonstrate understanding of the fitting problem, and rectification in the garment.

Understand regulatory requirements of staring and running a business and also to create a rudimentary business plan

6.

Understand the various garment manufacturing process & techniques used and also to plan production process for deliveries in time.

Skills, qualities and attributes.

After studying this module you should be able to : 7. Independently plan and manage research activities and analyse design ideas to realize in a garment form.

8. Explore individual techniques of illustration and presentation skills in context to a given theme.

9. Handle various fabrics, linings and interlinings as per the fabrics used and the look required.

10. Show critical thinking to evaluate your own work as well as peer work.

11. Show effective presentation and communication skills.

Module Content This module will cover the following: The module covers an entire journey of concept to product and keeping all the relevant processes in mind.

Design V: • Designing for a Market - researching current trends for occasion Indian wear and evening wear including appropriate fabric choices, embellishment details and desired fit and fall of the garments to meet relevant requirements.

• Study of fashion forecasting • Specific market research to explore and identify various silhouettes, textures, appropriate

• •

for the given theme – ‘Red Carpet’ Fashion resources - body contouring and material required for surface ornamentation will be another focus area of study.

Visual research to support the method, techniques and approach of developing designs.

Visual Presentation 2: (CAD) The visual presentation will focus on: • Exploration and development of individualistic style in illustration.

• Exploration of various CAD techniques for technical drawing as well as graphic presentation.

• Fabric rendering & drape of various fabrics on body to achieve the desired look • Exploration of mixed media techniques in illustration.

• Informative presentation of an Illustration sheet • • • •

Advanced draping – cowls, crouching, fluting Pattern making for Evening Wear / Indian Occasional Wear Appropriate construction techniques and traditional textiles Design Realization

Design Studio 2: PM, GC and Advanced Draping Students will move on to advanced application of pattern making, draping and construction techniques by exploring: • Technical aspects of linings, layering and contouring amalgamated with appropriate fabric choices and surface embellishment.

• Different cuts and innovative designs for silhouettes.

• Various methods to construct a bustier with princes line and boning details • Drape and fall of fabrics, their properties, and surface embellishments through advanced techniques like fluting, rouching etc.

• Hand techniques like tacking, hemming and dealing with multiple layering in designs using challenging fabrics like chiffon, georgette, silk, etc.

Production Methods and Quality Assurance (PMQA) Students will develop knowledge of various production methods and evaluate various clothing manufacturing systems and equipment in the industry. The following topics will be covered •

Introduction to garment manufacturing industry

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Study of Production Process and Planning in cutting, sewing & finishing room

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Production systems like assembly line and its balancing

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Quality Department functions of a garment industry.

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Inspection systems from raw material to dispatch.

EDP Entrepreneurship Development Programme is intended to instill the commercial skills in the designers. This subject will help in understanding the business context of the fashion industry. EDP will cover the following topics:

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• • • • • •

Entrepreneurship and classification of industries Types of business enterprises Finance and banking Basics of industrial law Sales and commercial taxes Market survey and study

Learning Methodology Your learning will be facilitated through:

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Lectures/ demonstrations Practical working Large group teaching Peer group learning and discussions Independent study Interim and final presentation of portfolio Market study

Essential Reading/Viewing

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ENGELMEIER, R. AND PETER, W. (1985) Fashion in Film. London: Prestel Publishing.

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MARTIN, R. (1995) Contemporary Fashion. New York: St. James Press.

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ARMSTRONG, H. J. (2014) Pattern Making for Fashion Design. 5th Ed. Upper Saddle River, N.J.: Pearson Prentice Hall.

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ARMSTRONG, H. J. (2013) Draping for apparel design. 3rd Ed. New York: Fairchild Books.

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Additional Reading

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RICHARDSON, K. (2008) Designing and Pattern Making for Stretch Fabrics. Fairchild Books Inc.

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TWITCHELL, J.B. (2002) Living it up, America's love affair with luxury. New York: Simon & Schuster.

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GHOSH, G.K. (2000) Non conventional textiles in India. New Delhi: P H Publishing Corporation.

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NADEAU, R. (2007) Living Brands. New York: Tata McGraw-Hill.

Fashion Magazines: • Vogue • Collezioni • Simplicity and • Femina Web Links:

• • • • • •

www.wgsn.com for latest fashion trends and complete analysis on current trends. www.style.com for latest runways. www.fashionblog.com www.isseymiyake.com www.dolceandgabbana.com www.jeanpaulgaultier.com

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What is the underskirt under gowns? https://www.youtube.com/watch?v=PHyz-

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Lacing the corset back - https://www.youtube.com/watch?v=PHyz-Cxrp1M Custom made corset versus budget corset - https://www.youtube.com/watch?

Cxrp1M v=8wN-kPsF5ug

Weekly Plan Week

Input planned

Any requirement/prerequisite reading Choose a Designer/Brand and come up with a research on the look, market (client, price points, USP etc.)

Submission in next week’s class in a jacket-file, print on normal thin A3 paper.

(5 sheets min.)

Week 7

Design V (session-1) Introduction to Evening Wear.

Creative Visual interpretations to stimulate student interest an overview Contemporary Indian Wear Introduction to contemporary Indian wear in context of look (value addition in terms of embellishment or fabric art and Craft) PPT. and video presentation on different looks in Contemporary Indian Fashion.

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http://en.wikipedia.org/ wiki/ - Clothing in India

Faculty

Prateek Vashist, Ankur Gulati, Darshan Chandekar

Design V (session-2) Continuation of presentation on different looks on contemporary Indian wear.

http://www.sonascoutur e.com/collections/summ er-2013-cl-44.php Formative assessment of the http://www.labelritukum ar.com/ work given in previous session. http://www.pinterest.co m/ncdkey/modernVisual Presentation 2 Contemporary Indian Wear : Explorations in forms and silhouettes . Drawing shapes, lengths hemlines volume of tops and bottoms

Classroom exercises: drawing variations in cholies, tunics and bottoms Design Studio 2 (PM+GC) (session-1) • Indian wear basic patterns of fitted Punjabi Suit taking personal measurement Design Studio 2 (PM+GC) (session-2) • Fitted and semi-fitted silhouettes • Test fit for individual measurement • Selection of fabric and detailings Design Studio 2 (PM+GC) (session-3) • Cutting of fabric for the same Start stitching of Suit / Kurta Advanced Draping Introduction to advance draping and its uses.

Impact of Variation of fall in different fabrics on the techniques used.

Cowl: understanding of fall and folds of Bias Fabric. Low cowl, deep cowl, back cowl, arm whole cowl, mid-depth cowl,

Prasanna Baruah Sundeep Ramudamu

5 meters fabric – preferably cotton based fusing for facing. (notes and handouts perfected by in-house technical faculty) (Notes and handouts prepared by in-house technical faculty)

Seema Singh, G.S. Dhapodkar, Maya Keischgens

(Notes and handouts prepared by in-house technical faculty) Blocked fabric (45x45 ) x 2 (Muslin and satin/chiffon/georgette/any other stiff fabric.

Art of fashion draping by Connie .A. (Crawford art of fashion draping)

https://www.etsy.com/m arket/faux_fur_cowl

Sonika Khar

Pleated cowl (students will work on one cowl)

https://www.youtube.co m/watch? v=XTvRaaNVVKU

PMQA Introduction to garment manufacturing industry.

Virtual factory visit, Class exercises.

EDP

Suranjan Lahiri

Aditya Vij

Introduction to entrepreneurship: Who/ what/ which, Needs/ wants, and demand.

Meaning and Perspective of Entrepreneurship, Business ideas, Type of Enterprises, Market survey, Business plan Design V (session-1) - Further inputs on accentuation of surface (prints, textures dying etc.)

- Identifying and restricting locations on the garment for value addition.

- Usage of ornamental trims for closures and fasteners etc.

Source and create prints, textures (using both hand and CAD skills).

Reflect on visual diary to evidence your understanding of required look and inputs.

Faculty to plan samples from RC

http://www.taruntahilian i.com/ http://www.rannagill.co Ex: Innovate interesting closures and fasteners and align m/ http://www.manisharora the outcomes with the selected designer/brand. Submit your .com/ work in next week’s class, http://www.labelritukum printing on A3 size normal ar.com/tunic.html paper.

Sample showcase from RC.

Week 8

(5 sheets minimum) Design V (session-2) Classroom display and discussion on innovative closures by students.

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• http://feltingandfiberst udio.com/category/be ading/ • http://www.teonline.c om/knowledgecentre/trims-closuresaccessories.html • http://www.nancysnot

Prateek Vashist, Ankur Gulati, Darshan Chandekar

ions.com/category/su pplies/fasteners.do

Visual Presentation 2 Details of necklines, sleeves, style-line

Prasanna Baruah Sundeep Ramudamu

Classroom exercise to apply CAD skill.

Design Studio 2 (PM+GC) (session-1) • Stitching of Kurta completed

Students to take personal measurements (notes and handouts perfected by in-house technical faculty)

Design Studio 2 (PM+GC) (session-2) • Patterns of Salwar and Churidar

(notes and handouts perfected by in-house technical faculty)

Design Studio 2 (PM+GC) (session-3) Cutting of fabric and start stitching for Salwar or Churidar

(notes and handouts perfected by in-house technical faculty)

Advanced Draping Contouring: art equivalents; asymmetrical darts; pleats, curved and gathers, style lines Exercise will be clubbed with basic design foundations; Empire line and straight princess and arm-hole princess line

Requirement: One meter of muslin

Seema singh G.S. Dhapodkar, Maya Keischgens

Sonika Khar

Draping for Apparel design by Helen Joseph Armstrong

PMQA Study of production process and planning

Suranjan Lahiri

(a) cutting marker and spreading mode Class Ex.: EDP - Classification of the markets and its categories.

- Class room brainstorming … for what is a possible / workable idea in our

Basic report on compilation of points to be shown.

Aditya Vij

industry.

Design V (Session-1)

Evening Couture -Introduction to Paris Haute Couture.

Presentation in terms of minimal and maximal looks in terms of ornamentation and styling (drape and style lines) Week 9

Design and illustrate 5 minimal, 5 maximal ensembles in western wear and 5 Indian wear in a fully rendered croqui using mix media with indicative fabric and color.

Visual diary to evidence progress from previous interim.

Prateek Vashist, Ankur Gulati, Darshan Chandekar

Fashion Source Book by John Peacock 30s, 60s, 80s.

Design V (Session-2) PPt. presentation on designer looks from minimal and maximal perspectives with respect to SSS (silhouette, style lines and surface).

http://feltingandfiberstu dio.com/category/nunofelting/ http://issuu.com/search ?q=eveningwear http://www.pinterest.com/se arch/pins/?q=eveningwear

Visual Presentation 2 Evening Couture: Explorations in forms for evening wear

Prasanna Baruah Sundeep Ramudamu

Classroom Ex.: Drawing corsets and its variations Design Studio 2 (PM+GC) (Session1) Stitching of Salwar or Churidar finished and submitted

Design Studio 2 (PM+GC) (Session-2) • Size 12 Torso development Design Studio 2 (PM+GC) (Session-3) • Contouring principles for developing corset • Corset patterns ready

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(notes and handouts perfected by in-house technical faculty) Test fit of Torso in muslin by students

(notes and handouts perfected by in-house technical faculty)

Seema singh G.S. Dhapodkar, Maya Keischgens

Advanced Draping Advance Draping techniques for high fashion garments • Flutting & ruching • Understand the fall and folds of various fabric • FOLDING techniques

Chiffon/georgette/fine cotton/muslin/polycotton/checks and stripes.

Art of fashion draping by Connie .A. Crawford

https://www.youtube.com/wa tch?v=g6mgu4jb7Rk

PMQA

• •

Sonika Khar

Suranjan Lahiri Study of production process and planning Cutting plan making

EDP

Report in the next class on a rudimentary plan

Aditya Vij

Studying a few successful and a few unsuccessful business ventures.

Week 10

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Introduction to Business plan & Strategy

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Resource planning and utilization

Design V (Session-1) Minimal and Maximal looks and Introduction to image of women and different silhouettes on the red carpet. (BBC Documentary on Haute Couture Circles)

Select one of the looks in minimal or maximal with respect to Western Evening wear or Indian wear and explore SSS (silhouette, style lines and surface). Minimum 300 explorations of different components of an ensemble.

PPT. presentation Submission in next week’s class, include it in a jacketfile, print on normal thin A3 paper.

Design V (Session-2) Diwali Holiday research Select a Designer and come up with a complete research about the look, season etc. to be followed for the term garment.

http://www.pinterest.co m/search/pins/? q=eveningwear http://issuu.com/ http://issuu.com/katie_peake 2892/docs/pdf_portfolio_issu

Prateek Vashist, Ankur Gulati, Darshan Chandekar

Visual Presentation 2 Explorations in details: drapes ,style-lines and manipulations in darts and grains Classroom exercises: Drawing draped evening wear Design Studio 2 (PM+GC) (Session-1) • Test fit of Corset patterns on muslin

Prasanna Baruah Sundeep Ramudamu

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Fusing for fabric fabrics suggested are medium to thick – Jacquard, silk and thick cotton.

Use notes and handouts prepared by in-house technical faculty

Design Studio 2 (PM+GC) (session-2)

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Cutting of corset fabric in Jacquard, silk or any other final fabric Fusing of fabric

Design Studio 2 (PM+GC) (session-3) • Preparation of bias binding with dori finish on top • Stitching of corset starts Advanced Draping Advance Draping techniques for high fashion garments.

Flutting & Ruching Understand the fall and folds of various fabric FOLDING techniques

Follow “Lingerie design” by Ann Hagger and “Contouring Principles” by Armstrong • Jacket fusing to be sourced for fabric used • Cotton thick dori • Riverts • Boning

Chiffon/georgette/fine cotton/

Art of Fashion Draping by Connie .A. Crawford

https://www.youtube.co m/watch?v=BifPg6DJ6w https://www.youtube.co m/watch? v=qY4HjYWSC8Y

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Seema singh G.S. Dhapodkar, Maya Keischgens

Sonika Khar

PMQA Study of production process and planning Sewing and assembly line balancing.

Class exercises EDP - Finance and banking, Laws and other compliances

Suranjan Lahiri

Report ..whose contents approved ..move to ppt

Aditya Vij

- Banking and Finance, Sources of Finance and Uses of Funds, Nature of Organization (Proprietorship, Partnership, Company) - Legal Compliances **Deepaawali Break** Week 11

Design V (session-1) Range Sheet, Design finalization.

Show Sanjana’s portfolio from Pearl Chennai.

In this week students start working with contemporary Indian wear or western evening wear.

Visual diary to evidence reference looks, surface representations, design ideas.

Junky Styling by Sanders, Annika; Seager, Kerry Published By Berg Publishers in 2009 (e-book from Pearl’s online library)

Prateek Vashist, Ankur Gulati, Darshan Chandekar

Design V (Session-2) Designer’s talk on evening wear (designer not yet confirmed) Visual Presentation 2 Illustrative fabric study: study of soft, medium and hard drapes, analyzing their fall through illustration Design Studio 2 (PM+GC) (Session-1) Stitching of corset continues

Prasanna Baruah

Design Studio 2 (PM+GC) (Session-2) Stitching continues Design Studio 2 (PM+GC) (Session-3) • Completion of Corset • Checking fit and look

Seema singh G.S. Dhapodkar, Maya Keischgens

Sundeep Ramudamu

on 12 size dummy • Patterns, test fit in muslin and corset submitted Advanced Draping Bustier design Overview of formal gown ( off shoulder . one shoulder/halter and paneled floor length designs) Draped Design Interpretation: Collection of various draped designs, analysis, classification, design interpretation and finally replication of selected design with muslin.

Collection of visuals for draped design interpretation.

Muslin of relevant weight/low price fabric closer to the design chosen; quantity according to the design

Sonika Khar

Art of fashion draping by Connie .A. Crawford

https://www.youtube.co m/watch? v=DYJz6o042oQ https://www.youtube.co m/watch?v=sDZ_HEuTUU https://www.youtube.co m/watch? v=sGULpcJKbmc https://www.youtube.co m/watch? v=qlyY6qdQGFk

PMQA Quality testing.

(Practical demo in testing lab for strength, fastness. pilling and abrasion resistance test).

Suranjan Lahiri

EDP

Aditya Vij

Review of report and PPT individually Rectification/ re-submission of ongoing work Design V (session-1) Stepwise execution of the final ensembles starts.

Create a storyboard for the Designer/Brand you are working on.

Week 12 Visual diary interim to ensure design and product direction

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Prateek Vashist, Ankur Gulati, Darshan Chandekar

Design V (session-2) Compilation of final Process Portfolio starts.

Storyboard, process sheets, range sheet, final illustration sheet, cost sheet, reflection note, photo shoot Visual Presentation 2 Rendering surface textures through mixed media and CAD techniques

http://issuu.com/hennessyrep s/stacks/652b36108c2c4850b 2a9f7925de5191a

Prasanna Baruah Sundeep Ramudamu

Classroom Ex.: Design Studio 2 (PM+GC) (session-1) • Start of Final project – optional choice • Designs discussed with technical faculty

Maya Keischgens, G.S. Dhapodkar, Seema Singh

Design Studio 2 (PM+GC) (session-2) • Drafting of bodice for personal measurement • Drafting of personal torso block Design Studio 2 (PM+GC) (session-3) • Test fit of personal torso for each student • Contouring of torso starts according to design

Week 13

Advanced Draping Draped Design Interpretation: Collection of various draped designs, analysis, classification, design interpretation and finally replication of selected design with muslin.

PMQA Written Exam (Final assessment) EDP Submission and Final Assessment Design V (Session-1) All the surface ornamentation fabric ready for stitching.

Muslin of relevant weight/low price fabric closer to the design chosen; quantity according to the design

Sonika Khar

Suranjan Lahiri

All formative assignments from the earlier weeks to be compiled in one Process Book as a summative

Prateek Vashist,

Interim review.

submission along with explorations in chosen area.

Visual diary Fabric surfaces and embellishment presentation

Ankur Gulati, Darshan Chandekar

Design V (Session-2) Interim review Visual Presentation 2 Artwork for prints motifs patterns graphic scale placements.

Prasanna Baruah Sundeep Ramudamu

Design Studio 2 (PM) (session-1) Stitching of final garment

Maya Keischgens, G.S. Dhapodkar, Seema Singh

Design Studio 2 (GC) (session-2) Stitching of final garment Design Studio 2 (GC) (session-3) Final garment construction and Assessment Advanced Draping Draped Design Interpretation: Personal Design exploration of a replicated design Week 14

Design V (session-1) Completion of design documentation Interim review Design V (session-2) Completion of design documentation Visual Presentation 2 Compilation and corrections for final Design Process Book.

Interim review.

Muslin of relevant weight/low price fabric closer to the design chosen; quantity according to the design

Sonika Khar

Prateek Vashist, Ankur Gulati, Darshan Chandekar

Prasanna Baruah Sundeep Ramudamu

Design Studio 2 (PM) (session-1) Final submission and final marking Design Studio 2 (GC) (session-2) Design Studio 2 (GC) (session-3)

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Maya Keischgens, G.S. Dhapodkar, Seema Singh

Final garment construction and Assessment Advanced Draping Final Assessment.

Sonika Khar

Guidance to use non-contact hours: This module has 200 non-contact hours in total. The non-contact hours have to be used as independent learning time by you for all the integrated subjects in this modules. You are expected to utilize your non contact hours in the following way:

1. Reading referred books, library and net based resources: 4 hrs/ Week = 32 hrs 2. Industry and market visits: 15 hrs 3. Sourcing of fabrics and accessories: 20 hrs 4. Practical work in the Lab: 50 hrs 5. Visiting exhibitions, museums, craft centres & malls: 20 Hours 6. Practicing CAD and illustration: 20 hrs

Assessment Assessment 1: Assignments Method of Assessment: Summative Weightage : 20% Los that will be assessed by this assessment : KU 5, 6, and SQA 11 Brief for Assessment: Component 1: Written Exam on PMQA (50 marks) An objective written exam (of 50 marks, and 60 minutes duration) will be conducted in the 12th week to evaluate your learning of class lectures and practical exercises. There will be multiple choice questions, fill in the blanks, and 2-3 lines answer questions in the written exam.

All the areas of the module namely large scale cutting, stitching and quality control from the aspect of numerical production planning and its practical shop floor execution will be tested in the exam.

The main objective of the assessment will be to test the student’s knowledge of various production methods and evaluation of various clothing manufacturing systems and equipments in the industry.

Assessment Criteria: Please note that you will be assessed in terms of: - Overall understanding of the subject - Observational and analytical skills - Timely completion of the exam.

LOs that will be assessed in this assignment: KU:6 and SQA: Date of submission: Week 12 Venue of Submission: Studio III (A36-GF) Whom to be submitted: Suranjan Lahiri Submission dates: Exam in the 12th week.

Whom to be Submitted: Suranjan Lahiri Component 2: written assignment on EDP (50 marks) You will be working on a written assignment to display your logical ability and basic understanding of the subject. The written assignment is an ongoing process where you will be compiling all the class exercises based on subjective and objective questions. There will be a viva at the end to check your overall understanding of the subject.

