SCHOOL OF DESIGN STUDIES DESIGN ELECTIVE
SDES 2167 Textiles for Fashion COURSE OUTLINE Semester 2, 2013
Zoe Mahony ORIGINALANGUAGE Collection
Students should read this course outline in conjunction with the 2013 COFA General Student Information guide, which provides essential administrative information and is available as from the COFA website Document Library http://docs.cofa.unsw.edu.au/ or COFA General Student Information 2013 document in the SDES2167 class work folder. COURSE STAFF Lecturer: Contact :
Zoe Mahony nd z.mahony@unsw.edu.au or via a sessional staff mail box outside F219, 2 floor, F Block.
Consultation:
Please consult with staff during class times or via email.
Course Coordinator:
Liz Williamson nd School of Design Studies Office, F219A 2 Floor ‘F’ Block, Paddington Campus, ph 9385 0627 fax 9385 0712 email <Liz.Williamson@unsw.edu.au> Students can make appointments to discuss the course via email.
Technical officer:
Toolroom, FG - Ground floor ‘F” Block ph 9385 0663
COURSE INFORMATION Units of credit: Duration: Lecture: Studio:
6 UOC 3 hours per week contact Tuesday as scheduled in F102 Tuesday 3 to 6pm F102 / GG02
COURSE OVERVIEW Textiles for Fashion is an elective course open to students of all COFA and UNSW programs and can be taken as a general education course. The course provides an introduction to textiles, explored in the context of Fashion. The course covers the design of textiles for the fashion, apparel and accessories Industry. Particular emphasis will be placed on the textiles used, the selection of fabrics and the manipulation of the textile surface for fashion garments. It will also cover the work of selected designers, investigating how they incorporate specific textile techniques into their fashion ranges. The course will focus on design as a process, ways of interpreting trend inspirations and will culminate in a final textile surface design / print collection. Students will design their own textile collection based on research into current market and fashion trends, applying these influences to the design processes. COURSE AIMS The aim of this course is to cover the design of textile surfaces and prints for the fashion industry. Particular emphasis will be placed on the textiles used for fashion, the selection of textiles and the manipulation of textiles for fashion garments. The course will focus on design as a process, ways of interpreting trend inspirations and will culminate in a final textile collection. STUDENT LEARNING OUTCOMES On completion of Textiles for Fashion course you should have achieved the following outcomes: • developed skills in various textile processes associated with fashion and garment design • developed an awareness of the aesthetic qualities inherent in textiles • developed an awareness of the creative possibilities of textile processes in relation to wearables, fashion trends and textiles • utilise mark making skills for conceptual work and design projects in textiles • be exposed to artists’ and designers’ work who use these techniques • been introduced to the contemporary work of fashion designers and develop an awareness of the process of developing an aesthetic philosophy underlying each collection • have an understanding of the correct procedures for the use and health and safety concerns processes, materials and equipment TEACHING STRATEGIES and APPROACH TO LEARNING Lectures - disseminate information, generate debate and promote student understanding of independent enquiry Demonstrations - guided, collaborative and participatory learning Studio practice - independent practice, experimentation, self reflection and review Tutorials and peer review - promote independent enquiry, small group and reflective learning Field trips - collaborative and participatory learning GRADUATE ATTRIBUTES DEVELOPED IN THIS COURSE • an understanding of this discipline • capable of independent research and inquiry • ablity to apply knowledge and skills to solving problems • capable of effective communication • skills of effective verbal and visual communication
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ASSESSMENT Assessment Project 1 : RESEARCH PROJECT – IN-HOUSE TEXTILE DESIGN FOR FASHION Part 1 – Due Week 3 Parts 2 