LOs that will be assessed in this assignment: KU:5 and SQA:11 Date of submission: Week 12 Venue of Submission: Studio III (A36-GF) Whom to be submitted: Aditya Vij

Assignment 3: Exploration of any one garment component of your choice (40 marks) The brief: You will be expected to explore one garment component using techniques within the purview of classroom learning. In the beginning you have to collect a range of visuals of various garments and components from fashion magazines, internet resources etc., according to your interest. You have to identify the garment components using appropriate terminologies, fabric used & identifying the effects of grain variation.

The assessment criteria of evaluation will include: - Use of appropriate techniques for final exploration - Process of exploration: form, variation of grain line & its effects - Selection of appropriate fabric - Appropriate use of colour and

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Appropriate finishes

The final submission will be in the same portfolio (as mentioned in aAssignment 1) along with all written information and you will be using size 12 dress forms for exploration of the selected component.

LOs that will be assessed in this assignment: KU: 3 and 4, SQA: 5, 6, 7 and 8 Date of submission: Week 14 Venue of Submission: Sewing Lab V and Studio VI (A36/ 2-2) Whom to be submitted: Garisha Arora, Rita Constantine, Maya Keischgens and

Bela Gupta

The following rubric indicates how you will be graded for your assignments The following rubric indicates how you will be graded for your A ssignment Element 1.

Grade ->

Second Class Lower Division 50-59%

Third class

Fail

70% & above

Second Class Upper Division 60-69%

40-49%

Below 39%

KU 5 Understand regulatory requirements of starting and running a business and also to create a rudimentary business plan (Assignment 2)

If the planning in the business plan is very well organized and supported by workable prepositions.

If the business plan is fine after accounting all aspects but components like taxes / registrations are missing.

If the business plan is fine, but the workability bottlenecks have not been explained well.

If the plan has ignored the regulations and overlooked the taxes etc.

If the plan is not a workable one.

KU 6

The answer script

The answer script shows

The answer script

The answer script

The answer script

shows evidence of

evidence of good

shows evidence of

shows evidence of

shows absolutely no

excellent understanding

understanding of various

satisfactory

limited understanding

understanding of

of various garment

garment manufacturing

understanding of

of various garment

various garment

manufacturing process

process & techniques

various garment

manufacturing process

manufacturing

& techniques used and

used and also to plan

manufacturing process

& techniques used and

process & techniques

also to plan production

production process for

& techniques used and

also to plan

used and also to plan

process for deliveries in

deliveries in time.

also to plan production

production process for

production process

process for deliveries in

deliveries in time.

for deliveries in time.

Understand the various garment manufacturing process & techniques used and also to plan production process for deliveries in time.

(Assignment 1)

First class

time.

time.

SQA 11 Show effective presentation and communication skills

Assessment 2: Project

Method of Assessment: Summative Weightage : 80% LOs that will be assessed by this assessment : KU 1, 2, 3, and 4, SQA 7, 8, 9, 10 and 11 Brief for Assessment: You will be working on a design project by selecting any one option from the following Option I: CONTEMPORARY INDIAN WEAR PROJECT The Contemporary Indian wear project gives an insight to the evolving Indian market of Contemporary Indian wear that has imbibed some elements from the west in terms of silhouettes and cuts but retained its ethnic identity in its color palette and embellishment details.

Aim: • To apply understanding of fashion design process along with Fashion forecasting and trend study.

• To further develop illustration, graphic and visualization skills.

• To provide advanced knowledge in pattern cutting for evening wear and Indian occasion wear.

• To further extend pattern development techniques relating to the constraints and properties of various fabric types and train for independent study and research.

• To enable the students to address a market oriented design brief.

• To expose students to the entrepreneurial process and provide a framework for learning.

• To develop knowledge of various production methods and evaluate various clothing manufacturing systems and equipment in the industry.

Design Brief: In this project you will be designing a range for contemporary Indian wear. The garment to be realized needs to be customized to address issues of appropriate fit and correct design solutions for a body type.

The selection of fabrics to suit design, fit and fall and surface embellishment is important. The total budget for the garment to be realized is not to exceed Rs.5000/Rich information is available from renowned web sites and blogs as well as journals. Work around an inspiration taking cues from incorporating interesting and innovative design details for the given theme applying basic fundamental learning in the occasion wear module.

Infusion of suitable surface embellishment will impact the look of the garment You are required to present your visual diary during interim feedback as well as during final presentation.

The diary includes ideas, inspiration, working drawings, design development, color stories, fabric choices, constructive criticism of your work, record of progressive development through the course of the module, personal reflection, etc You should be able to demonstrate ability to identify, resolve and present relevant design concerns and the rationale involved.

The final outcomes are required to be presented in the form of a final garment, visual diary and final range sheets.

You can explore the following areas: Contemporary Indian designer creations Textiles, surface texturing and motif development

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Silhouettes Style variations achieved through innovative and technical interpretations Variations in lengths, hemlines, necklines Indian identity infused with a contemporary flavor Option II: EVENING COUTURE PROJECT The Haute Couture project gives an insight to understand custom fit for specific body type amalgamated with appropriate fabric choices and garment details to result in a flattering and impactful outcome. The challenge and opportunity to experiment towards desirable outcome is set by the budget parameters of Rs.5000/- only.

Aim: Evening Couture aims at developing skills of contouring in patternmaking and garment construction to set benchmarks of quality stitching and understanding fabric properties to achieve these set standards.

The process of custom making these garments re-enforces the importance as a designer to understand body types and subsequent design solutions.

The design development process is on research and development of suitable options for translating the envisaged design into reality.

Design options are to be developed through 2 dimensional drawings as well as exploring materials, colors and details. The explorations are an integral part of the ideation process and need to be documented in the designer’s visual diary. The journey from concept to product represents the designer’s creativity and contribution to finding a solution.

Design Brief: In this project you will be designing an Evening wear range for a red carpet, taking directions from the following observation.

To understand the technicalities and importance of fit and choosing appropriate fabrics to achieve the same. The students will construct a princess line bustier in class with boning details applying different approaches. This further becomes the foundation learning to help realize more challenging design solutions. The drape and fall of the fabric, its properties, surface embellishments and the trims/accessories that are used will evidence the students application of learning from their experiences this far.

You can explore the following areas: • Analysis of evening wear as seen in most popular red carpet events like landmark award ceremonies • Textiles, surface textures and motif development for surface embellishments • Silhouettes and proportions • Styling and innovative design ideas • Fabric and trims • Fit and fall and finishing The final outcomes are required to be presented in the form of a garment, visual dairy, and range sheets.

Component 1: Design Process and Exploration: (30 marks) You are required to: · Demonstrate the ability to carry out market and trend study and identify variety of design

· · · · · · · ·

ideas.

Reading up on relevant Social ,historical, economic concerns influencing design Gathering Visual and garment materials Gather information on garment styles related to evening wear/occasion Indian wear Visually as well as textually record and depict the progressive development through the process of arriving at design solutions.

The process of development of ideas identified from market, including inspiration or story building , into final designs in visual diary The process of selecting the fabric and color story The process of Surface treatment swatches Design development

Component 2: Visual diary/Process Book (30 marks) The visual diary will evidence the journey from concept to product through visual imagery and reflective criticism in the form of prescriptive size display book containing: · Cover page · Design Brief · Inspiration & Ideas · Material exploration · Constructive criticism and personal reflection · Presentation boards of theme (Mood Board, concept board or any other format) · Fabric and color story: Final · Graphic development and Surface treatment swatches : Final · Excerpts from the Design development sheets · Final collection presentation (Range sheet ) · Flat drawing sheet of range · Use of - mixed media · Record of progressive development · Complete specification sheet of final design selected · Cost sheet and Process of arriving at costing · Photography of the styled final garment to be documented as a final look Component 3: Product Realization (40 marks) You are required to present the following: • Visual diary • Patterns and Toile • Final Garment • Specification Sheets ( Students to calculate the fabric consumption and variable costs) • The class assignment on Advance Draping where you will come up with a pinned drape in final fabric of your choice.

• Students to present and justify their concept reflection in the developed product to the jury/display Assessment Criteria for Component 1 & 2:

22

You will be assessed on the following: 1. Broad based and in-depth study of the market and current trends and Forecasting 2. Clear visual and textual representation of design ideas 3. Translation of design concepts and ideas into the garment 4. Work done to develop illustrated range 5. Concept reflection in the product developed with respect to design and market study 6. Clear representation of design ideas and concepts 7. Design Range sheet 8. Time management and planning 9. Clarity of process through the visual imagery and constructive criticism Assessment Criteria for Component 3: You will be assessed on the following: 1. Neatness and Accuracy in garment construction 2. Fit, fall and finishing of garments 3. Application of appropriate and innovative construction skills 4. Pattern making exploration to visualize as well as apply the transformation from pattern to garment.

5. Appropriate handling of fabrics 6. Impact of outcome and appropriateness for the relevant theme.

Date of submission: Week 14, 20th Nov 2014 Venue of Submission: Art Room (A 36) Whom to be submitted: To the jury panel

The following rubric indicates how you will be graded for your assessment element 2: Grade ->

Grade ->

First class

Second Class Lower Division 50-59%

Third class

70% & above

Second Class Upper Division 60-69%

The assignment evidences a good standard of creative combination of materials, components of visual

The assignment evidences a satisfactory level of creative combination of materials, components of

The assignment just about evidences a creative combination of materials, components of visual design and

The assignment does not evidence any creative combination of material, components of

40-49%

KU4 and SQA 1

Independently plan and manage research activities and analyze design ideas to realize in a garment form.

KU 1 Demonstrate understanding and application of advanced level of design

The work evidences superior standard of creative combination of materials, components of

principles and related technology, materials and processes.

visual design and functionality. It evidences a link from concept to product justified by progressive stages in design and techniques.

design and functionality. It evidences a link from concept to product justified by progressive stages in design and technique.

visual design and functionality. It satisfactorily evidences a link from concept to product justified by stages in design and technique.

KU 3, 5 and SQA 3

The outcome substantiates excellent application of pattern making and garment construction skills through a well planned and executed process to impact desired achievement in design and product.

The outcome substantiates good application of pattern making and garment construction through a planned and executed process to impact desired achievement in design and product.

The outcome satisfactorily substantiates appropriate application of pattern making and garment construction through a planned and executed process to impact satisfactory outcomes.

The submitted portfolio exhibits an excellent individualistic representation of illustration and graphic skills that impact the given theme to a superior advantage. The presentation skills evidence a mature and distinctive approach towards exhibiting the design range.

Design related Issues/ problems to be considered critically are stated clearly and described comprehensively.

Information is taken from source(s) with enough interpretation/ evaluation to develop a comprehensive analysis or synthesis.

The submitted portfolio exhibits a good individualistic representation of illustration and graphic skills that impact the given theme to a great advantage. The presentation skills evidence a professional approach towards exhibiting the design range

The submitted portfolio exhibits a satisfactory representation of illustration techniques that impact the given theme to an advantage. The presentation skills evidence an approach towards exhibiting the design range that is adequate.

The submitted portfolio exhibits an average representation of illustration techniques that barely result in an impactful outcome.

The presentation skills evidence a limited approach towards exhibiting the design range.

Issues/ problems to be considered critically are stated and described to avoid omissions.

Information is taken from source(s) with enough interpretation/ evaluation to develop a coherent analysis or synthesis.

Issues/ problems to be considered critically are stated, described to a great extent to avoid omissions.

Issues/ problems to be considered critically is stated but description leaves some terms undefined, ambiguities unexplored.

Information is taken from source(s) with limited interpretation/ evaluation

Application of appropriate pattern making and garment construction skills, handling of various fabrics, linings and interlinings as per the look required.

KU 2, SQA 2 and 5 Individual expressions and techniques of illustration and presentation skills in context to given theme.

SQA 4

Show critical thinking to reflect on your own work as well as peer work.

24

Information is taken from source(s) with some interpretation/ evaluation, but not enough to develop a coherent analysis or synthesis.

functionality. It barely establishes a link from concept to product by progressive stages in design and technique that are not totally comprehensive.

The outcome displays below average application of pattern making and garment construction skills.

There seems to be a lack of clarity in planning and executing pattern making and garment construction process for a desirable outcome.

visual design and functionality. It does not exhibit nor justify a progressive journey from concept to product.

The outcome does not substantiate appropriate application of pattern making and garment construction techniques. It lacks a systematic approach in pattern making and garment construction. The outcome does not display a standard desirable for Level II. The submitted portfolio does not exhibit the required illustration and graphic skills that impact the given theme. The presentation skills do not evidence a mature approach towards exhibiting the design range.

Issues/ problems to be considered critically is stated without clarification or description.

Information is taken from source(s) without any interpretation/ evaluation.

Note: Late submission, absenteeism and plagiarism will be treated according to the norms laid down in the students’ handbook.

Feed back to you: You will receive formative feedback during the semester from your tutors orally, as well as in writing.

Summative feedback will be given in writing on submission of the assignment and its evaluation thereof.

The grade for the module is provisional and subject to the ratification of the exam board which will be held at the end of the academic session.

If you have a problem – special situation If you have any problems with the module or the work, see the respective module tutor or module leader as soon as possible. They may be able to help, and sooner a problem is identified, the easier it will be to sort out. If you are ill or have other special situations which might affect your ability to meet deadline, your assessment will be evaluated as per the rules in Student Hand Book. So, it is strongly recommended that you read the Section 12 in Student Hand Book very carefully and satisfy your queries, if any, by asking course Leader/ Course coordinator. In case of any non-academic issues, you are encouraged to meet the Student Counselor at Student Development and Support (SDS).

Darshan Chandekar (Module Leader)

FEEDBACK

PG DIPLOMA

Student Name: Course Semester Module Title: Assignment Title / No: Weight %: Tutor:

Students Feed Back Form Ambreen FDPG 2013-15 1 FASHION DESIGN PROCESS Integrated End Term Project

Ambika, Darshan, Jaspal, Bela, Ramnik, Saurabh, Tripti, Swati, Rita Submission Date: 2nd & 3rd Dec. 2013 Re-submission Date:

Learning Outcome (as per Module Specification) Knowledge & Understanding 26

Summative Feedback Date

Referral Requireme nt (if any)

1. Examine and critically evaluate the design process and provide innovative, original and working solutions for the given design brief.

2. Display awareness and knowledge of body–form and relationship to aesthetics in fashion.

3. Exhibit understanding of the application of basic principles and concepts of Pattern making, Draping and Garment construction so as to realize a 3-D form from a 2-D sketch.

4. Explore, expand and deepen their knowledge and understanding of creative textiles and related processes and apply creative textile techniques and processes for product development 5. Be able to identify different common fabrics and their basic attributes and should be able to source and select the most appropriate fabric related to their inspiration.

The choice of metal elements is suitable for the theme you have followed.

You have manipulated the material well and came out with an interesting outcome.

This was your first time working with such metal but the outcome is aesthetically balanced.

More exploration with respect to style lines, silhouette and surface is needed, limited sketches/doodles leads to limited choice.

Usage/combination of any other textile art (dyeing, printing, 3D surface manipulation) is not visible.

You could try out different fabric combinations which are more suitable for the metal elements.

Skills, Attributes & Qualities 1. Explore, analyze and interpret design concepts to create garments.

2. Apply basic garment pattern making and construction skills and draping with context to material, form manipulation in a creative manner in the process of design realization.

3. Demonstrate personal creativity, self – awareness and ability to critically evaluate own and peer performance.

4. Display organization skills, time and stress management, planning and team-working 28

skills.

5. Should be able to demonstrate analytical skills and synthesize the learning to select the appropriate fabric

Distinction 70% or above

First Class

Second Class

60% or above but below 70%

50% or above but below 60%

Signed by: _________________

Fail Below 50%

Date :

Grading Criteria for Assessment Element I&II: Grading Criteria Learning Outcome

Distinction >=70%

First Class 60%- 69%

Second Class 50%59%

Not Satisfactory <50%

Examine and critically evaluate the design process and provide innovative, original and working solutions for the given design brief.

Accurate understanding of design brief and data documentation covering all six context, client, analogous solutions, techniques, materials, and solution inferences

Some understanding of design brief and data documentation covering at least 3 context, client, analogous solutions, techniques, materials, and solution inferences

Inaccurate understanding of design brief and data documentation don’t provide valid data or covers only 1 or 2 aspsects

Display awareness and knowledge of body–form and relationship to aesthetics in fashion.

1) Final direction works well—the form and the interaction are seamless and 2) it looks great and 3) its

Mostly accurate understanding of design brief and data documentation covering only five of six context, client, analogous solutions, techniques, materials, and solution inferences Only 2 of the 3 components are addressed such as it works well and looks great, but it’s

Only 1 of the 3 components are addressed such as looks great, but it’s incomplete and does

Final direction would fail in use and either the interaction or product form are unfinished

complete

incomplete

not follow bodyform

Exhibit understanding of the application of basic principles and concepts of Pattern making, Draping and Garment construction so as to realize a 3-D form from a 2-D sketch.

The product shows 1)deep and logical connection between principles, concepts and directions to realize 3D form 2)Prototypes and product of use bring opportunity areas of 2D sketch to life

The product shows either 1)slight logical connection between principles, concepts and directions to realize 3D form 2)Prototypes and product cannot communicate the interest areas of 2D sketch

Sketches and prototypes don’t get same ideas across and no connection to principles and concepts

Explore, expand and deepen their knowledge and understanding of creative textiles and related processes and apply creative textile techniques and processes for product development

1) Alternative techniques explored for different facets of use; 2) application has many insightful implications are drawn from experimentation; and 3) demonstrates knowledge of key issues and usage Clearly demonstrates what fabric will work well and why, and is demonstrated in its usage

The product shows 1)some logical connection between principles, concepts and directions to realize 3D form 2)Prototypes and product need explanation to communicate and it is difficult to visualize the stress areas of 2D sketch 2 of 3 components are addressed

1 of 3 components are addressed

None of components are addressed

Slightly demonstrates and articulates what fabric will work well with explanation, what did not work well and why, or ways to improve use with the concept Hypothesis is clear, satisfactory research done and clear research plan is evident Used very informal feedback to drive refinement in the design process

Does not demonstrate but shows articulation towards identifying appropriate fabric for the concept

Does not demonstrate or visualizes appropriate fabric for the concept

Hypothesis is clear, but research not done though research plan is satisfactory

Hypothesis is confusing and is not tied to research planning

Used very limited feedback to drive refinement in the design process

No testing or feedback evident

Goals, accomplishments and time are covered; but are not always completed each week or vice versa

Goals, accomplishments and time are somehow covered; but are not completed each week or vice versa

Goals, accomplishments and time are not covered; not completed each week

Be able to identify different common fabrics and their basic attributes and should be able to source and select the most appropriate fabric related to their inspiration.

Explore, analyze and interpret design concepts to create garments.

Hypothesis is clear and a elaborate research is visible

Demonstrate personal creativity, self – awareness and ability to critically evaluate own and peer performance.

Used systematic testing to validate or drive refinement in the design process

Display organization skills, time and stress management, planning and team-working skills.

Goals, accomplishments and time are covered; completed each week

30

FD FEEDBACK FORM, FD 2010-14 Batch, Level III Student Name: Juhi nanda Module Title: Final Design Project Assignment Title / No: Design & Product Developing Process/ AE I Weighting %: 50% Tutor: Submission Date: 01/09/2014 Re-submission Date:

Learning Outcomes (From Module Specification)

Feedback against Learning Outcomes

After completing this module you should be able to: LO1: (KU 1)Conduct independent research on selfdirected design briefs.

•

Yes, to a satisfactory level you have been able to achieve the goal of independent research.

•

Clarity in exploration is visible but lacks analysis. You need to analyze explored material well to reach better result.

•

Not evident. The portfolio does not reflect research in forecasting trends.

LO5: (SQA 2) Demonstrate ability to plan schedules and manage time effectively.

•

Limited approach and utilization of skills.

LO6: (SQA 5) Practice the skill for learning to learn thereby developing an appetite for reflective, collaborative and adaptive learning

•

You need to learn to manage your time better.

•

No collaborative approach visible.

LO2: (SQA 1) Demonstrate analytical, critical and evaluation skills LO3: (KU 3)Apply techniques of forecasting trends (wherever applicable), sourcing fabrics, trimmings and design LO4: (KU 5)Utilize specialized skills across a focused area of study

Area referred / when to complete

Signed by: _________________ First Class 70% - above

Date: _________________

Second Class Upper 60% 69%

Second Class Lower 50% – 59%

Third Class 40% - 49%

Fail 39% - below

P

R

Staffs comments after Referral:

Signed by: _________________

Date: _________________

Feedback Form (Rubrics) FD 2010-14, Level III Module:Final Design ProjectAssignment Title/ No: Design & Product Developing Process/ AE I Student’s Name:_____Juhi Nanda___________Sec.___C___________ Criteria

First Class

Second Class Upper Division LO1: (KU 1)Conduct independent research on self-directed design briefs.

Extensive independent Well informed Research research, accuracy, familiarity judgements made of Systematic with the material, and sound the relative value of identification and judgements connected investigation of information from a appropriate sources wide range of sources LO2: (SQA 1)Demonstrate analytical, critical and evaluation skills Accurate and perhaps Accurate Analysis personally based synthesis interpretation and Examination and and evaluation of elements evaluation of interpretation of relationships resources between elements

Second Class Lower Division

Third Class

Fail

Information is accurate, appropriately categorised and from a range of sources

Adequate information has been gathered and documented from readily available sources applying standard techniques

Little or no information presented

Accurate interpretation of the relationships between constituent elements

Key elements within relevant information are identified, but may lack accurate interpretation

Little or no evidence of examination of source material

LO3: (KU 3)Apply techniques of forecasting trends (wherever applicable), sourcing fabrics, trimmings and design Evidence of understanding key aspects of the subject context, in current debates and / or historical background.

References to some relevant movements / people

Unable to evidence or articulate basic principles and knowledge related to the subject

Unfamiliar conceptual Evidence of Evidence of exploration Experimentation territories may be explored conceptual risk of processes, media and Problem solving, risk taking / using own materials; may lead to taking, analysis to inform potential directions for experimentation and further cycles of future work testing of ideas and inquiry materials in the and potential future realisation of concepts directions LO5: (SQA 2)Demonstrate ability to plan schedules and manage time effectively.

Operates within familiar and well established ideas, processes, media and / or materials; some evidence of exploration

Little or no engagement with alternative ideas and processes

Management of learning through reflection, planning, self direction, subject engagement and commitment

Evidence that reflection and planning have led to increased subject engagement and commitment.

Developing an awareness of strengths and weaknesses

Consistent lack of evidence of reflection or planning for learning. No awareness of personal strengths and weaknesses in relation to task

Subject Knowledge Understanding and application of subject knowledge and underlying principles

Contributes to the subject debate by assimilating knowledge into a personal hypothesis (or elements of / the beginnings of one)

Accurate, extensive understanding of subject context.

Evidence of appreciation of the relative significance of movements and people

Accurate understanding of subject context.

References to key movements and people

LO4: (KU 5)Utilize specialized skills across a focused area of study

32

Takes full responsibility for own learning and development through iterative cycles of well articulated purposeful analysis and planning, supported by extensive evidence

Reflection and planning is self directed, iterative, habitual and evidenced clearly.

Strengths have been built on, weaknesses have been mitigated

Evidence that a cycle of reflection and planning has been iterative and productive. Actively works to develop strengths and mitigate weaknesses

LO6: (SQA 5)Practice the skill for learning to learn thereby developing an appetite for reflective, collaborative and adaptive learning Collaborative and /or Independent Professional Working Demonstration of suitable behaviour for working in a professional context alone, or with others

Integrates a sense of own identity productively into real or simulated professional situations. Can work comfortably as a team member, in a leadership role, or alone

Aware of and able to meet most standards required of relevant profession in simulated or real professional situations. May work well in a team, provide effective leadership, and demonstrate a well rounded profile working alone

Aware of and able to meet most standards required of relevant profession in simulated or real professional situations. Productive when working in a team or working alone

Awareness of main standards required of relevant profession.

Able to work both collaboratively and independently

Does not collaborate with others; unproductive working alone; shows no knowledge of related profession

Name of Tutor (s): _________________________ Sign: ______________________Date: ___________ FD FEEDBACK FORM, FD 2010-14 Batch, Level III Student Name: Module Title: Assignment Title / No: Weighting %: Tutor: Submission Date: Re-submission Date:

Learning Outcomes (From Module Specification)

Juhi Nanda Final Design Project Portfolio Presentation/ AE II 20% 01/09/2014

Feedback against Learning Outcomes

After completing this module you should be able to: LO1: (KU 3 & 4)Apply techniques of forecasting trends (wherever applicable), sourcing fabrics, trimmings and design, Do pricing and costing of the product taking into consideration all the costs, (direct and indirect), involved in producing the product.

LO2: (SQA 6) Exhibit effective oral and visual communication skills using a range of media to prepare and present product range.

Limited application of forecast information in portfolio and process book.while you have explored effects of prints to enhance your concept it lacks options for fabrics.

Satisfactory visual communication to briefly convey concepts but lacks the depth to show the process of transition in concept to garment.

LO3: (SQA 3) Demonstrate the values, ethics and competencies as a design professional LO4: (SQA 5) Practice the skill for learning to learn thereby developing an appetite for reflective, collaborative and adaptive learning

Effective to an extent as is evident from final garments

Satisfactory learning evident in explorations of ideas but with limited forms and silhouettes.

Area referred / when to complete

Signed by: lily maria sanyal First Class 70% - above

Date: 5.9.14 Second Class Upper 60% 69%

Second Class Lower 50% – 59%

Third Class 40% - 49%

Fail 39% - below

P

R

Staffs comments after Referral:

Signed by: _________________

Date: _________________

Feedback Form (Rubrics) FD 2010-14, Level III Module: Final Design ProjectAssignment Title/ No: Portfolio Presentation/ AE II Student’s Name:___Juhi Nanda_____________Sec.____C_____________ Criteria

First Class

Second Class Upper Second Class Lower Third Class Fail Division Division LO1: (KU 3 and 4)Apply techniques of forecasting trends (wherever applicable), sourcing fabrics, trimmings and design, Do pricing and costing of the product taking into consideration all the costs, (direct and indirect), involved in producing the product.

Understanding and application of subject knowledge and underlying principles

Contributes to the subject debate by assimilating knowledge into a personal hypothesis (or elements of / the beginnings of one)

Accurate, extensive understanding of subject context.

Evidence of appreciation of the relative significance of movements and people

Accurate understanding of subject context.

References to key movements and people

Evidence of understanding key aspects of the subject context, in current debates and / or historical background.

References to some relevant movements / people

Unable to evidence or articulate basic principles and knowledge related to the subject

LO2: (SQA 6)Exhibit effective oral and visual communication skills using a range of media to prepare and present product range.

Communication and Presentation Clarity of purpose; skills in the selected media; awareness and adoption of appropriate conventions; sensitivity to the needs of the

34

Message and medium are unified with personal style; the communication is persuasive and compelling; it takes full account of diverse audience needs

The nature and strengths of appropriate communication media have been exploited; information has been selected, organised and presented

Communication media have been selected / used with good judgement; standards and conventions of use have been fully adhered to; decisions

Conventions and standards are applied; structure is clear; information selection and organisation shows awareness of audience requirements and preferences

Ineffective use of visual / oral / written communication conventions in the production and presentation of ideas

audience

showing awareness of audience and context

show awareness of the audience and the context

LO3 (SQA 3)Demonstrate the values, ethics and competencies as a design professional Management of learning through reflection, planning, self direction, subject engagement and commitment

Takes full responsibility for own learning and development through iterative cycles of well articulated purposeful analysis and planning, supported by extensive evidence

Reflection and planning is self directed, iterative, habitual and evidenced clearly. Strengths have been built on, weaknesses have been mitigated

Evidence that a cycle of reflection and planning has been iterative and productive. Actively works to develop strengths and mitigate weaknesses

Evidence that reflection and planning have led to increased subject engagement and commitment.

Developing an awareness of strengths and weaknesses

Consistent lack of evidence of reflection or planning for learning.

No awareness of personal strengths and weaknesses in relation to task

LO4: (SQA 5)Practice the skill for learning to learn thereby developing an appetite for reflective, collaborative and adaptive learning Collaborative and /or Independent Professional Working Demonstration of suitable behaviour for working in a professional context alone, or with others

Integrates a sense of own identity productively into real or simulated professional situations. Can work comfortably as a team member, in a leadership role, or alone

Aware of and able to meet most standards required of relevant profession in simulated or real professional situations. May work well in a team, provide effective leadership, and demonstrate a well rounded profile working alone

Aware of and able to meet most standards required of relevant profession in simulated or real professional situations. Productive when working in a team or working alone

Awareness of main standards required of relevant profession.

Able to work both collaboratively and independently

Does not collaborate with others; unproductive working alone; shows no knowledge of related profession

Name of Tutor (s): _________________________ Sign: ______________________Date: ___________

FD FEEDBACK FORM, FD 2010-14 Batch, Level III Student Name: Module Title: Assignment Title / No: Weighting %: Tutor: Submission Date: Re-submission Date:

Learning Outcomes (From Module Specification)

Juhi Nanda Final Design Project Project Realization/ AE III 30% 01/09/2014

Feedback against Learning Outcomes

Area referred / when to complete

After completing this module you should be able to: LO1: (KU 5) Utilize specialized skills across a focused area of study LO2: (SQA 4) Demonstrate capacity for critical evaluation and judgment of new knowledge, concepts and evidences from a range of sources to propose a commercially feasible solution for the situation at hand.

LO3: (SQA 2 and 3)Demonstrate ability to plan schedules and manage time effectively and demonstrate the values, ethics and competencies as a design professional.

Signed by: _________________ First Class 70% - above

Second Class Upper 60% 69%

Date: _________________ Second Class Lower 50% – 59%

Third Class 40% - 49%

Fail 39% - below

P

R

Staffs comments after Referral:

Signed by: _________________

Date: _________________

Feedback Form (Rubrics) FD 2010-14, Level III Module: Final Design ProjectAssignment Title/ No: Project Realization/ AE III Student’s Name:_Juhi Nanda__________Sec.__C___________________ Criteria

First Class

Second Class Upper Division LO1: (KU 5) Utilize specialized skills across a focused area of study

Second Class Lower Division

Third Class

Fail

Technical Competence Skills to enable the

Idea and technique are Skills facilitate practice unified. Discernment and the communication and judgement are of ideas; full command

Skills facilitate communication of ideas; evidence of checking /

Skills are adequate to communicate ideas; accepted conventions

Execution demonstrates poor judgement and very

36

execution of ideas appropriate to the medium

evident. Technical / craft skills may have contributed to conceptual advances

of conventions and procedures is evident

testing / finishing; conventions and procedures are used consistently and appropriately

and procedures are usually applied

limited command of techniques

LO2: (SQA 4)Demonstrate capacity for critical evaluation and judgment of new knowledge, concepts and evidences from a range of sources to propose a commercially feasible solution for the situation at hand.

Unfamiliar technical Evidence of technical Evidence of exploration Operates within familiar Little or no Problem solving, risk territories may be risk taking / using own of processes, media and and well established engagement with taking, application explored analysis to inform materials; may lead to ideas, processes, media, alternative ideas and and experimentation further technical potential directions for materials and processes of ideas and materials solutions future work techniques; some in the realization of and potential future evidence of exploration products directions LO3: (SQA 2 and 3)Demonstrate ability to plan schedules and manage time effectively and demonstrate the values, ethics and competencies as a design professional Personal Takes full responsibility Reflection and planning Evidence that a cycle of Evidence that reflection Consistent lack of and Professional for own learning and is self directed, iterative, reflection and planning and planning have led evidence of reflection Development development through habitual and evidenced has been iterative and to increased subject or planning for Management of iterative cycles of well clearly. Strengths have productive. Actively engagement learning. No learning through articulated purposeful been built on, works to develop and commitment. awareness of personal reflection, planning, analysis and planning, weaknesses have been strengths and mitigate Developing an strengths and self direction, subject supported by extensive mitigated weaknesses awareness of strengths weaknesses in relation engagement and evidence and weaknesses to task commitment

Name of Tutor (s): _________________________ Sign: ______________________Date: ___________

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Introduction This paper is an attempt to evaluate the constructive alignment in Design Process Module for semester-1 students of Post-graduate Fashion Design Course. Constructive Alignment, a term coined by John Biggs (Biggs, 1999) in higher education to underpin the concept behind the current requirements for course specification, declarations of Intended Learning Outcomes (ILOs) and assessment criteria, and the use of criterion based assessment. This concept means how students construct meaning through relevant learning activities as the teacher is only a facilitator of learning (Biggs, 2003, p13). It is helpful to remember that “what the student does is actually more important in determining what is learned than what the teacher does.” (Shuell, 1986; 429). Agreeing to this also means that the curriculum which is designed and delivered must understand this concept and in turn must be designed and delivered in such a manner. I am a strong believer of the concept ‘learning happens the best in collaboration’ it can be interdisciplinary or within the same course learner belongs or tutor-student or studentstudent or a mix of all the above mentioned. Collaborative learning is a situation in which two or more people learn or attempt to learn something together. Unlike individual learning, people engaged in collaborative learning capitalize on one another’s resources and skills (asking one another for information, evaluating one another’s ideas, monitoring one another’s work, etc.). More specifically, collaborative learning is based on the model that knowledge can be created within a population where members actively interact by sharing experiences and take on asymmetry roles. Put differently, collaborative learning refers to methodologies and environments in which learners engage in a common task where each individual depends on and is accountable to each other. These include both face-to-face conversations and virtual discussions (online forums, chat rooms, etc.).

Some interesting quotes also came up which implies of the success of collaborative learning.

‘I hear and forget, I see and I remember, I do and I understand’

‘You cannot teach people anything. You can only help them discover it within themselves.’ Galileo ‘A teacher who is attempting to teach without inspiring the pupil with a desire to learn is hammering on cold iron.’

Horace Mann, 19thcentury, US educator, founder of Antioch University

‘Tell me and I’ll listen. Show me and I’ll watch. Involve me and I’ll learn.’

Teton Lakota Native Americans ‘Who teaches, learns. ’John Amos Comenius, 17th century European education theorist

‘Nothing new that is really interesting comes without collaboration.’ (My personal favorite), James Watson, co-discoverer of DNA ‘Collaboration operates through a process in which the successful intellectual achievements of one person arouse the intellectual passions and enthusiasms of others.’

Alexander von Humboldt, naturalist and explorer of the 18th and 19th centuries.

Module Designed and Evaluated

Fig. 1.1 Prasanna (CL) presenting his idea/structure for the new Fashion Design curriculum

In brief below table (Table No.1) explains the points taken into consideration while ‘Fashion Design Process’ module for the ‘Post Graduate Fashion Design’ sememster-1 was designed.

Points taken into considered

Remarks

Study the curriculums which were followed This gave an understanding into the earlier. module and its place in the complete Look deeper into module content, its delivery Course. and formative and summative assignments.

Strengths and curriculum.

40

weaknesses

of

the

past To analyze and understand the relevance of the content so as to ‘reinvent the wheel’ only where it’s needed.

Strength and curriculum.

weaknesses

of

Alignment of LOs with the assessments.

present To analyze and incorporate change with respect to the updating needed in both academic learning and industry application.

Detect the learning outcomes for its relevance to overall growth (intellectual and professional) and the present need of the industry.

Integration and Relation of the module with To induce Collaborative learning as a other modules/subjects. must.

Relevance of the contents fitting the gradual Basic understanding and application to progression of the complexity. understanding complexities and reflection of the same in ‘Design’ projects.

Marking criteria.

PASS was decided with respect to the optimum reflection of learning into the classroom assignments and the “End Term” submission while maximum reflection in the overall submissions would fetch outstanding.

Table no. 1 points taken into consideration while designing a module.

The module ‘Design Process’ is a part of ‘Fashion Design Process’ was designed for semester-1 POST GRADUATE FASHION DESIGN learners. From my past experience of teaching Design at NIFT, Delhi I was offered to design the curriculum for this course.

Besides it is also of my liking the versatility of a subject like ‘Design process’ is incomparable and can be unique with every individual learner. Deciding the content and validity of the same was a serious task for which I brainstormed with the POST GRADUATE FASHION DESIGN CL and also observed and learnt how the graduates performing in the academy and industry. My contacts in the Indian designer fraternity came as a big help for the feedback which clearly marked the difference between UG and PG students in terms of exposure and Design intellect.

Whole of this research came as a big help to decide the LOs and align it with assessments and further align it with industry requirements and must haves.

On the other hand collaborative learning which I firmly believe in and a must as part of a Design process module integration of it with other modules was very important so as to have a robust process and a final outcome.

‘Design Process’ is a 30 credit module and the assessment plan is shown as below.

Assessment Plan SCHEDUL E WK/DATE

DEFINITION ASSESSMENT

OF WEIGHTAG E

Process Book APPLICATION ELEMENTS PRINCIPLES DESIGN

LINK TO LEARNING OUTCOMES After studying this module you should be able to:

OF AND OF (40%)

1. Apply knowledge of elements and principles of fashion to visualize and present concepts and ideas.

2. Utilize creative design process as a key tool for inspiration and concept development for fashion ideas.

Integrated End Term Project-60% Project Brief

Table No. 2 showing assessment linked with learning outcomes

42

6.

Examine and critically evaluate the design process and provide innovative, original and working solutions for the given design brief.

7.

Display awareness and knowledge of body–form and relationship to aesthetics in fashion.

8.

Exhibit understanding of the application of basic principles and concepts of Pattern making, Draping and Garment construction so as to realize a 3-D form from a 2-D sketch.

9.

Explore, expand and deepen their knowledge and understanding of creative textiles and related processes and apply creative textile techniques and processes for product development 10.

Be able to identify different common fabrics and their basic attributes and should be able to source and select the most appropriate fabric related to their inspiration

Design Process is taught over 16 weeks and where 13 weeks are dedicated to design input with classroom projects, workshops and assignments based on the input given.

Week 14, 15 and 16 are dedicated towards design finalization (design refinement and construction of it with final fabric) and assessments.

As this is semester-1 of level-1 POST GRADUATE FASHION DESIGN course the entire curriculum is built keeping in mind the kind of learners we receive every year. POST GRADUATE FASHION DESIGN essentially invites learners/graduates from any stream/discipline which makes it an interesting mix of learners of which some crawl through the entire course and some come out with flying colors as compared with their non-fashion experience but mostly the diversity seen in the sensibilities throughout the learner group is something worth mentioning and for the same reason I practice regular display of assignments. Regular display of assignments brings about a sense of competition for some and sense of matching up or catching up with the benchmark for others, so overall this practice ends up with good results in the background of assessments.

Constructive Alignment Looking at the today’s education scenario, to be more specific, looking at the deliveries (teaching and learning) especially professional education and the options one may have are diverse yet to create a focused learning curriculum development must move away from ‘I teach you mug-up’ to more ‘learner centric’. As mentioned earlier here the learning outcomes that are aligned with lectures and workshops which are further aligned with the industry needs make the curriculum more learners centric as far as profession and professional studies are concerned. It needs a mention here that fashion is also a skill based profession. One’s intellect and observation and knowledge can reflect in the hands on skills like fashion illustration, pattern making, garment construction, creative textiles etc. and to enable this active participation of the learner in realization of the final outcome and following aligned assessments encourages learner and makes the learning process interesting, enjoyable and complete. Clarity in the module/curriculum structure is assured through constructive alignment and makes learning and assessment process transparent and smooth.

My experience at Pearl Academy was sort of mixed (students attitude towards learning) as other fashion institutes where I have taught earlier except the percentage of learners who bore the responsibility of learning, which was minimal and I observed that spoon feeding was a normal following in day to day life in the academy. On searching out the reason the facts surfaced that we here are more concerned about the final product/presentation/submission than the process which results in poor learning and quality of learning outcome.

To tackle with the above situation I found out the problematic areas Ex: “approval of designs”- where design tutor is supposed to approve and finalize the design. Students repeatedly asking questions on the topics already taught and discussed thoroughly etc, and worked upon it so that the learner take responsibility of their work and work progress and emerge confidant and not look at everything as “tick in the box”.

Fig.1.2 Aligning learning outcomes, learning and teaching activities and the assessment. Adapted from Biggs(1999)

fig.1.3 Sharmila Katre presenting/interacting/discussing constructive alignment during Faculty Workshop

Teachers can only be facilitators and create an environment which is encouraging and supportive of students engaging in the appropriate and necessary mental activity. We can do this by providing the pieces and specifications of what the students must become able to do as a result of modifying their cognitive structures, and set up or suggest activities that students can use to achieve these changes or intended learning outcomes. We must have a clear idea of what we want students to be able to do at the end of a unit of study, and communicate these intended learning outcomes to students so they can at least share in the responsibility of achieving them. However, we know that students will inevitably tend to look at the assessment and structure their learning activities, as far as they are able, to optimize their assessment performance. The assessment criteria should differ from the ILOs only in so far as that they might give more detail of performance levels required for specific rewards.

44

fig. 1.4 Sharmila Katre presenting/interacting/discussing constructive alignment during Faculty Workshop

Relooking at the curriculum to evaluate if the course structure is targeted to a learner group which is mixed in terms of capabilities was also one of the aspects I thought was important while designing the curriculum.

Need For Module Evaluation About POST GRADUATE FASHION DESIGN: Structure, Approach, Student Characteristic and Industry Needs Background

Pearl Academy observed an important ‘shift’ in year 1995 from being a purely vocational college to becoming an institute of higher education in professional studies. I call it a ‘shift’ because these in actuality were important steps in transformation of Pearl Academy if I compare the holistic growth with respect to the other fashion and design institutes of repute. An affiliation from Nottingham Trent University came in as a big change in restructuring the curriculum to align it with the requirements of an institute of higher education in professional studies. Pearl Academy today offers undergraduate and postgraduate Degree courses in various design and business disciplines validated

by NTU as well as PG Diploma courses in design, textiles and business validated by the Manchester Textile Institute.

Below (table no. 4) are the details of POST GRADUATE FASHION DESIGN course taken under study.

Basic Course Information 1 Institution/Branch Pearl Academy of Fashion/ Delhi

2 3

Awarding Institute: Final Award, Course Title,

Pearl Academy of Fashion/ Delhi Post Graduate Diploma in Fashion Design

4

Mo Normal Duration:

2Years

Table No. 4

As stated earlier POST GRADUATE FASHION DESIGN course allows interested learners, the fresh graduates from varied discipline to be a part of this course. The core modules are Design Process, Creative Textiles, Textile Studies and Design Studio-1 for level-1 semester-1. Along with these modules which progress with increasing complexity towards level-2, craft exposure and craft linked industry projects are an integral part of POST GRADUATE FASHION DESIGN Curriculum.

Among the Generic & Cognitive skills development, the course aims to develop the ability to express effectively & present design ideas in a professional manner (DCD-FDPG-2008-12 Annexure 4).

Process involved in Curriculum Development

Overview and general educationl aims of the course.

In 1995 Pearl Academy introduced PG program Integrated Fashion Technology Program (IFTP) validated by NTU. Subsequently there were other programs inducted in the disciplines of merchandising and production. The post Graduate experience in Design field commenced by starting Fashion Design Domestic Retail program in 1996 for the fast growing domestic garment industry in India. The program was initially a one year program which was converted into a 1 1/2 -year program in 1997. The program was renamed Fashion Design Indian Wear (FDIW) and further restructured in the year1998 and converted into a 2-year program to meet the growing needs of industry. In the year 2000, the academy partnered with LDT Nagol in Germany to provide a validated PG Diploma in Fashion Retail. In 2006 the Academy introduced a PG program in Textile Design Home Fashion. The FDIW program was subsequently renamed as Post Graduate diploma in Fashion Design Program in 2009. (1.1.3 Rationale and Market for the Program contextual document) Course Learning Outcomes: Course outcomes describe what you should know and be able to do by the end of your course if you take advantage of the opportunities for learning that we provide. I also feel that learner may ink his or her activities to the environment he or she is in so as to advance in activities required academically and go beyond/excel in it professionally.

A student is expected to demonstrate below abilities at the end of the program.

46

1. To demonstrate sound understanding and knowledge of technical and conceptual

areas of form, structure, materials, operative processes and aesthetics sensibilities.

2.

To demonstrate sound and deep understanding of creative approach through apt

visual and market research in identifying and solving design problems keeping abreast with the production processes.

3.

To demonstrate sound and deep understanding of trend forecast and its

application to develop collections for specific market keeping in mind socio cultural context and its relation to art and design world.

4.

To demonstrate sound and deep understanding of art and design intelligence

with awareness of historical and contemporary design issues for further developing lifelong skills to evolve a personal style and design philosophy.

5.

To demonstrate sound understanding of retail environment, consumer behavior,

social and commercial factors affecting fashion and textiles industry.

6.

To demonstrate sound understanding of information discrimination, review and

analyze data, consolidate design briefs, interpret trends, apply visual research, assimilate, evaluate and synthesize diverse concepts systematically.

7. To demonstrate deep understanding of fashion business context with a approach to

originality and innovation to handle diverse situations for the rapidly changing dynamic industry.

8.

To demonstrate mature understanding of contemporary issues of quality,

sustainability and waste management. (highlighted words/terms I feel are the fields which are needed to be stressed more in the new curriculum.)

Module Design Modules are not developed in isolation, but within a course or course structure and with relevant, professional body. Thus, internal and external factors must be taken into account at the planning stage. In terms of designing modules, we would argue that there is a need for a planned integrated approach to the process with the focus on the learning of the student. We would suggest that academic staff can begin the process not by focusing on the content of the module and how they intend to teach it, rather by focusing on the quality of learning that can be achieved by their students.

The module is the most important component of a curriculum as all the other modules together (the integration between them) assures the success of the curriculum. It

focuses on the content, delivery and learning experience. Modules cannot be developed in isolation, but need to be within the framework of the course curriculum structure as they form the base for the building blocks of the entire curriculum. It is also important to provide a holistic learning through a process driven blend of theoretical, practical hands on experience to function, strategize and render services to the fashion/textile life style design industry. The Course focuses on offering a learning scheme with a key focus on design thinking, innovative product development, through conceptualization, ideation, exploration, and experimentation. Students progressing into higher levels need to develop research and analytical abilities to understand the design industry along with the business environment and to develop value based professional competencies. A broad intake of graduates from any discipline to imbibe an integrated approach to design and technical subjects with thorough market understanding and gaining live experience through industry interaction, internship and live projects to learn better professional practices to develop students with a holistic perspective of complete product development process right from concept to product reaching its consumer is the aim kept in mind.

Learner Need

Teacher Need

Institution Need

LEARNER

Evaluation Mechanism Area of Theory

Module Design processProc ess Module Rationale

48 Subject Content

Deep Approach to Learning Constructive Alignment

Module Aims Learning Outcomes

Teaching Strategy

Fig.

No.

Assessment Strategy 1.5

Learner Support

showing inter-relationship between learner-evaluation process and areas of theory in the

framework of Module Design and Development, adapted from Rosin Donnelly and Marian Fitzmaurice.

There are a variety of models for the design of courses in higher education ( Biggs 1999) and many of the same issues are relevant in the context of designing modules. In the process of devising a module, the key is to forge educationally sound and logical links between learner needs, aims, learning outcomes, resources, learning and teaching strategies, assessment criteria and evaluation.

fig. curriculum for FD

fig. 1.5

Quality assurance through internal and external examiners to enhance TLA strategy as deep and comprehensive learning of the core areas and aligning it with the course learning out comes (Biggs, 2003) is of utmost importance.

50

1.4

Course

team

formulating/developing

new

fig 1,6 CCM with POST GRADUATE FASHION DESIGN Final th

Semester(4 sem.) in progress

fig. 1.7

CCM (course committee meeting) is another such event which helps the institution and the course/module to evolve. CCM is an event where all the course tutors, the course leader, course-coordinator and the student/class representative come together in a meeting to discuss

Fig. No. 1.8 Above diagram shows the interdependency of CCM with TQ/MQ and Modules/Course curriculum

various aspects of the module where student representatives and course tutors one by one comment on the progress of ongoing modules. Student’s representatives are also expected to report discrepancies and other infrastructural/logistics related issues.

Minutes for the same are taken down by the course-coordinator and are circulated amongst tutors involved in the module delivery, course leader and the head of the department. This way development of the learners, development of module, development of the course, development of the department and hence the institution is assured. Following a good practice of conducting CCMs is also helpful in understanding the changing psyche of the learning set (new batches) entering every year in the academy. The lifestyle and other influencing factors on each generation and their expectations, interest and requirements are openly discussed in Course Committee Meetings which ultimately benefit both the parties (academy as well as learner group/students).

Semester 1

Approach The first semester of the course is treated commonly for streams of learning within Design domain with the aim and purpose to build a sound, basic grounding for later disciplinary competencies. It is designated as Foundation. For the Post Graduate Fashion Design course though there is no foundation year as in UGFD but I have introduced 10 days work shop which covered elements of design and classroom hands on workshops to give the learners an experience similar to ‘Foundation’ similar to Under Graduate Fashion Design course within this short span. Learners get to explore not only ideas but also materials while meeting the brief for the submission of particular assignment within the workshop.

This 10 day ‘Foundation Workshop’ not only warms up the learners from different disciplines but also starts tuning them to understanding and experiencing a basic design process, material exploration and manipulation.

Learning Outcomes of Semester Knowledge and Understanding At the end of this semester of study, the learner expected to be able to demonstrate the following. a) Basic knowledge and understanding of theories and concepts of fashion design, its expression and manifestation, cultural and societal influences through the periods and its comprehensive understanding for the changing environmental requirements. b) Basic knowledge and understanding of conceptualization, ideation, visualization and realization with materials, tools and techniques in response to a given brief.

Introduction of the 10 day workshop was also an experiment of a sort but not something result of which was unknown. I was sure of its outcomes and the learning students would have by the end of it. It also served as warming up for the course looking at the diverse backgrounds these students coming from. Learning basics (elements of design) of design explains what design is all about and make them ready for future more complex design inputs. It’s been an experience of mine with PG students that I find the frequency of grasping/understanding of inputs given is notable/mentionable/commendable in contrast to the backgrounds they are coming from.

52

Fig. 1.9 Students at work during Design Workshop.

Fig. 2.0 Students at work during Design Workshop.

Skills, Qualities and Attributes At the end of this semester of study, the learner should be able to develop the following attributes. a. Simple investigative, analytical and creative skills in design process. b. Basic competence in hand drawing and graphic skills for visual communication and presentation techniques c.

Demonstrate time planning and team-working skills.

Learning Objectives and Related Modules The first semester of the program, is treated commonly for PG in all design streams, with the aim and purpose to build a sound, basic grounding for later design competencies.

In general, the structure, treatment and content are appropriate to address student preparation for and orientation to the broad spectrum of skills and concepts suitable to the following learning in the certificate and diploma phase of PG in Fashion Design.

Fig. 2.1 POST GRADUATE FASHION DESIGN sem.-1 foundation workshop in a studio environment

54

The basic concepts acquired in this semester will be applied and integrated at various levels in the next three semesters. The inputs given provide foundation for students to experiment and explore further, which instills in them the process necessary for further progress. This would also help the students have an understanding and hands on experiences and would have a lot of explorations which may become instrumental in giving better design ideas during next three semesters.

The knowledge and skills imparted in this semester give students an opportunity to analyze basic design and carry it forward to conceptualization.

The semester seeks to establish the importance and relationship of visualizing, conceptualizing and realizing designed products through a process of exploration and experimentation within the context of a range of art, design and special subject modules. Considerable importance is attached to research, practical investigation and visual experimentation. The full range of teaching and learning opportunities are provided which are necessary for generating awareness of the demands of art and design.

The modules in this semester are Fashion Design processes which imparts knowledge in elements of design to understanding proportion, balance, rhythm and harmony; basic understanding of color and color schemes, usage of color; visualization skills for hand mind coordination to draw designs; research methodology to understand techniques of research and communication skills to effectively communicate design process. The focus is towards sensitizing students towards design for imbibing aesthetics.

Relationship with other modules in the course Design is such a subject that on one hand it is complete in itself as it contains all the requirements in itself i.e. to perceive Design in isolation is not only an incorrect perception but also impossibility. (This is I believe is applied in systematic Design) while on the other hand Design is also a natural self driven process where we see numerous developments take place. Different phenomenons come up and perish in nature and one may capture it in pictures or by means of artifact collection.

Typically looking at tangibles apparel or garment design cannot be conceived without a consideration of SSS i.e. silhouette (shape/structure/form), style (style lines/cuts) and surface (color/surface ornamentation/embellishments). By stating that it’s evident that silhouette and style will come from PM (pattern making) and GC (garment construction).

PM and GC modules are part of the core module and are inseparable part of Fashion Design irrespective of the course (UG or PG) we talk about. Without the knowledge of PM and GC fashion design is an impossibility at least at this point of time. PM and GC governs fit and finish of a garment.

As far as surface is concerned modules like Craft Experience/exposure, creative Textile come in the picture where learning from these modules make an integral part of the final product, without which a product cannot be conceived in a commercial market.

Course Learning Outcomes: Course outcomes describe what you should know and be able to do by the end of your course if you take advantage of the opportunities for learning that we provide. I also feel

that learner may ink his or her activities to the environment he or she is in so as to advance in activities required academically and go beyond/excel in it professionally.

A student is expected to demonstrate below abilities at the end of the program.

9. To demonstrate sound understanding and knowledge of technical and conceptual areas of form, structure, materials, operative processes and aesthetics sensibilities.

10. To demonstrate sound and deep understanding of creative approach through apt

visual and market research in identifying and solving design problems keeping abreast with the production processes.

11. To demonstrate sound and deep understanding of trend forecast and its

application to develop collections for specific market keeping in mind socio cultural context and its relation to art and design world.

12. To demonstrate sound and deep understanding of art and design intelligence

with awareness of historical and contemporary design issues for further developing lifelong skills to evolve a personal style and design philosophy.

13. To demonstrate sound understanding of retail environment, consumer behavior,

social and commercial factors affecting fashion and textiles industry.

14. To demonstrate sound understanding of information discrimination, review and

analyze data, consolidate design briefs, interpret trends, apply visual research, assimilate, evaluate and synthesize diverse concepts systematically.

15. To demonstrate deep understanding of fashion business context with a approach

to originality and innovation to handle diverse situations for the rapidly changing dynamic industry.

16. To demonstrate mature understanding of contemporary issues of quality,

sustainability and waste management. (highlighted words/terms I feel are the fields which are needed to be stressed more in the new curriculum.)

Module Aim Design Process module aims at providing a postgraduate course in four phases, this allows a broad intake of students having a basic degree in any discipline or relevant industry experience of two years in fashion related areas. This two-year course welcomes all students who are willing to take up the challenges of the real world of the fashion industry, and yet develop a personal vision and point of view. The core modules

56

synthesize the creative process with sound product development techniques, research & business skills.

The PG diploma course in Fashion Design aims at

1. Providing a holistic learning through a process driven blend of theoretical, practical hands on experience to function, strategize and render services to the fashion/textile life style design industry 2. Offering a learning scheme with a key focus on design thinking, innovative product development, through conceptualization, ideation, exploration, and experimentation 3. Developing a personal style and vision to become a successful professional 4. Developing research and analytical abilities to understand the design industry along with the business environment and to develop value based professional competencies. The course has been planned to provide a thorough grasp of all important skills required to produce commercially viable products using technology which is of great importance in present day design activities.

Validation of PG / PD Courses - DOMUS ACADEMY wef aug 2014 Dear All, It gives me great pleasure to announce the sign off of institutional / collaboration agreement between Pearl Academy and Domus Academy, Milan, Italy .

Key highlights of the validation agreement are as under:-

1.

2.

DA will carry out validation of all Post Graduate courses (2-Year PG Diploma and 1-Year Professional Diplomas) / delivery centres w.e.f. AY 2014-15.

DA will nominate External Examiners and Verifiers annually for the validated courses

3.

Reciprocal Faculty Exchanges between Pearl and DA (ideally 2 members in a given AY)

4.

Diploma awards will be issued by Pearl with DA logo as Validating institution

5.

Optional 1-month study at DA, Milan, Italy for all PG Diploma / Professional Diploma course students ( compulsory for PGLB )

6.

DA will issue certificate of participation to PG students who opt for the 1-month study at DA

7.

PA will be able to publicise its relationship with DA

fig. No. 2.2 The coverage (mail sent by Col. S. Bose) of the most recent activity in Validation and formalization of PG Courses (dated: 29th Jan 2014)

Assessment Methods 1. The progress is monitored through regular (these are mainly classified as formative assignments for which assessments are done as far as Fashion Design related courses are concerned) assessment of the end term project (mostly classified as summative assignments for which assessment is done) of each module.

2.

The assessment schedule is derived from overall program and level

learning outcomes and is linked intrinsically with teaching and learning strategy.

3.

The assessment schedule outlines the stages at which various

assessments are carried out and their weightage.

4.

It also indicates the workload distribution, consolidation and integration of

program/level learning outcomes to enhance student’s ability for holistic learning.

5.

The assessment timetable allows the learner to plan and schedule your

workload and self-study process.

6.

The assessment brief provides the further details of work expected from

the learner to achieve the desired learning outcomes of the individual modules

58

along with the assessment and grade criteria and mode appropriate to the level and module type.

7.

The assessments and the regular feedback reflect achievements vis-à-vis

the learning outcomes.

Presentations will be made before juries, composed of your tutors and invited industry experts. The association of industry experts in providing you feedback will be valuable for your learning as it exposes you to industry and business perspectives that influence and impact the professional designer.

Conclusion Academic boundaries- holistic knowledge and understanding of the subject matter supported by modular integration within a course curriculum.

Industrial requirements- subject specific knowledge and understanding of operational systems leading to overall growth/development of the company.

The aim of an integrated approach is to ensure that the various elements of learning, teaching and assessment build upon one another to produce a unified whole in order to enhance students overall learning experience. Thus the elements of learning, teaching and the assessment adopted in this module are mutually supportive and each element forms an integral part of the whole system (Biggs, 2003) Constructive alignment to me seems not only an interactivity between LOs and Assessment but it goes beyond, reaches and penetrates the boundaries of integration.

Until and unless modules are integrated, desired and required LOs with respect to academic boundaries and industry needs are impossibility in today’s time and space.

References The DCD, as provided by the course team at the beginning of the Academic Session 2011 http://en.wikipedia.org/wiki/Collaborative_learning Biggs, J. (2003) Teaching for Quality Learning at University. Open University Press, Berkshire.

PEARL ACADEMY OF FASHION COURSE SPECIFICATION POST GRADUATE DIPLOMA IN Fashion Design, OUTLINE OF CONTEXTUAL DOCUMENT, 2010-12

Designing modules for learning, Roisin Donnelly and Marian Fitzmaurice, Learning and Teaching Centre. (http://www.aishe.org/readings/2005-1/donnelly-fitzmaurice-Designing_Modules_for_Learning.html)

Photographic documentation, Darshan Chandekar, 2013-14.

PG Fashion Design Fashion Design Process Module Leader: Darshan Module Team: Bela, Rita, Anuradha Dogra, Richa, Tripti Gupta, Swati Number of Credits: 30 16 weeks - Core Module

Introduction to the module The focus of this module is to establish the importance and relationship of visualizing, conceptualizing and realizing designed products through a process of exploration and experimentation within the framework .Considerable importance is attached to research, practical investigation and visual experimentation.

The Aim • • •

to gain basic design skills, conceptual and technical understanding of design processes Develop relevant design aesthetics in context of women’s wears.

The Content A brief explanation of the topics covered during this 16 weeks module

Design To learn visualization, actualization, and presentation in sem 1 as Foundation semester

• • • • • •

This includes introduction to the elements of design understanding proportion, balance, rhythm and harmony basic understanding of color and color schemes, usage of color Initiation into conceptualization of design The focus is towards sensitizing students towards design for imbibing aesthetics.

Understanding fashion terminologies

•

Getting an overview of the various segments of the apparel industry

Design Studio I In fashion designing the understanding of conversion of a visual to a 3 Dimensional form is most important. It provides an opportunity to understand and body shapes, garment fit and silhouette with skills and information required to sew, press, construct and analyze basic and good quality garments with awareness of balance & proportion. The knowledge would help you create complex forms through basic understanding of body form. Its through this knowledge that ultimate realisation of the visualisation will reach the form of an ensemble.

60

Creative textiles • To develop understanding of innovative techniques and finishes applied on fabrics for an end use.

• The understanding of color application by traditional and contemporary ways • To provide foundation for surface ornamentation to enable the students to add value to fabric by texturing or innovative use of machine stitches

Textile Study Fabrics form the basis of fashion. Knowledge of different fabrics is a must for a fashion designer. This is an opportunity for you to understand the important characteristics of the different fabrics used commercially. The knowledge will help you to explore the vast range of fabrics and seek inspiration to develop a particular look. This knowledge will also help you in selection of the right fabric for an end-use.

You can also directly apply the knowledge in creating fabric boards for your project.

Transferable Skills In addition to the module specific skills you will be required to work to a series of deadlines and start demonstrating independent learning. To facilitate this you will be learning under guidance to plan and manage your time and workload, dealing with personal evaluation and target setting to be logged on a regular basis.

Both visual and verbal communications will be of crucial importance throughout this module. The ability to take part in discussions of design / cultural and social matters and to communicate ideas within 2D will be important.

Essential reading/ viewing *

Stecker, Pamela, 1996, "The Fashion Design Manual", McMillan Education Australia Pty. Ltd.

*

Balaram, 5. 1998, "Thinking Design", National Institute of Design, Ahmedabad, NID.

*

McKelvey and Munslow, 2003, "Fashion Design: process, innovation and practice", India, Blackwell Science.

*

Vrontikis, Petrula, 2002, "Inspiration=ideas", Gloucester, Massachusets, Rockport publishers.

*

Luigana, Grandis De "Theory & Use of Color", Prentice-Hall Inc.

*

Laver, James, 1992, "Costume and Fashion", London, Thames and Hudson

*

Barnard, Malcolm, 2007, Fashion theory: a reader, London, Routledge, XIII, 607p.

* Heimann, Jim ed.60's, 2007 "Fashion: vintage fashion and beauty ads", Hong Kong, TaschenGmbh *

DastakariHaatsamiti, 2006, Craft Map of Punjab ( also N E Asia, A P,T N, W B, Bihar, J & K, Orissa,Maharashtra, Chhattisgarh, Uttaranchal, Haryana, GUjarat, Rajasthan, H P)

*

Dean Jenny, 1994, Craft of Natural Dyeing, Kent, Search Press

*

Cooper lIay, 1996, Arts and Crafts of India, Thames and Hudson, London Kadolph Sara J. & Anna L. Langford, 2007, "Textiles", Prentice Hall, New Jersey.

*

Pizzuto Joseph J, Arthur Price, Allen C. Cohen, 2005 "Fabric Science" Fairchild Publication, New York.

*

Hatch, Kathryn L, 1993 "Textile Science", San Francisco, West Publishing Company.

*

CorbmanBernard P. 1983 "Textiles, Fiber to Fabric", 6th Edition, McGraw-HiliInternational,US

Websites: http://www.vogue.com http://www.style.com http://www.wgsn-edu.com http://www.stylesite.com www.premierevision.fr

http://www.craftrevival.org Hyperlinks: http://www2.cruzio.com/~zdino/bookReviews/creative.habit.htm

List of words/ Vocabulary Haute Couture, AvantGarde, Atelier, Fashion, Classic, Fad, Knock off, Fake, Sportswear, Group, Season, Line, Design elements, Toile, Draping, Items, Style, Design, Target Market, Trends, Trade Publications, Color Services, Video services, Natural Fibers, RTW, Prêt-a-porter, Cut, Prototype, Fibre, Yarn, Twist, Yarn count, Ply, Fancy Yarn, Fabric, GSM, weaves, construction, sloper, pattern, notches, dart, yokes, cow

62

Module Plan and delivery It is important that you attend all the sessions and not only gain from the input but also share your valuable experience with the whole group. For classroom details and timing please follow the time table notified in the notice board.

Weeks

Elements Design

Module Tutors

Darshan Chandekar

Week 1

Week 2

of

Design Process

Creative Textiles

Design Studio I

Textile Study

Darshan Chandekar

Pavni

RamnikDhillon/ / Prem Kumar JaspalKalra/ Draping

Tripti Gupta Class 1

Class 2

General intr.&ma chi.pract

Introduction to different elements of design with reference to fashion.

Day-1 AV presentation and Dot

Sourcing Exercise Understandin g grain in fabrics as lineshorizontal, verticalidentifying lines in a fabric- Ex: corduroy, slubs , ikat,prints etc.-source 10 fabrics.

Basic characteristics of fabric & fabric terms& Form devel.ondressf orm from fabric.

Introduction to grainline/ blocking of fabric

Introduction to Drafting and Draping and its principles.

Day-2 Line (the trace of a moving point or dot)

Creating lines with sewing machine on fabric with various tensions upper and lower(bobbin) and changing thread color.create 10 swatches. (pre-requisit for the next class i.e. button masala should come from PM-GC class- create a yardage with buttons and button holes to come up with drape variations in the following week.)

Draping of bodice block.( FRONT)

Machine practice contd.

.

Machine practice contd.

Classification of fibresNatural fibres TLA-Fibre samples, PowerPoint presentation

Week 3

Week 4

Day- 3 Shape(Repetit ion of a line forming an enclosed form)

Button hole with hand and button/ fastener attachment to understand dots.

Understandin g button sizes and shanks etc. (Button Masala exercise).

Create N’ Click.

Camera is mandatory for this class.

Sharing of a Camera is absolutely banned.

Draping of bodice block.

Cont.(BACK)

Draft the Basic skirt block

Skirt contd.

Day- 4 Form/Structu re

French seam, flat felt, bound as textures and lines.

Creating horizontal, vertical, diagonal lines, puckering as a design element and controlling it, line qualities with thread counts and variations within that, through thread pulling, SPI etc.-create 10 swatches.

Molding paper and fabric on body form torso through cutting, pasting, pinning etc.

Trueing& fit correction

Basic Bodice Block Draft the basic bodice block using std. size 12 measurement

Basic Bodice Block (Cont) Draft the basic bodice block using std. size 12 measurement

Converting it to a sloper

Patterns to be ready : Straight skirt with curved / inseam pockets, CB zipper opening, facing/ waistband at the waist Show layout on fabric (med.

Wt. cotton fabric)

Man made fibres TLA-Fibre samples, PowerPoint presentation

Identification of fibres TLA-students perform self learning exercises of burning test and draping the fabrics.

Week 5

Week 6

Week 7

Week 8

Week 9

Day- 5 Texture

Day- 6 Color Introduction to color

Day-7 Space

Creative display of the assignment in a given space.

Day-8 Design process Analyzing design process.

Day- 9 Design Generation An introduction into design generation and its components.

Garment hems as a breaking line and various treatments.

Creating volume in skirt and adding and subtracting shapes/ style lines.

Draping skirt.

Pleats and gathers to add volume by adding shapes both in flat and in form.

Draping a skirt.

Converting it to a sloper

Interaction of diagonal lines in miteringexplore more on matching and mismatching.

MID EXAM

Contrasting lines with pockets in striped paper or an Art work, exploring lines in pocket and converting it into fabric Edging with chording, and bias facing in striped or printed or solid fabric.

Draping princess Bodice

Explore volume by extending seam lines in Bodice or a Skirt.

a

Hem Types

Dart Manipulation

by Slash & Spread Method.

(Draped bodice sloper to be used)

• Single &

double darts

• Curved & Angular Darts

• Gathers • Pintucks

• Dart

Manipulation

by Pivot Method.

TERM Presentation related to visuals of dart manipulation.

Yokes Asymmetric darts

Darts into seams through bust pointprincess

Assembling of skirt Patterns from PM class will be used.

• Curved /

• Tie and dye • Ambre

dyeing Batik

Draping princess Bodice Cont.

Facing/ waistband at the waist

Yarn count TLA-lab activity to determine the yarn count and self learning to see the effect of yarn count on the fabric properties.

Twist in the yarn TLA-Students to study twist in the twist and understand its effect on fabric properties by studying different fabrics.

Skirt contd.

Zipper attachment Concealed Lapped / Centered (sample only)

Fabric properties TLAFabric constructions, gsm TLA- Self learning exercises by determining the fabric construction and gsm of plain woven fabrics – Sheeting, poplin, cambric and Voile.

Finishing of Skirt

Identification of basic Weaves TLA-Power point presentation, fabric and garment samples,

inseam Pockets

Applic. of color through dyeing

Types of Yarn TLA-self learning exercises to understand single, plied, fancy yarn and how it effects fabric characteristics.

Week 10

Texturing through machine stitches

Draping flared skirt

An introduction into design finalization.

Create a collar using differently sized and colored polka dots.

Explore different shapes in collar.

An introduction to moodboard, its usage and importance of it in the fashion industry.

“Polka Block”juxtaposing solid and polka fabric in a bodice

Knotting & creative weaving techniques to create or to enhance the look of a product

Draping yoked skirt

Week 12

Design Generation

Applic. ofCreat. Tex To design proj.

TERM EXAM

Week 13

Design Generation

Week 14

Design Refinement

“Polka Block”juxtaposing solid and polka fabric in a skirt Select two elements out of color, texture, shape, line, dot and create an ensemble having pockets, collar, sleeves, exploratory hems and seams beyond machine stitching .

----do----

Week 11

Day- 10 Design Finalizatio n/Realizati on

Exploring by simply converting to balloon skirt

Basic Sleeve drafting Openings and facings: Placket extension Concealed plkt Facings

Collars: Peter Pan collar Mandarin collar Convertible collar Pattern required: Front bodice variation with turn- back placket, back bodice on fold, sleeve Collar and neck facing pattern (french seams)

Identification of other commonly used weaves TLA-Power point presentation, fabric and garment samples,

Sleeve variations:

Assembling of bodice Stitching of darts

Common weaves TLA-Students to bring in garments and identify the weaves.Visit to the resource centre

• Flared • Puff/ bishop

Side seam & shoulder seam (French seams)

Assembling of bodice Placket making

One Basic set in sleeve attachment

Applic. ofCreat. Tex To design proj.

Bias facing on one armhole Collar preparation

Collar attachment Finishing

Applic. ofCreat. Tex To design proj.

Skirt Variations:

Pattern Making - project

• A-line/

Flared Skirt

Submission

• Godet Skirt – in-built & inserted Yokes

• Gored /

panel Skirts

Week 15

Design Finalization

----do----

Week 16

Design Finalization

Display of final ensemble, documentati on, PM/GC file

Applic. ofCreat. Tex To design proj.

Applic. ofCreat. Tex To design proj.

Pattern Making - project

Garment Making project

Garment Making project

Garment Finishing project

Pattern Making contd.

Assessme nt

(Apart from the contents, the module tutors need to specify the weeks for Formative/summative assessments, any out door visit, talk by external experts etc.)

Submission datesProcess Book-Week 7 Late Submission Dates: 16th week As per the rules mentioned in Student Handbook (Section: 12.7) Formative Assessment In order to gauge your progression within the module, your work will be required to be submitted for evaluation. This will be explained more fully to you during the module.

This is not a formal assessment; but you will get a descriptive feedback from the tutor which will help you to move forward in your learning process.

Please remember: “descriptive feedback provides students with an understanding of what they are doing well, links to classroom learning, and gives specific input on how to reach the next step in the learning progression.” So it is your responsibility to maintain the records of feedback in different sessions in a specified format.

Summative Assessment

Portfolio 40% Integrated End Term Project 60%

Assessment Plan SCHEULE WK/ DATE

DEFINITION OF ASSESSMENT Process Book

WEIGHTAG E

LINK TO LEARNING OUTCOMES After studying this module you should be able to:

APPLICATION OF ELEMENTS AND PRINCIPLES OF DESIGN

3. Apply knowledge of elements (40%)

and principles of fashion to visualize and present concepts and ideas.

4. Utilize creative design process as a key tool for inspiration and concept development for fashion ideas.

Integrated End Term Project Brief

Project-60%

11.

Examine and critically evaluate the design process and provide innovative, original and working solutions for the given design brief.

12.

Display awareness and knowledge of body–form and relationship to aesthetics in fashion.

13.

Exhibit understanding of the application of basic principles and concepts of Pattern making, Draping and Garment construction so as to realize a 3-D form from a 2-D sketch.

14.

Explore, expand and deepen their knowledge and understanding of creative textiles and related processes and apply creative textile techniques and processes for product development 15.

Be able to identify different common fabrics and their basic attributes and should be able to source and select the most appropriate fabric related to their inspiration

Assignment Brief Context: The module ‘Fashion Design Process’ provides a holistic overview of the fashion environment and alignment of application of Elements of design within it through understanding the Design Process.

Exploration of creative techniques in both the creative and commercial aspect there-by allowing students to identify their strengths.

The students would also be assessed on Class assignments of Design Studio for patterns, garment fit, drape, balance, finishes and technical information.

How the work will be assessed

PORTFOLIO 40% Textile studies 50%

Students would be expected to carry out a lot of self learning exercises, market survey, collection of swatches, reading of fashion magazines and study forecast so that they can form an alignment between fabric study and the design module. Fabric study module is integrated with other modules.

Students will be carrying out all the class room assignments on the fabrics collected by them as part of the design module. However for better clarification they might have to source basic fabrics with simple structures to begin with.

Assessment As part of the Design Projectstudents to also source 20 fabrics related to the design project and analyze them for the following

• • • • •

Fabric name Fibre composition Burning test report, GSM, Students should be able to comment on the feel, fall, drapability etc. of the fabric and suggest other end uses of the fabric.

• Price Range • Source of the fabric • Yarn number, • Thread count The fabric for their final design project should be from these 20 fabrics.

Design Studio Portfolio compilation: 50% Pattern Making Here, you would get the opportunity to learn, and apply knowledge and skills in WW. We would cover basics of women’s wear category in the initial classes where you would explore dart manipulation.

The patterns would be ranging from variations in skirt and bodice.

This learning would be assessed in Class roomproject where you would be creating various skirt and bodice styles appropriate to inputs given, keeping in mind the fit and fall of fabric.

Garment Construction Learning from project would include using suitable fabric and finish; how to give room for growth in garments and simple innovative ideas to make attractive, comfortable and durable garments.

Variations, decorative finishes to seams and hems, cuts that suit the size 12 to create a global appeal.

Draping This learning would be assessed in Class room assignments where you would be draping basic skirt and bodice and shift dress where fit, grain, balance and fall of fabric have been maintained.

Integrated End Term Project (60%) Students would be expected to design a women’s wear ensemble. The outcome should be an amalgamation of Creative Textiles, Design components, Textile study. Student would also be assessed for correct fashion vocabulary to gauge their communication skills. Submission must have Mood/ inspiration, color board and client details.

Design 50% You will be assessed on the following: 1. Ability to align Elements and Principles of Design to application.

2. Originality of work.

3. Professional approach in presentation In this module you have to develop a process book which will be submitted for evaluation in three different stages.

Introduction to inspiration/theme/mood- better understanding of the chosen theme/mood followed by an intense research to make a strong base to build any kind of design exercise.

Introduction to mood-board- layout and execution of the images/visuals used to create the moodboard. Lay-outing of the visuals on a full imperial sheet to understand the balance of the visuals in terms of color, texture and sizes of the visuals. Introducing the particular theme with the help of creating shapes within the mood-board.

Taking color and style inspiration from the mood-board- minute observation and understanding the linkage of styles and colors with individual mood. Following different processes to come up with

different silhouettes (raw), refining them, making them functional and aligning them to a particular theme.

Design generation- following process to achieve design aesthetically and functionally sound.

Design finalization- visualizing the final look, aligning the designs to a theme and an innovation within, pattern-making to realize the designs to its possible closest, functionality of the garments, neatness in the croqui rendering.

Design realization- usage of the right fabrics and finishing to achieve the final product functionally and aesthetically sound.

Assessment criterion 1. As a concluding assignment you will be assessed on the growth during the module of “self” as a designer 2. Ability to perceive, appreciate and assimilate stimuli from environment 3. Ability to align research and ideation to objectivity.

Creative Textile 50% Explorations for the concept chosen need to be presented in a swatch ,which is pressed in between white Jap ivory /cartridge sheet with all details written on it

• •

The samples should be innovative and creative Techniques should be well combined and compiled

Grading Criteria for Assessment Element I&II: Grading Criteria Learning Outcome

Distinction >=70%

First Class 60%69%

Second Class 50%59%

Not Satisfactory <50%

Examine and critically evaluate the design process and provide innovative, original and working solutions for the given design brief.

Accurate understanding of design brief and data documentation covering all six context, client, analogous solutions, techniques, materials, and solution inferences

Some understanding of design brief and data documentation covering at least 3 context, client, analogous solutions, techniques, materials, and solution inferences

Inaccurate understanding of design brief and data documentation don’t provide valid data or covers only 1 or 2 aspsects

Display awareness and knowledge of body–form and relationship to aesthetics in fashion.

1) Final direction works well—the form and the interaction are seamless and 2) it looks great and 3) its complete

Mostly accurate understanding of design brief and data documentation covering only five of six context, client, analogous solutions, techniques, materials, and solution inferences Only 2 of the 3 components are addressed such as it works well and looks great, but it’s incomplete

Only 1 of the 3 components are addressed such as looks great, but it’s incomplete and does not follow bodyform

Final direction would fail in use and either the interaction or product form are unfinished

Exhibit understanding of the application of basic principles and concepts of Pattern making, Draping and Garment construction so as to realize a 3-D form from a 2-D sketch.

The product shows 1)deep and logical connection between principles, concepts and directions to realize 3D form 2)Prototypes and product of use bring opportunity areas of 2D sketch to life

The product shows either 1)slight logical connection between principles, concepts and directions to realize 3D form 2)Prototypes and product cannot communicate the interest areas of 2D sketch

Sketches and prototypes don’t get same ideas across and no connection to principles and concepts

Explore, expand and deepen their knowledge and understanding of creative textiles and related processes and apply creative textile techniques and processes for product development

1) Alternative techniques explored for different facets of use; 2) application has many insightful implications are drawn from experimentation; and 3) demonstrates knowledge of key issues and usage

The product shows 1)some logical connection between principles, concepts and directions to realize 3D form 2)Prototypes and product need explanation to communicate and it is difficult to visualize the stress areas of 2D sketch 2 of 3 components are addressed

1 of 3 components are addressed

None of components are addressed

Be able to identify different common fabrics and their basic attributes and should be able to source and select the most appropriate fabric related to their inspiration.

Explore, analyze and interpret design concepts to create garments.

Clearly demonstrates what fabric will work well and why, and is demonstrated in its usage

Demonstrate personal creativity, self – awareness and ability to critically evaluate own and peer performance.

Used systematic testing to validate or drive refinement in the design process

Display organization skills, time and stress management, planning and team-working skills.

Goals, accomplishments and time are covered; completed each week

Hypothesis is clear and a elaborate research is visible

Slightly demonstrates and articulates what fabric will work well with explanation, what did not work well and why, or ways to improve use with the concept Hypothesis is clear, satisfactory research done and clear research plan is evident Used very informal feedback to drive refinement in the design process

Does not demonstrate but shows articulation towards identifying appropriate fabric for the concept

Does not demonstrate or visualizes appropriate fabric for the concept

Hypothesis is clear, but research not done though research plan is satisfactory Used very limited feedback to drive refinement in the design process

Hypothesis is confusing and is not tied to research planning

Goals, accomplishments and time are covered; but are not always completed each week or vice versa

Goals, accomplishments and time are somehow covered; but are not completed each week or vice versa

Goals, accomplishments and time are not covered; not completed each week

No testing or feedback evident

Feedback to you You will get verbal feedback of your progress in each formative assessment sessions; it is your responsibility to make a note of this feedback on a formative feedback sheet in regular basis.

Written individual feedback will be given to you after the submission of all your work. Given the number of students, it will take the staff at least two weeks time to write & compile written feedback.

You will be able to access your feedback from the respective module tutors within two weeks from the completion of the module.

List of Materials Required for the Module • • • • • • • • • • • •

• • • • • • •

Notebook or Diary Sketching File (A3 size) Fashion Magazines (Old and New) (National and International) Portfolio Case (A3 size) Gateway Sheets (10 Nos) Paper Scissors/ Cutter Fevistick/Double Sided Tape/Cello Tape/ Stapler Pique Glass Mediums- StaedlersColour Pencil, Staedlers 6B (2 Pc) and 8B (2Pc), Dry Pastel, Black Dry Pastel (Sudha 68), Black Ink (Camlin), Water Colours, Poster Colours. Black Marker Fine art Brushes – 1 set of Flat and Round each Paper ½ Imperial – Cartridge sheets(25), Imperial Sheets (50) Drawing Board – ½ Imperial Measuring tape Pattern Master Notcher Rulers 12’’ and 24’’ Style Tape French curve Hip Curve

• • • • • • •

Leg Curve Straight (all) pins Push pins Scotch tape Glue Stick Fabric cutting sheers Paper Cutting sheers

How to make comments/suggestions about the module Feedback from students is welcome at any time, whether it is on a formal or informal basis. The course team recognizes the importance of student feedback and its invaluable contribution to future module development.

You will be asked to give written feedback at the end of the module.

If you have a problem – special situation If you have any problems with the module or the work, see your module tutor or the module leader as soon as possible. They may be able to help, and sooner a problem is identified, the easier it will be to sort out. If you are ill or have other special situations which might affect your ability to meet deadline, you may be entitled to an extension.

See also the students’ handbook for further information and help.

Module Tutors: Mr. Darshan , Ms. Pavni‚ Ms.Ramnik Dhillon & Mr . Jaspal Kalra, Ms. Tripti Gupta, Prem Kumar CONTEXTUAL DOCUMENT FOR PG DIP COURSES PEARL ACADEMY OF FASHION DELHI, JAIPUR, CHENNAI

POST GRADUATE DIPLOMA IN (Fashion Design)

OUTLINE OF CONTEXTUAL DOCUMENT 2010-12 1. RATIONALE, AIMS AND MARKET FOR THE PROGRAMME 1.1 Rationale and Market for the Program

1.1.1

The Pearl Academy of Fashion is a premier institute stared in 1993 and today is one of the major education provider institute in the private sector for fashion and textiles in India. The institute provides education at par with well acclaimed national and international fashion schools. The philosophy of the academy is to be market orientated and employability driven. Most of the programs are standardized and validated by foreign universities to provide a standardized teaching and learning approaches.

1.1.3

In 1995 Pearl Academy introduced PG program Integrated Fashion Technology Program (IFTP) validated by NTU. Subsequently there were other programs inducted in the disciplines of merchandising and production. The post Graduate experience in Design field commenced by starting Fashion Design Domestic Retail program in 1996 for the fast growing domestic garment industry in India. The program was initially a one year program which was converted into a 1 1/2 -year program in 1997. The program was renamed Fashion Design Indian Wear (FDIW) and further restructured in the year1998 and converted into a 2-year program to meet the growing needs of industry. In the year 2000, the academy partnered with LDT Nagol in Germany to provide a validated PG Diploma in Fashion Retail. In 2006 the Academy introduced a PG program in Textile Design Home Fashion. The FDIW program was subsequently renamed as Post Graduate diploma in Fashion Design Program in 2009.

1.1.4

Various collaborations have helped the academy to maintain international standards in curriculum structure and delivery. The main focus of the programs is to provide better skilled professionals with good knowledge of business environment. The feedback from mill sector, power loom, handloom, export and domestic has shown that textile professionals are not only called upon to contribute to designing of products but also are involved in pre-design and post design activities and thus called upon to handle related merchandising and management activities.

1.1.2

The year 2010, marked a new phase by restructuring its PG programs and standardizing them according to the new industrial demands and change in the current environment. The provisions will be horizontal by admitting graduates from any discipline through a rigorous selection process in the light of learning content that has been distinctly distinguished from the undergraduates’ degree, where the students will be more mature with proficiency in design and technology. Maintaining Pearl Academy of Fashion’s position as a leader in the private sector the programs from PG Diploma have also been upgraded to degree programs by introducing Masters Degree in art and design. The students have been well accepted as designers, stylist, and entrepreneurs.

1.1.3

Concerted efforts by all the departments in 2010 to refurbish and restructure the curriculum design for standardizing TLA uniformity. This has successfully led to the accreditation by Textile Institute….The academy has full time core academic staff qualified in PG diploma on Higher Education from NTU, U.K .

The staff is constantly engaged in research [projects and publish papers in national and international conferences. The academy has been rated best in India for its faculty competences in the course of nation wide survey of fashion education institutions.

1.1.4

The textile and apparel industry in India has been witness to a paradigm change over the past years, and building its base incorporating innovative technology and engineering newer avenues of business.

Of course, there are inherent issues and challenges that dominate the industry. Some of these challenges have been overcome and the focus has now shifted to design development, design promotion and newer partnerships. New ‘National Design policy’ by the government is designed to have a “design enabled Indian industry” which would impact both the national economy and the quality of life in a positive manner. This is the need of the hour and India can be a perfect destination for business.

1.1.5

Strategic importance of design for national and industrial competitiveness is now recognized globally.

Value additions through innovations in design can play a pivotal role in enhancing the business and a growing market for the future. The awareness of Indian consumer about the latest trends and exposure to international brands have put pressure on the industry to manufacture and deliver original Indian designs by drawing upon India’s rich craft, tradition and cultural heritage. With the emergence of an organized life style fashion industry there is a great demand for trained professionals specifically for the fast pace industry.

1.1.6

Realizing the increasing importance of design in economic, industrial and societal development, and improving quality products and developments and significant changes in the recent years, especially with the establishment of popular national and multinational brands in the country the Textile Design program needs a restructuring and repositioning at post graduate level.

1.1.7

The establishment of designers and designer labels in the Indian market has opened new avenues for design professionals as business opportunities. Global positioning and branding of Indian Designers has raised global standards of excellence making India a hub for exports and outsourcing achieving a design-enabled innovation economy.

1.1.8

In the Indian set up, both the unorganized - power loom and handloom sector and the organized-mill sector along with the new retail setups are running parallel today. The emergence of department stores and malls all over the country has increased the reach of styles and design to the lower and middle segment. Therefore not only the mills and export sector require designers, the domestic retail industry requires design professionals too. Indian brands are heavily investing in design development for the mass market to cater to all segments of the society. Brands like Fab India, Abiba, Anokhi, Suhasa, Bandhej, CTC, W, Park Avenue, Color Plus, Dockers, Tantra, Play clan and Kimaya, etc. are already well accepted domestic brands.

1.1.9

The Indian fashion and textile Industry has an overwhelming presence in the economic life of the country. Apart from providing one of the basic necessities of life, the textile industry also plays a pivotal role through its contribution to industrial output, the export earnings of the country and employment generation.

1.2 Aims of the Program

5.

To provide a holistic learning through a process driven blend of theoretical, practical hands on experience to function, strategize and render services to the fashion/textile life style design industry

6.

To offer a learning scheme with a key focus on design thinking, innovative product development, through conceptualization, ideation, exploration, and experimentation

7.

To develop a personal style and vision to become a successful professional

8.

To develop research and analytical abilities to understand the design industry along with the business environment and to develop value based professional competencies

1.3 Special Features of the Program 1.3.1 The special features of the programs are:

•

To provide a broad intake of graduates from any discipline to imbibe a integrated approach to design and technical subjects with thorough market understanding

•

To gain live experience through industry interaction, internship and live projects to learn better professional practices

•

To develop students with a holistic perspective of complete product development process right from concept to consumer

•

Quality assurance through internal and external examiners to enhance TLA strategy

1.3.2 Industry Linkages

• • •

The students get an unique opportunity to participate in Fashion Weeks and display their creativity to the industry The students are exposed to live projects on sustainability, development of designs for the craftsmen in the rural sector or for the industry projects Industry interaction and internship engagement gives them an opportunity to develop designs and final products for a particular buyer

1.3.2 Employability As employed professionals, they will enter into such positions as:

-

Assistant Designers Stylist

Entrepreneurs Students of this program will have employability in: - Design Houses - Export Houses - Buying Houses -Handloom Sector - Retail Fashion Brands - NGOs and Developmental Sector - Forecasting Agencies - Enterprise 2. STANDARDS – PROGRAMME AND LEVEL OUTCOMES 2.1 Program Outcomes 2.1.1 Knowledge and Understanding At the end of the program, a student should be able to:

17. To demonstrate sound understanding and knowledge of technical and conceptual areas of form, structure, materials, operative processes and aesthetics sensibilities(1)

18. To demonstrate sound and deep understanding of creative approach through apt visual and market research in identifying and solving design problems keeping abreast with the production processes (2)

19. To demonstrate sound and deep understanding of trend forecast and its application to develop collections for specific market keeping in mind socio cultural context and its relation to art and design world (3)

20. To demonstrate sound and deep understanding of art and design intelligence with awareness of historical and contemporary design issues for further developing life long skills to evolve a personal style and design philosophy (4)

21. To demonstrate sound understanding of retail environment, consumer behavior, social and commercial factors affecting fashion and textiles industry (5)

22. To demonstrate sound understanding of information discrimination, review and analyze data, consolidate design briefs, interpret trends, apply visual research, assimilate ,evaluate and synthesize diverse concepts systematically (6)

23. To demonstrate deep understanding of fashion business context with a approach to originality and innovation to handle diverse situations for the rapidly changing dynamic industry(7)

24. To demonstrate mature understanding of contemporary issues of quality, sustainability and waste management (8) 2.1.2 Skills, Qualities and Attributes At the end of the program, a student should be able to:

a.

To demonstrate adequate understanding of research, analytical skills and creative skills in design process to create innovative collection (9)

b.

To demonstrate sound and comprehensive understanding of technical skills to realize 2D designs in 3D forms (10)

c.

To demonstrate sound and comprehensive knowledge to articulate design production through technical specification as a pre-production document (11)

d.

To demonstrate good usage skills of rendering, computer software to visualize and communicate design concepts and explorations (12)

e.

To demonstrate comprehensive knowledge of market positioning, brand development, retail experience, segmentation and pricing in respect of textile products (13)

f.

To demonstrate good knowledge and understanding of set objectives, plan and manage research activities through autonomous decision making process(14)

g.

To demonstrate good knowledge and understanding of communication and presentation skills, time management, leadership abilities (15)

h.

To demonstrate professional values, work ethics and an understanding human rights (16)

(NOTE: The numerals in parentheses after each sub-section in sections 2.1.1 and 2.1.2 above are for reference in the mappings in sections 2.2) 2.2 Conformity to QAA Benchmarks M-Level QAA Benchmark Systematic understanding of knowledge and critical awareness of current problems and/or new insights, much of which is at or in the forefront of discipline Comprehensive understanding of technique applicable to own research or advanced scholarship Originality in the application of knowledge together with a practical understanding of how established techniques of research and enquiry are used to create and interpret knowledge Conceptual understanding that enables the student to evaluate methodologies and develop critiques of them and where appropriate to propose new hypotheses Conceptual understanding that enables the student to evaluate critically current research and advanced scholarship in the discipline Deal with complex issues both systematically and creatively, make complete data, and communicate conclusions clearly to specialist and non-specialist audiences Demonstrate self direction and originality in tackling and solving problems and act autonomously in planning and implementing tasks at a professional level Continue to advance knowledge and understanding and develop new skills to a high level

Compatible program from 2.1.1 and 2.1.2 1, 3, 9 2, 6, 14 3, 7 4, 6 5, 6 6 7, 14, 16 12, 13

outcomes

Exercise initiative and personal responsibility Take decisions in complex and unpredictable situations Independent learning ability for continuing professional development

14 8, 13 15

2.3 Conformity to Attributes of Graduate Profile The program will enable and facilitate a student of Fashion Design to achieve the diverse attributes of PAF graduate awardees:

a.

Have clearly defined career goals

b.

Focus on excellence and innovation and display a high level of commitment

c.

Be able to withstand the stress of working in a competitive environment through professional work planning and time management

d.

Be self-confident and have leadership skills that inspire and motivate others

e.

Be a team player

f.

Be willing to take social, moral and civic responsibility

g.

Have an appropriate balance of skill and conceptual competency in your area of specialization, along with a holistic understanding of fashion and life style industries

h.

Be a problem solver at work with strong analytical and presentation skills

i.

Be able to source information and to collate and succinctly, in both oral and written form

3. CURRICULUM DESIGN AND CONTENT ORGANISATION The 2-Years Post-Graduate Diploma in Fashion Design is across 4 half- yearly semesters and provides in-depth knowledge in fashion Design Process, Visualization and Presentation Techniques, Research methodology, Contextual design studies, Communication Skills, Traditional textiles & Crafts, Business Studies & Entrepreneurship, Integrated Project, and developing a coordinated collection in the Final Design Project This section describes the curriculum design and content organization for each semester that is Semester 1, Semester 2, Semester 3, and Semester 4.

3.1 Semester 1 3.1.1 Approach The first semester of the course is treated commonly for streams of learning within Design, Business domains with the aim and purpose to build a sound, basic grounding for later disciplinary competencies. It is designated as Foundation.

Students of semester 1 of Fashion Design Process , Visualization and Presentation Techniques, Contextual design studies and Communication Skills will mix with students of other design / business disciplines, as available at a given delegated/additional delegated centre and imbibe a common curriculum.

In general, the structure, treatment and content is appropriate to address student preparation for and orientation to the broad spectrum of skills and concepts suitable to the following learning in Semesters 2, 3 and 4 of the PG Diploma in Fashion Form and Function, Traditional Textiles & Crafts, Business Studies, Entrepreneurship, Integrated Project, and producing a coordinated collection for the Final Design Project.

Semester One

3.1.2 Learning Outcomes of Semester 1 3.1.2.1 Knowledge and Understanding

At the end of this semester of study, the student should be able to:

a.

To demonstrate basic knowledge and understanding of theories and concepts of fashion design, its expression and manifestation, cultural and societal influences through the periods and its comprehensive understanding for the changing environmental requirements

b.

To demonstrate basic knowledge and understanding of conceptualization, ideation, visualization and realization with materials, tools and techniques in response to a given brief

3.1.2.2 Skills, Qualities and Attributes At the end of this semester of study, the student should be able to:

d.

To demonstrate simple investigative, analytical and creative skills in design process

e.

To demonstrate basic competence in hand drawing and graphic skills for visual communication and presentation techniques

f.

To demonstrate time planning and team-working skills

3.1.3 Learning Objectives and Related Modules The first semester of the program, is treated commonly for PG in all design streams, with purpose to build a sound, basic grounding for later design competencies.

the aim and

In general, the structure, treatment and content are appropriate to address student preparation for and orientation to the broad spectrum of skills and concepts suitable to the following learning in the certificate and diploma phase of PG in Fashion Design.

The basic concepts acquired in this semester will be applied and integrated at various levels in the next three semesters. The inputs given provide foundation for students to experiment and explore further, which instills in them the process necessary for further progress. This would also help the students have an understanding and hands on experiences and would have a lot of explorations which may become instrumental in giving better design ideas during next three semesters.

The knowledge and skills imparted in this semester give students an opportunity to analyze basic design and carry forward to make up basic fabrics.

The basic semester seeks to establish the importance and relationship of visualizing, conceptualizing and realizing designed products through a process of exploration and experimentation within the context of a range of art, design and special subject modules. Considerable importance is attached to research, practical investigation and visual experimentation. The full range of teaching and learning opportunities are provided which are necessary for generating awareness of the demands of art and design.

The modules in this semester are Fashion Design processes which imparts knowledge in elements of design to understanding proportion, balance, rhythm and harmony; basic understanding of color and color schemes, usage of color; visualization skills for hand mind coordination to draw designs; research methodology to understand techniques of research and communication skills to effectively communicate design process. The focus is towards sensitizing students towards design for imbibing aesthetics.

3.1.4 Content Organization

Module code

Module Title

Core (C)

Contact Learning Duration (Hours)

Independent Duration (Hours)

Total Learning Duration (Hours)

Total Credits

Fashion Design Process I • Elements and Principles of Design • Design Process Material Study and Manipulation • Textile Studies • Design Studio 1 Visualization & Presentation Techniques • Illustration • Color and Composition

C

245

105

350

30

C

70

30

100

10

Contextual Design Studies

C

45

55

100

10

Communication Skills

C

30

20

50

10

600

60

Total

3.2 Semester 2 3.2.1 Approach In this semester, the learning concentrates on the holistic understanding and skills of core subjects i.e. Fashion Form and Function, Traditional Textiles & Crafts and Portfolio Development. The focus is to impart core-based knowledge to acquire basic develop skills in fabric developments and understanding of design process keeping in mind trends and forecast. The students learn to conceive design ideas and develop designs as per the design briefs/trend.

3.2.2 Learning Outcomes of Semester 2 3.2.2.1 Knowledge and Understanding At the end of this semester of study, the student should be able:

a.

To demonstrate core knowledge and understanding of contextual, traditional and contemporary environment through visual creative developments, trend, forecast analysis and its application

b.

To demonstrate comprehensive understanding of reading a forecast and interpretation of trends for fashion developments

c.

To demonstrate comprehension of contemporary craft issues in the areas of fashion and provide solution through creative developments presented through ICT medium

3.2.2.2 Skills, Qualities and Attributes At the end of this semester of study, the student should be able to:

a. To demonstrate core understanding of surface and structural techniques both technical and creative aspects

b. To demonstrate an investigative approach to subject and be able to research an area of interest c. To demonstrate usage of wide range of methodologies and ICT methods for both trend analysis and market understanding

d. To demonstrate time, stress management, planning and team-working skills 3.2.3 Learning Objectives and Related Modules The modules for this semester are- Fashion Form and Function, Traditional textiles and Crafts, Portfolio Development. The mode of study at this stage is concept based. Students are expected to analyze research and apply gained knowledge in their projects. General mode of delivery is classroom lectures, surveys, research and practical. Therefore, greater emphasis will be laid on application of knowledge gained, in design and technology based projects.

The students get industry exposure through industry visits to design houses, export houses, process houses, and dying printing units. Experts from the industry are invited for discussions on specific topics and bring about awareness in the state of art technology. Teaching methods will evolve in this semester to develop students towards greater independence and enable them to embrace the self-study mode & research methods, the foundation for which was dealt in semester one.

Content Organization Module code

Module Title

Core (C)

Contact Learning Duration (Hours)

Independent Duration (Hours)

Total Learning Duration (Hours)

Total Credits

Fashion Form and Function Fashion and Trends study Design Studio 2 Bifurcates (ww),Torso, Sheath, Shift Structured Garments Knits Visualization tech. & present.II Textile studies 2 Traditional Textiles and Crafts

C

180

120

300

40

C

60

40

100

10

Portfolio Development

C

60

40

100

10

600

60

Total

3.3 Semester 3 3.3.1 Approach In this semester, students take their previous learning to a higher, complex and sophisticated stage of understanding and engage in application through projects, often sponsored by industry, and, therefore, coming to terms with reality of the world in the learning space.

3.3.2 Learning Outcomes of Semester 3 3.3.2.1 Knowledge and Understanding At the end of this semester, a student should be able to:

a.

To demonstrate in depth understanding of perspective to lifestyle aspirations, values and develops a mature understanding of design expressions

b.

To demonstrate in-depth understanding of entrepreneurship through the business plan for commercially viable fashion product

c.

To demonstrate comprehensive understanding of market structures, demand and supply dynamics for application for fashion developments

d.

To initiate, apply and evaluate concept and display through in-depth research skills, analysis and consolidation and further begin to develop a personal design philosophy through creative design solution

3.3.2.2 Skills, Qualities and Attributes At the end of this semester, the student should be able to:

a. b. c. d.

To demonstrate professional competence for the execution of design briefs To demonstrate in-depth understanding of appropriate research methodologies to analyze and interpret relevant information.

To demonstrate good planning, organizing, presentation and communication skills To demonstrate independent study, self-and peer evaluation, and provide appropriate response to any professional situation

3.3.3 Learning Objectives and Related Modules This semester emphasizes on independent study and effective time management. Students are expected to explore and research into areas of design and conclude with authentic and original solutions. Business studies give students an opportunity to know the working of business, understand concepts and principles in merchandise, seasonal planning, product development, sourcing and retailing. The core areas dealt with are integrated project, Internship, and the Final Project.

The students are encouraged to apply all taught aspects of the previous semesters. The focus is on the corelation between design and technology and market. Students need to integrate their knowledge with commercial practices and market requirements. This helps students to develop products appropriate to a market segment, and at the same time develop a design philosophy and style of their own.

A mature approach and independent working are expected at this level.

Students proceed on an 8-week internship that gives them an opportunity to reinforce their academic knowledge with actual practices in the textile industry. The internship helps to nurture in students the skills necessary for success in this industry. This exposure to industry practices makes them realize the importance of organized and coordinated work, the necessity for rigor and discipline, and strengthen their decision-making abilities. The progress of students during this period is monitored and they are required to present a report on their exposure and learning.

The curriculum at this level emphasizes on independent work and critical evaluation of work done. The students advance to more complex integrated projects wherein they are required to apply all the design, technical and business knowledge gained in the last two semesters along with research and surveys conducted for their product development. Students are expected to research into design related areas and find optimum solutions using their creativity and originality.

An entrepreneurial development is also inducted into the curriculum, which will give students an insight into the parameters required to set up their own units.

3.3.4 Content Organization

Module code

Module Title

Core (C)

Contact Learning Duration (Hours)

Independent Duration (Hours)

Total Learning Duration (Hours)

Total Credits

Integrated Project Indian wear/ Evening wear Design Studio 3 Creative pattern making , Contouring Entrepreneurship Business Studies (Marketing, Merchandising, Production Methodology) Internship

C

200

300

500

50

C

45

55

100

10

C

100

100

Total

Non credit 600

3.4 Semester 4 3.4.1 Approach In this semester, a student engages in final work leading to the Post-Graduate Diploma. This semester provides the maximum scope to design own final research brief and implement it successfully. This facilitates a student to achieve a very meritorious final work, and to demonstrate a well-honed, highly specialized, application of significance to the chosen discipline.

3.4.2 Learning Outcomes of Semester 4 3.4.2.1 Knowledge and Understanding At the end of this semester, a student should be able:

a.

To initiate, synthesize and evaluate concept and display through in-depth research skills, analysis and consolidation to develop a personal design philosophy for creating design solutions

b.

To demonstrate skills and intellect to resolve creative design issues in a commercially integrated manner and an in-depth understanding of contemporary matters and horizons

3.4.2.2 Skills, Qualities and Attributes At the end of this level the student should be able to:

a.

To demonstrate and articulate a personal design philosophy and a confident perspective on contextual

textile issues

b.

To demonstrate and exhibit a high level of logical, creative and intuitive ability towards successful

negotiation and completion of professional requirements in a systematic manner

c.

To demonstrate and exhibit full range of transferable skills, such as time and stress management,

punctuality, team working, interpersonal skills and respect for work ethics

d.

To demonstrate sound usage and application of wide range of methodologies and ICT methods

3.4.3 Learning Objectives and Related Modules

60

The final semester starts with 8 weeks internship in the industry which culminates with the 12-week Final Design Collection, which involves extensive research and aims at developing the analytical and synthesizing skills in students. Internship experience gives students an understanding and functioning of the textile industry.

The final collection is a juxtaposition of well researched and creative expressions, encompassing the entire learning of all the semesters. Students realize the importance of organized and coordinated work, the necessity for rigor and discipline, and strengthen their decision-making abilities. Students’ learning in this semester is selfdriven and independent.

The curriculum at this level emphasizes on independent work and critical evaluation skills acquired from last three semester inputs. The students advance to more complex integration in final project wherein they are required to apply all the design, technical and business knowledge gained so far along with research and surveys conducted for their product development. Students are expected to research into design related issues to help them formulate a convincing design brief for final project and find optimum solutions using their creativity and originality. At this level students must articulate a personal design philosophy.

3.4.4 Content Organization Module Code

Module Title

Core (c )

Final Design Project

C

Total

Contact Learning Duration (hours) 100

Independent Learning Duration (hours) 500

Total Learning Duration (hours) 600

Credits

600

60

PEARL ACADEMY OF FASHION COURSE SPECIFICATION 1 2 3 4

Basic Programme Information Institution/Branch Pearl Academy of Fashion/ Delhi Awarding Institute: Pearl Academy of Fashion/ Delhi Final Award, Course Title, Mo Post Graduate Diploma in Fashion Design Normal Duration: 2Years

60

6. Overview and general educationl aims of the programme To provide a postgraduate course in four phases, which allows a broad intake of students having a basic degree in any discipline or relevant industry experience of two years in fashion related areas.

This two-year course welcomes all students who are willing to take up the challenges of the real world of the fashion industry, and yet develop a personal vision and point of view.

The core modules synthesize the creative process with sound product development techniques, research & business skills.

The PG diploma course in Fashion Design aims at

9. providing a holistic learning through a process driven blend of theoretical, practical hands on experience to function, strategize and render services to the fashion/textile life style design industry 10. offering a learning scheme with a key focus on design thinking, innovative product development, through conceptualization, ideation, exploration, and experimentation 11. developing a personal style and vision to become a successful professional 12. developing research and analytical abilities to understand the design industry along with the business environment and to develop value based professional competencies The course has been planned to provide a thorough grasp of all important skills required to produce commercially viable products using technology which is of great importance in present day design activities.

Special Features: Through this program you will undergo an industry experience, which includes industry internship followed by a final design project. Other real time projects with due industry involvement, integrated within the curriculum, will impart to you hands on experience of professional practice.

7. Programme Outcomes: Programme outcomes describe what you should know and be able to do by the end of your

programme if you take advantage of the opportunities for learning that we provide.

At the end of the program, a student should be able to: 25. To demonstrate sound understanding and knowledge of technical and conceptual areas of form, structure, materials, operative processes and aesthetics sensibilities(1) 26. To demonstrate sound and deep understanding of creative approach through apt visual

and market research in identifying and solving design problems keeping abreast with the production processes (2) 27. To demonstrate sound and deep understanding of trend forecast and its application to

develop collections for specific market keeping in mind socio cultural context and its relation to art and design world (3) 28. To demonstrate sound and deep understanding of art and design intelligence with

awareness of historical and contemporary design issues for further developing life long skills to evolve a personal style and design philosophy (4) 29. To demonstrate sound understanding of retail environment, consumer behavior, social

and commercial factors affecting fashion and textiles industry (5) 30. To demonstrate sound understanding of information discrimination, review and

analyze data, consolidate design briefs, interpret trends, apply visual research, assimilate ,evaluate and synthesize diverse concepts systematically (6) 31. To demonstrate deep understanding of fashion business context with a approach to

originality and innovation to handle diverse situations for the rapidly changing dynamic industry(7) 32. To demonstrate mature understanding of contemporary issues of quality, sustainability

and waste management (8) Skills, Qualities and Attributes At the end of the program, a student should be able to: i. To demonstrate adequate understanding of research, analytical skills and creative skills in design process to create innovative collection (9) j. To demonstrate sound and comprehensive understanding of technical skills to realize 2D designs in 3D forms (10) k. To demonstrate sound and comprehensive knowledge to articulate design production through technical specification as a pre-production document (11) l. To demonstrate good usage skills of rendering, computer software to visualize and

communicate design concepts and explorations (12) m. To demonstrate comprehensive knowledge of market positioning, brand development, retail experience, segmentation and pricing in respect of textile products (13) n. To demonstrate good knowledge and understanding of set objectives, plan and manage research activities through autonomous decision making process(14) o. To demonstrate good knowledge and understanding of communication and presentation skills, time management, leadership abilities (15) p. To demonstrate professional values, work ethics and an understanding human rights (16) NOTE: All the outcomes above are suitably matched with QAA Art & Design Benchmark Statement

8. Teaching and Learning Methods The curriculum structure is designed to provide you a post graduate programme in 2 years comprising of 4 semesters to study Fashion design, related technical and business subjects to eventually enable you to achieve a post graduate diploma award in Fashion Design.

The teaching and learning methodology consists of lectures, practical work, individual/group projects, assignments, industry experience, real-time problem solution, etc. As you progress upwards through the levels, the balance shifts away from lectures to practical work and self-directed learning.

The course progresses from basic concepts to advanced learning acquired through each semester which will be applied and integrated at various levels in consecutive semesters.

The inputs given provide foundation for students to experiment and explore further, which instills in them the process necessary for further progress. This would also help the students have an understanding and hands on experiences and would have a lot of explorations which may become instrumental in giving better design ideas during next three semesters.

Industry relevant projects are encouraged at semester three and four to understand the application of taught aspects.

Group projects and tutorials are arranged in Level one to

encourage team working and self and peer evaluation Individual projects at semester one, Two and Three will encourage you to initiate research, self-study, and independently take decisions towards a conclusion.

The final collection is a juxtaposition of well researched and creative expressions, encompassing the entire learning of all the semesters. Students realize the importance of organized and coordinated work, the necessity for rigor and discipline, and strengthen their decision-making abilities. Students’ learning in this semester is self-driven and independent.

Counselling sessions or guidance will be provided at all levels for projects whenever required.

9. Assessment Methods 8.

Your progress is monitored through regular assessments during the course of

and /or at the end of each module.

9.

The assessment schedule is derived from overall program and level learning

outcomes and is linked intrinsically with teaching and learning strategy.

10.

The assessment schedule outlines the stages at which various assessments are

carried out and their weightages.

11.

It also indicates the workload distribution, consolidation and integration of

program/level learning outcomes to enhance your ability for holistic learning.

12.

The assessment timetable allows you to plan and schedule your workload and

self-study process.

13.

The assessment brief provides the further details of work expected from you to

achieve the desired learning outcomes of the individual modules along with the assessment and grade criteria and mode appropriate to the level and module type.

14.

The assessments and the regular feedback reflect your achievements vis-à-vis

the learning outcomes.

Presentations will be made before juries, composed of your tutors and invited industry experts. The association of industry experts in providing you feedback will be valuable for your learning as it exposes you to industry and business perspectives that influence and impact the professional designer.

Programme Structure and Curriculum The 2-Years Post-Graduate Diploma in Fashion Design is across 4 half- yearly semesters and provides in-depth knowledge in fashion Design Process, Visualization and Presentation Techniques, Research methodology, Contextual design studies, Communication Skills, Traditional textiles & Crafts, Business Studies & Entrepreneurship, Integrated Project, and developing a coordinated collection in the Final Design Project This section describes the curriculum design and content organization for each semester that is Semester 1, Semester 2, Semester 3, and Semester 4.

Semester 1 Approach The first semester of the course is treated commonly for streams of learning within Design, Business domains with the aim and purpose to build a sound, basic grounding for later disciplinary competencies. It is designated as Foundation.

Students of semester 1 of Fashion Design Process , Visualization and Presentation Techniques, Contextual design studies and Communication Skills will mix with students of other design / business disciplines, as available at a given delegated/additional delegated centre and imbibe a common curriculum.

In general, the structure, treatment and content is appropriate to address student preparation for and orientation to the broad spectrum of skills and concepts suitable to the following learning in Semesters 2, 3 and 4 of the PG Diploma in Fashion Form and Function, Traditional Textiles & Crafts, Business Studies, Entrepreneurship, Integrated Project, and producing a coordinated collection for the Final Design Project.

Learning Outcomes of Semester 1

Knowledge and Understanding At the end of this semester of study, the student should be able to: c. To demonstrate basic knowledge and understanding of theories and concepts of fashion design, its expression and manifestation, cultural and societal influences through the periods and its comprehensive understanding for the changing environmental requirements d. To demonstrate basic knowledge and understanding of conceptualization, ideation, visualization and realization with materials, tools and techniques in response to a given brief e.

Skills, Qualities and Attributes At the end of this semester of study, the student should be able to: g. To demonstrate simple investigative, analytical and creative skills in design process

h. To demonstrate basic competence in hand drawing and graphic skills for visual communication and presentation techniques i.

To demonstrate time planning and team-working skills

Learning Objectives and Related Modules The first semester of the program, is treated commonly for PG in all design streams, with the aim and purpose to build a sound, basic grounding for later design competencies.

In general, the structure, treatment and content are appropriate to address student preparation for and orientation to the broad spectrum of skills and concepts suitable to the following learning in the certificate and diploma phase of PG in Fashion Design.

The basic concepts acquired in this semester will be applied and integrated at various levels in the next three semesters. The inputs given provide foundation for students to experiment and explore further, which instills in them the process necessary for further progress. This would also help the students have an understanding and hands on experiences and would have a lot of explorations which may become instrumental in giving better design ideas during next three semesters.

The knowledge and skills imparted in this semester give students an opportunity to analyze basic design and carry forward to make up basic fabrics.

The basic semester seeks to establish the importance and relationship of visualizing, conceptualizing and realizing designed products through a process of exploration and experimentation within the context of a range of art, design and special subject modules.

Considerable importance is attached to research, practical investigation and visual experimentation. The full range of teaching and learning opportunities are provided which are necessary for generating awareness of the demands of art and design.

The modules in this semester are Fashion Design processes which imparts knowledge in elements of design to understanding proportion, balance, rhythm and harmony; basic understanding of color and color schemes, usage of color; visualization skills for hand mind coordination to draw designs; research methodology to understand techniques of research and communication skills to effectively communicate design process. The focus is towards sensitizing students towards design for imbibing aesthetics.

Semester 2 Approach In this semester, the learning concentrates on the holistic understanding and skills of core subjects i.e. Fashion Form and Function, Traditional Textiles & Crafts and Portfolio Development. The focus is to impart core-based knowledge to acquire basic develop skills in fabric developments and understanding of design process keeping in mind trends and forecast. The students learn to conceive design ideas and develop designs as per the design briefs/trend.

Learning Outcomes of Semester 2

Knowledge and Understanding At the end of this semester of study, the student should be able: d. To demonstrate core knowledge and understanding of contextual, traditional and contemporary environment through visual creative developments, trend, forecast analysis and its application e. To demonstrate comprehensive understanding of reading a forecast and interpretation of trends for fashion developments f. To demonstrate comprehension of contemporary craft issues in the areas of fashion and provide solution through creative developments presented through ICT medium Skills, Qualities and Attributes At the end of this semester of study, the student should be able to: e. To demonstrate core understanding of surface and structural techniques both technical and creative aspects f. To demonstrate an investigative approach to subject and be able to research an area of interest g. To demonstrate usage of wide range of methodologies and ICT methods for both trend analysis and market understanding h. To demonstrate time, stress management, planning and team-working skills Learning Objectives and Related Modules The modules for this semester are- Fashion Form and Function, Traditional textiles and Crafts, Portfolio Development. The mode of study at this stage is concept based.

Students are expected to analyze research and apply gained knowledge in their projects.

General mode of delivery is classroom lectures, surveys, research and practical.

Therefore, greater emphasis will be laid on application of knowledge gained, in design and technology based projects.

The students get industry exposure through industry visits to design houses, export houses, process houses, and dying printing units. Experts from the industry are invited for discussions on specific topics and bring about awareness in the state of art technology. Teaching methods will evolve in this semester to develop students towards greater independence and enable them to embrace the self-study mode & research methods, the foundation for which was dealt in semester one.

Semester 3 Approach In this semester, students take their previous learning to a higher, complex and sophisticated stage of understanding and engage in application through projects, often sponsored by industry, and, therefore, coming to terms with reality of the world in the learning space.

Learning Outcomes of Semester 3 Knowledge and Understanding At the end of this semester, a student should be able to:

e. To demonstrate in depth understanding of perspective to lifestyle aspirations, values and develops a mature understanding of design expressions f. To demonstrate in-depth understanding of entrepreneurship through the business plan for commercially viable fashion product g. To demonstrate comprehensive understanding of market structures, demand and supply dynamics for application for fashion developments h. To initiate, apply and evaluate concept and display through in-depth research skills, analysis and consolidation and further begin to develop a personal design philosophy through creative design solution Skills, Qualities and Attributes At the end of this semester, the student should be able to: e. To demonstrate professional competence for the execution of design briefs f. To demonstrate in-depth understanding of appropriate research methodologies to analyze and interpret relevant information. g. To demonstrate good planning, organizing, presentation and communication skills h. To demonstrate independent study, self-and peer evaluation, and provide appropriate response to any professional situation Learning Objectives and Related Modules This semester emphasizes on independent study and effective time management. Students are expected to explore and research into areas of design and conclude with authentic and original solutions. Business studies give students an opportunity to know the working of business, understand concepts and principles in merchandise, seasonal planning, product development, sourcing and retailing. The core areas dealt with are integrated project, Internship, and the Final Project.

The students are encouraged to apply all taught aspects of the previous semesters. The focus is on the co-relation between design and technology and market. Students need to integrate their knowledge with commercial practices and market requirements. This helps students to develop products

appropriate to a market segment, and at the same time develop a design philosophy and style of their own.

A mature approach and independent working are expected at this level.

Students proceed on an 8-week internship that gives them an opportunity to reinforce their academic knowledge with actual practices in the textile industry. The internship helps to nurture in students the skills necessary for success in this industry. This exposure to industry practices makes them realize the importance of organized and coordinated work, the necessity for rigor and discipline, and strengthen their decision-making abilities. The progress of students during this period is monitored and they are required to present a report on their exposure and learning.

The curriculum at this level emphasizes on independent work and critical evaluation of work done.

The students advance to more complex integrated projects wherein they are required to apply all the design, technical and business knowledge gained in the last two semesters along with research and surveys conducted for their product development. Students are expected to research into design related areas and find optimum solutions using their creativity and originality.

An entrepreneurial development is also inducted into the curriculum, which will give students an insight into the parameters required to set up their own units.

Semester 4 Approach In this semester, a student engages in final work leading to the Post-Graduate Diploma. This semester provides the maximum scope to design own final research brief and implement it successfully. This facilitates a student to achieve a very meritorious final work, and to demonstrate a well-honed, highly specialized, application of significance to the chosen discipline.

Learning Outcomes of Semester 4 Knowledge and Understanding At the end of this semester, a student should be able:

c. To initiate, synthesize and evaluate concept and display through in-depth research skills, analysis and consolidation to develop a personal design philosophy for creating design solutions d. To demonstrate skills and intellect to resolve creative design issues in a commercially

integrated

manner

and

an

in-depth

understanding

of

contemporary matters and horizons Skills, Qualities and Attributes At the end of this level the student should be able to: e. To demonstrate and articulate a personal design philosophy and a confident perspective on contextual textile issues

f. To demonstrate and exhibit a high level of logical, creative and intuitive ability towards successful negotiation and completion of professional requirements in a systematic manner g. To demonstrate and exhibit full range of transferable skills, such as time and stress management, punctuality, team working, interpersonal skills and respect for work ethics h. To demonstrate sound usage and application of wide range of methodologies and ICT methods Learning Objectives and Related Modules The final semester starts with 8 weeks internship in the industry which culminates with the 12-week Final Design Collection, which involves extensive research and aims at developing the analytical and synthesizing skills in students. Internship experience gives students an understanding and functioning of the textile industry.

The final collection is a juxtaposition of well researched and creative expressions, encompassing the entire learning of all the semesters. Students realize the importance of organized and coordinated work, the necessity for rigor and discipline, and strengthen their decision-making abilities. Students’ learning in this semester is self-driven and independent.

The curriculum at this level emphasizes on independent work and critical evaluation skills acquired from last three semester inputs. The students advance to more complex integration in final project wherein they are required to apply all the design, technical and business knowledge gained so far along with research and surveys conducted for their product development. Students are expected to research into design related issues to help them formulate a convincing design brief for final project and find optimum solutions using their creativity and originality. At this level students must articulate a personal design philosophy.

11. Admission to the Programme Eligibility: Persons of either sex or any age group who have obtained in any discipline, a graduate qualification from any recognized school/board, are eligible to apply for admission.

Competitive Examination: General Proficiency: All eligible candidates will be required to appear for a test to evaluate their written communication skill, comprehension in English and general arithmetic.

Design Aptitude: In addition to the general proficiency test, applicants for Textile Design and Management will also be tested to assess their sense of form, materials skills, colour, proportion, perspective and creativity.

Situational Test and Interview: A group task which calls for team work and creative solutions will be given to a batch of 6-8 candidates, to assess team working, creativity,

material manipulation skills, communication skills and generic skills.

A panel consisting of 3-4 senior faculty members constitutes the Interview Board.

Candidates are marked on a “consensus” basis by the members of the panel, based on a profile of qualities and skills that are necessary to successfully function as a design professional in the apparel industry: design sensibility, aesthetic flair, confidence, articulation, maturity, current awareness Selection of Candidates: The marks obtained in a) the design aptitude test; b) the general proficiency examination; b) the situational test; and c) the interview, will be considered for selection on merit basis.

Industry-sponsored Candidates: A few seats are reserved for industry-sponsored candidates. Such candidates will have to compete against the reserved seats for admission.

Candidates with prior industry experience: Certain candidates can be considered for lateral entry into the first or second level of the programme, depending on the extent and depth of their industry experience, as well as on performance in a skill assessment test/ interview, subject to ratification by the Examination Board.

12. Support for Learning: The programme commences with an induction and orientation programme to introduce you to the course, modules, assessments, study facilities and development of generic abilities along with a visit to the industry to give a general feel to you about your future work environment.

Throughout the curriculum you are programmed and scheduled to visit industry for exposure.

Throughout the curriculum you are exposed to invited guests from industry that dwell on specialized aspects of the industry.

The programme faculty liaises with industry for real-time projects to be integrated into the curriculum.

The programme faculty is available on all working days for additional contact, counseling, supportive inputs The Academy’s Industries Relations Cell liaises with industry to secure internships opportunities. It briefs industry on the internship curriculum and regularly monitors progress of internship.

The Academy’s Industries Relations Cell organizes periodical expositions by industry experts to equip you with the pertinent imagery of future professional career and the world of work.

The Academy’s Industries Relations Cell renders industry placement services.

13. Graduate Destination / Employability Entry level: a. Work as Asst. designers/ entrepreneurs. b. Be able to work with forms and elements & develop aesthetic design sensibilities c. Be able to help in sampling and production planning d. Interact with other departments in the organization After 1-2 years of work experience: Continue to be responsible for the above, but with greater scope and depth, be responsible and independently handle the functions in a design cell, be individually accountable for coordination between design and production departments, chalk out parameters for cost logistics.

After 3-4 years of work experience: 1. Analyze, synthesize, and conceptualize the complete design process and all associated parameters – product development, scheduling, market and customer analysis.

2. Be responsible for continuous development and innovation in the design development cell.

3. Be solely responsible for design and sample development.

After 5-6 years of work experience: Launch themselves as entrepreneurs in this field and establish their own enterprise or head a design cell in domestic / MNC..

14. Programme Standards and Quality The Academic board is an apex body responsible for monitoring the quality and standard pertaining to all aspects of academics and administration of the programme. It ensures that the course content, teaching and standards achieved by students are of the highest quality, and technologically keeping in with international standards.

A course committee, appointed by the Academic Board, manages the programme i.e. development of content, its delivery, evaluation, assessments and the teaching/learning processes. The Course Committee is assisted by two external examiners appointed by the Academic Board to: a) ensure that students have attained the objective stated in the course and that their standard is both appropriate to the award and conforms to appropriate standards b) monitor the implementation of the assessment system to see that it has been fair to the students, and for that he/she may moderate marks and conduct viva voce test of any candidate c) Ensure that the quality of the course is maintained and is consistent With these factors in mind the academy has designed this two-year postgraduate diploma

course in Fashion Design (FDPG), to provide technically qualified people to coordinate related activities in areas of design and manufacture 15. Assessment Regulations: This course is subject to the Academy’s Assessment Regulations which are laid down by Pearl Academy of Fashion.

16. Additional Information : Merit-based financial scholarships are available to deserving students, subject to the Academy’s rules and conditions.

Post Graduate Certificate in Higher Education Summative Evaluation Form

Student Name Course Semester Module Title Assignment Tutor/Mentor Submission Date

Darshan Chandekar PGCHE Certificate Assessment and Programme Design One Seema Mahajan

Learning Outcomes Evaluate, review and apply Course design

Comments Good research and reference to literature. You have looked at every aspect of the course and made a detailed examination of the strengths and weakness, coherence and alignment of the course. You have adapted the Rosin Donnelly and Marian Fitzmaurice model. The literature review and your reflections to incorporate each change is well reflective.

•

Critically evaluate the nature of aims, learning outcomes, and the relationship of these to the planning of assessment tasks

At each and every step you have critically evaluated the aims, learning outcomes and their relationship to planning and assessment tasks. You have critically reflected on the present course and then based on your research, review of literature, suggested useful changes. You have also looked at QA Procedure at Pearl academy which is impressive. You have looked at everything from 360 Degree angle which has added value to your work.

•

Demonstrate a comprehensive knowledge of assessment design, methods and moderation

•

Apply complex skills in assessment design, methods and moderation

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Reflect analytically and critically upon your enhanced competence as assessors and programme designers.

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Distinction 70% + 75

Your work shows a determination to pull together the various elements of learning systems together to bring about constructive alignment. You have made good reference to practices at Pearl Academy.

You have demonstrated complex skills in assessment design, methods and moderation. You have incorporated your personal experiences in the paper.

You could have presented your paper in a much organized manner . You have proved your competency as assessor and programme designers.

Merit 60-69%

Seema Mahajan Pearl Academy, New Delhi

Pass 50-59%

Moderated by: Sharmila Katre

Fail 49% and less

Darshan Chandekar

Contents @ Introduction @ The need for E-Learning @ Outline of problems to be addressed @ Relevant E-Learning literature @ Evaluation of the E-Learning tool @ Critical reflection and analysis @ Reflection @ Bibliography

Introduction Jay Cross (2004) has normally been been credited with coining the term elearning in 1998. However, the term seems to have been in use as far back as 1997 when Aldo Morri wrote an article for Telephony Online, A bright future for distance learning: One Touch/Hughes alliance promotes interactive 'elearning' service.

“The market for corporate interactive distance learning—now known as 'elearning,' has boomed along with the growth in the Internet and corporate intranets.”

E-learning (or eLearning) is the use of electronic media and information and communication technologies (ICT) in education. E-learning is broadly inclusive of all forms of educational technology in learning and teaching. E-learning is inclusive of, and is broadly synonymous with multimedia learning, technologyenhanced learning (TEL), computer-based instruction (CBI), computer managed instruction, computer-based training (CBT), computer-assisted instruction or computer-aided instruction (CAI), internet-based training (IBT), web-based training (WBT), online education, virtual education, virtual learning environments (VLE) (which are also called learning platforms), m-learning, and digital educational collaboration. These alternative names emphasize a particular aspect, component or delivery method.

E-learning includes numerous types of media that deliver text, audio, images, animation, and streaming video, and includes technology applications and processes such as audio or video tape, satellite TV, CD-ROM, and computerbased learning, as well as local intranet/extranet and web-based learning.

Information and communication systems, whether free-standing or based on either local networks or the Internet in networked learning, under many elearning processes. E-learning can occur in or out of the classroom. It can be self-paced, asynchronous learning or may be instructor-led, synchronous learning. E-learning is suited to distance learning and flexible learning, but it can also be used in conjunction with face-to-face teaching, in which case the term blended learning is commonly used.

This paper evaluates an online assessment tool designed for the students of level-1, semester-1, of Post-Graduate Fashion Design programme for the academic year 2013-14 and cohort 2013-15.

‘Design’ module was addressed for ‘e-learning’ and was seen as blended learning- a hybrid of F2F and online to experiment and analyze the outcome of the complete exercise.

Need For E-Learning E-learning is defined for our purpose here as the use of the new technologies or application in the service of learning or learner support. It is important because e-learning can make a significant difference as to how learners learn, how quickly they master a skill, how easy it is to study and equally important how much they enjoy learning. students are comfortable with e-learning methods as they are similar to the forms of information search and communications methods they use in day to day life.

Interactive technology offers a new mode of engagement with ideas via both material and social interactivity online. Online networking reduces social differences and encourages students to take greater responsibility for their own learning. E-learning offers the ability to manage quality at scale and share resources across networks. Its greater flexibility of provision in time and place makes it good for widening participation. There is also a financial impact.

Networks and access to online material offer an alternative to place-based education and reduces the costs of delivery of distance learning material.

Accessibility to learning is not confined to a classroom with the presence of a tutor and can be accessed anytime and anywhere.

WR Hambrecht outlines several needs that are driving the move to e-Learning in the corporate environment. The needs are mostly related to changing technology, lack of necessary skills, competition, demographics, and other changes in the workplace.

"Social, technological, and economic drivers are transforming education around the world. As globalization encompasses local economies like never before, the development of a skilled workforce becomes a genuinely international concern.

And as human capital becomes the chief source of economic value, education and training become lifelong endeavors for the vast majority of workers (Peter J. Stokes, Eduventures.com, 1999

Outline of problems to Be Addressed With change in time, technology changes. With every changing technology come the loopholes, dos, don’ts, short comings of it which we work on to upgrade it to the next level.

At Pearl Academy a Fashion Design, BA Hons. Course is of 4 years of which the first year is a foundation year/level. In the Foundation Level of the fashion design programme students are taught the basics of Photoshop and Corel Draw in the CAD module. After which there is a gap-period of six to eight months in semester 1(level 1) when the students do not do any Photoshop or Corel draw.

They have to work on these two software as a part of visualization and illustration in 5 classes towards the end of semester 2(level 1) to present professional portfolios. The gap period engages the students in other modules and students disconnect from what they have been taught if its application is not required. As a result the tutor spends stipulated contact hours to revise and refamiliarize the students with the tools and basics of Photoshop again, leaving lesser time to do self explorations in tools and techniques to arrive at professional solutions to digital visualization and portfolio presentation.

Resulting in the student’s final portfolio reflecting only a basic application of media skills.

Here I am concentrating on Post Graduate Fashion Design Programme which has no foundation level and may or may not have any experience with Adobe Photoshop or Corel Draw software or any other e-tool for that matter. For other things like e-learning in this case, it is only an assumption that they would know basic e-mail, Skype, What’s App etc. at least. Keeping this in mind, It was decided to introduce e-learning to level one (semester 1) students and not wanted this to be a part of the assessments as it was not covered by the LO’s of this level and not a planned part of the Module guide either so far, but the submissions and assignments were marked. On taking a feedback from students before starting e-learning, I learnt that all students were aware of the need for such learning through a medium that was convenient to them and

were enthusiastic to join. Although, a few students did project the pressure of other submissions and the lack of time to do extra work.

I reviewed a few sites for e-learning, some of them were survey monkey; P b works, facebook, etc. Most of the sites were designed to upload written assignments/pictures etc., these sites did not provide what I was planning for this module which could help the students and the faculty both in terms of time management, keeping in sync “24X7” and the excitement which surely was a part of the whole process.

For Design module I was looking for a e-tool something which is quick in terms of uploading, commenting and receiving comments and something which is popular and new so that there is not too much of traffic on it like facebook which many times would delay uploading and which may spoil the entire purpose of e-learning.

What’s App just suited the deal which I was looking for, easy to upload, easy to comment, easy to form groups and so just apt for Design Module.

The module was designed in a following manner to incorporate e-learning which was also one of the tasks put forward by Laureate ‘Hybrid and Blended Education for 21st Century’ course.

WEEK

DESIGN CLASSROOM DELIVERY

ASSIGNMENT

5th

Introduction to the signature styles of national/international Designers with the help of video presentation and discussion- 1.5 hrs.

Research timeline/history of national/international Designers in the library- 1.5 hrs.

Create 3 boards, one A3 and two A4 with A3 showing history/timeline and A4 showing two specialties of the designers.

6th

7th

(discuss last week’s assignment) Introduction to the signature styles of national/international BRANDS with the help of video presentation and discussion- 1.5 hrs.

Research timeline/history of national/international BRANDS in the library- 1.5 hrs. (discuss last week’s assignment) Classroom exercise on WGSN print direction- 1.5 hrs.

Discussion on how to realize it on the T-shirt- 1.5 hrs. *(pre-requisite for net class- torso and trouser pattern and pattern paper)

(submission on What’s App on 5th day starting today by 7:00 PM) Design an ensemble for the brand and create two A3 boards with specs swatches and illustration. (submission on What’s App on 5th day starting today by 7:00 PM) Two A3 board showing WGSN research (print direction) and its realization on the T-shirt, layout , specs and technique. (submission on What’s App on 5th day starting today by 7:00

PM) (T-shirt submission for 9th week)

8th

Classroom workshop with Torso and Trouser variation on paper with the help of trouser and torso pattern.

Introduction to design process and discussion on individual inspirations.

9th

*CLASSROOM EXERCISE Create one complete layout front and back for and ensemble on paper with print and style lines. *find out and finalize two probable inspirations for “Term Garment” T-shirt submission and discussion. *for next week- Create story board, range board, and final illustration board on A3 size each. (display week for all the above work/boards etc. in respective classes sectionwise.)

Range finalization and discussion on the final design with respect to specifications and final fabrics, trims etc.

10th

*(this week onwards students to work under guidance of technical and design faculty to realize their final designs.

9th week (highlighted) was a physical display week of all the work which was done from 5 th till 8th week.

Relevant e-learning Literature While designing the e-learning tool, Gagne’s (1985) principles of scope and application were taken into consideration. Scope=requirement, Application=for problem solving.

Using Gagne's 9 Events of Learning in e-Learning

How well does Gagne’s Nine Events of Learning fit in e-learning? I think it is a good fit, but I may not always use all events or in the intended order.

The following are examples of how I believe we can incorporate each event, although I have taken some liberties with each event of my own interpretation.

Then again, the events were not originally designed with e-learning in mind so some liberal interpretations must be made.

1. Gain attention – This works great in e-learning. Use of animation, audio,

graphics, etc. make this an easy task. The important thing is to tie it to the content and to “stimulate learning” of the subject at hand. Do not just get the learners’ attention, but get them curious and motivated to learn about the subject/skill your course addresses.

2. Inform learners of the objectives/direction – I tried to include objectives as learners should, and would want to, know what they are going to learn.

Stated them as if I was face to face with the learners. learners must know what they will learn and what to expect.

3. Stimulate recall of prior learning – Have an exercise(s) that will assist learners associate the subject with concepts they are already familiar with or link the exercise to prior experience or knowledge.

4. Present the content- This does not mean shifting into page turner mode.

The entire process was kept interactive. Breaking it up with questions and input from the learner, branching scenarios and leading assignments.

5. Provide learning guidance - This is an opportunity for the learner to apply the learned knowledge or skill, but with guidance. Unlike classroom training you cannot directly gauge the challenges the learner is facing and any feedback provided must be instantaneous and cannot be pre-scripted. The only alternative is a way for the learner to post questions or need for clarification throughout the process, such as an email function, here its What’s App. This will still not provide immediate guidance, but is an alternative if the classroom f2f feedback is not enough.

6. Elicit performance - Allow the learners to practice the new skill. An interactive exercise. This event does not require as much guidance. They should be at the point where they can apply the skills and wish to practice those skills. Feedback can be provided, but more likely at the end of the event, here its 9th week consolidated physical display of all the work alltogether. This is an opportunity for the learners to confirm their

understanding of the content and a chance to practice and increase the likelihood of retaining information.

7. Provide Feedback - For e-exercises there is a liberty of providing feedback instantly and unlike f2f. No need of jury and writing against LOs and K & Us as this is targeted directly at an uploaded assignment which is more spot on the related problem/question and instant and so is very effective.

8. Assess performance – With very few exceptions, I include an assessment at the end of the process. I have included feedback to the uploaded screenshots wherever required but at the same time avoided answering so as to gain more attention while in f2f environment which happen before switching on to online.

9. Enhance retention and transfer - Prior to the assessment I have provided a conclusion, though here it was generic and more of‘learning from the process’ I highlight and review important elements of the content and reaffirm if the content objectives were met. I have also discussed how this new knowledge or skill will be used in the workplace.

The e-learning tool – description We must widen the way we teach to focus on cultivating skills and abilities that are valued in the community and not just a traditional academic diet. (Gardner, 1993).

Data is not information, information is not knowledge, knowledge is not understanding, understanding is not wisdom (Clifford Stoll).

But data becomes information when it is analyzed, information becomes knowledge when it is analyzed, tested and imbibed, knowledge becomes understanding when it is used over a period of time with best suited conclusions.

Some more quotes on e-learning "We need to bring learning to people instead of people to learning." Elliot Masie, Masie Center.

"We complain that learners want to be spoonfed, but then we won't let them hold the spoon." Jane Bozarth “The most important principle for designing lively eLearning is to see eLearning design not as information design but as designing an experience.” Cathy Moore “e-Learning doesn't just "happen"! It requires careful planning and implementation”. Anonymous “Learning is changing. And, we will see new models, new technologies and designs emerge. So, let’s drop the “e” – or at least give it a new and wider definition”. Elliot Masie, Masie Center

“The most profound words will remain unread unless you can keep the learner engaged. You can't see their eyes to know if they got it so ... say it, show it, write it, demo it and link it to an activity”. James Bates Learning is socially constructed through interactions in a rich culture of knowledge acquisitions.

The e-learning task intended to engage the students and think beyond classroom boundaries where they also had the choice and ownership of creating a constructive climate to identify, analyze, reflect and act using the available freedom.

Screenshot-1 Formation of a separate ‘Group’ for Design Module

A ‘group’ was formed on my existing ‘What’s App’ account for the undertaken task of e-learning/e-tutoring. As stated before this was an experiment of Online-f2f hybrid tutoring and cross checking the learning in this new environment.

By cross checking I mean learning outcomes (LOs) with respect to f2f Vs f2fOnline Hybrid.

Screenshot-2: Initial conversation/building up the excitement by changing “group Icon” etc.

I remember I had to instruct the students strictly that once I am out of the classroom we are only connected online so even if I am seen around not to discuss anything f2f to maintain the success rate of this experiment to its positive extent.

The positive and shortcoming of this exercise are as follows.

Positive If we look at the process right from the beginning i.e. 4 th Feb. 2014 the day when the groups were formed in ‘What’s App’ amongst section A, B and C of PGFD sem. 1 for this exercise.

As there was an existing familiarity with the software/application (What’s App) there was no problem forming the group. Individual groups were formed for section A, B and C respectively to avoid confusion and mixing of assignments submissions across the sections.

Learners joined the group within few minutes and the process started.

Different ‘Group Icons’ were given for better identification and differentiation of the groups.

Excitement was not observed in the beginning as there was nothing very new or different for the learners as far as the App was concerned. Excitement did build up further day by day as the process of e-learning began and really reached its peak with the online assignment submissions, conversation, questions, answers, pleading against the strict guidelines etc. At no point was

there a feeling that this was a formative assignment and is non-credited which is not new with PGFD, mostly they are a bunch of enthusiastic and passionate learners. Each and every assignment was submitted and submitted on time by all the students across all the sections and truly the credit goes to comfort/feasibility of working in an online environment with respect to time and the surrounding one is working in/from.

Screenshot 3- comments and guidelines

As submission/display was in 9th week no need of going to printing shop for each assignment required any more as in f2f where once an assignment is delivered as a general practice we would want to see it in a printed hard copy the next week.

One very big plus is unlike f2f which should be more effective in communication posting comments and posting on discussion boards are taken more seriously and comments are read seriously because that is the only communication taking place through which assignments/submissions are understood. There is also very less probability of miscommunication as everything is written down and posted, cross commented by the learners till the point it is well understood and everyone is reading the conversation which helps the learner to be more creative as one gets to know different perspectives from different learners.

Screenshot 4- comments and guidelines

Negatives Less but there were some negative aspects also of this process. Learners even if they have got a week’s time to work on and a freedom of and space some students kept the submission till the last moment to be uploaded.

As learner is not f2f false reasons are easier to convey as an excuse for not working, not submitting on time and not submitting at all. In this process this has not happened much, in fact one odd case came up which came across and felt as a genuine reason/problem the learner was facing.

I also experienced that redoing/correcting the work was not happening much which should have been happening as the assignments were virtual and students were to print them only in the end 9th week for the final display and feedback.

EVALUATION OF THE E-LEARNING TOOL Evaluation is a process which leads to making of a judgment in relation to a set of values or criteria; and one in which the judgment possibly leads to a decision.

When an evaluation takes the form of a qualitative grade or mark, it is called an assessment. (Cowan, 1998 p 79)

Final hardcopy display of all assignments at week 9

Screenshot 5: Critique, correction and comments

What’s App is a social site and designing an e-learning platform here was not taken as a learning assessment platform but instead used as a tool to experiment f2f-Online Hybrid teaching/learning. Usually students sign into such sites more for social networking reasons than for learning purposes so that has its own cons, could be the language/tone they chat/converse with becomes casual (by default) usage of emoticons etc. can also hamper the seriousness of the complete process. On the other hand it was observed that it is very feasible for the complete process of making and submitting work (here these are A3 fashion boards) online and have an instant feedback on it which is targeted accurately on the learning outcome unlike writing feedback in f2f environment which many times is such a struggle, aligning LOs and K&Us.

Screenshot 6: Critique, correction and comments

CRITICAL REFLECTION & ANALYSIS There are brick and mortar options, such as coaching, classes, and mentoring.

Then there are electronic options, ranging from e-learning classes, to on-line help systems, to templates, decision support tools, and knowledge bases. Elearning gurus Elliot Maisie and Brandon Hall recognize the many options and encourage combined systems, which they call 'brick and click or ‘blended’ learning. Most definitions of blended learning follow the concept that it is a blended solution between e-learning (on-line or click) and classroom learning (face-to-face or brick).

Blended Learning can combine the positive aspects of the two learning environments, classroom-based learning and e-Learning (Bonk & Graham, 2006).

The understanding of virtual medium and critique on it needs a complete different perspective. During Laureate’s ‘Hybrid and Blended Education’ courses I realized even if we were comparing, trying to blend and looking into complete process of learning in f2f Vs Online environment, adoption of Fashion Design course or parts was quite difficult as the psyche of the course the DNA itself is hands on and not virtual or only textual as it deals with material, tools, skills etc.

The only way out was to retain “hands on” but communicate online, also all that which was possible to create virtually (mood-boards, story boards etc.)

added more percentage towards virtual side and made helped create a stronger hybrid and not the lopsided one where percentage of f2f blended with virtual was more and virtual was there name sake which could have made the module a ‘Fake Hybrid’ or a ‘Weak Hybrid’.

The ‘What’s App’ generation exhibited keenness in interacting with them on the social networking website but were not very enthusiastic to do the same when it came to learning online resulted in late submissions, late replies etc. though the students concerned were very few. But a big ‘plus’ for the learner was they being comfortable in an informal space where the unofficial situation lets them be themselves. On the other hand from a tutor’s point of view, it would have been unprofessional to interact with them on ‘What’s App’, since it would also mean letting them into my private space. This would certainly take away the boundaries that one has drawn to officiate a student –teacher relationship. But in my experience the decorum can be maintained really well at the same time you/education is part of their virtual life/time where they are most of the time.

This assignment in PGCHE along with Laureate’s course in Online Education helped me realize rather pushed me in a situation where it was necessary to apply what I conceptualized for Hybrid and blended Education and I was rather happy to have this assignment as it gave me a “mandatory chance” to test the waters.

REFLECTION Change in universities is an aspect of their organization , and again, the opportunities of the new learning technologies, including all their capabilities for information processing, communications, mass participation, design, and creativity, support the kind of system structure that would enable change to be organic and progressive – adaptive rather than mechanistic.

My attempt at designing an e-learning tool is not over yet, I realize its potential and importance in the lives of the new age learners who are a technologically savvy generation. With even schools debating on introducing the I-pad as a learning tool, e-learning would soon be an important source of education in the future. As a teacher this is my learning process, a process that keeps me updated and prepared for future. Working towards progressive society, nation and this planet what also is needed is to introduce newer technologies for ones comfort, comfort of function and comfort of delivery. Using e-learning as a tool along with required gadgets can also put forward paperless processes towards the benefit of one and all.

Some more interesting reflections on e-learning around the globe.

The day is coming when the work done by correspondence will be greater in amount than that done in the classrooms of our academies and colleges. — William Rainey Harper, distance-education pioneer and president of the University of Chicago.

The next big killer application for the Internet is going to be education.

Education over the Internet is going to be so big it is going to make email usage look like a rounding error. — John Chambers, president and CEO of Cisco Systems

Student’s feedback for this exercise

Screenshot 7: feedback from the students on this exercise

Summing all up I see 98% positive feedback i.e. in the favor of such exercises and 2 % partial negative who felt the virtual platform is something they could not gel in with properly. Students thought this kind of exercises are innovative and a lot of hassle is cut down.

Screenshot 7: feedback from the students on this exercise

Screenshot 7: feedback from the students on this exercise

Screenshot 7: feedback from the students on this exercise

Students also felt that looking at each other’s work really helped them through peer learning. They had got a chance to see and read other designers work without working on it through this portal.

Students liked the idea of consolidated display in the end and individual feedback in the end (9th week) as it gave them liberty to make changes to the assignments before they get it printed.

References and Sighting http://peoplesoft-lc.hosted.learnframe.com/aboutelearning/page19.asp http://en.wikipedia.org/wiki/E-learning http://elearningcyclops.wordpress.com/2009/01/29/using-gagnes-9-events-of-learning-ine-learning/ http://www.brainyquote.com/quotes/topics/topic_education2.html#eMO3FmrBMLMbDlyu.9 9 http://info.shiftelearning.com/blog/bid/295365/16-eLearning-Quotes-to-Inspire-YouSlideShare PGCHE Handouts and e-mails sent by Prof. Ravi Bhatia http://www.nwlink.com/~donclark/hrd/elearning/define.html

Post Graduate Certificate in Higher Education Summative Evaluation Form Student Name Course Semester Module Title Assignment Tutor Submission Date

Learning Outcomes

Darshan Chandekar PGCHE Certificate Evaluation of e-learning tool Two Seema Mahajan

Comments

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Evaluate personal knowledge of and expertise in elearning and teaching

You have provided a range of literature review to establish importance of e-learning tools in solving pedagogical problems.

You have used whatsapp very effectively for your module

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Apply complex skills in assessment design, methods and moderation

You have given an engaging and detailed overview of the tool and how it was used effectively.

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Justify and apply e-learning and teaching technologies where appropriate

You have justified its application in teaching and learning activities. You have used whatsapp as an extension of classroom activities . Students work clearly show how they were engaged for deep learning.

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Demonstrate a comprehensive knowledge of assessment design, methods and moderation

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Reflect analytically and critically upon your enhanced competence as assessors and programme designers.

You have made a lot of effort to look at various references as well as different tools for the same module which has added value to the learners .

It is good that you have critically and analytical reflected on the usage of your tool and effectiveness of e-learning beyond face-to face learning. Your reference to the learning environment at pearl Academy which encourages hybrid learning is very appropriate.

The structure of the paper should have been taken care of for better engagement with your paper.

Distinction 70% + 73

Merit 60-69%

Seema Mahajan Pearl Academy, New Delhi

Pass 50-59%

Moderated by: Sharmila Katre

Fail 49% and less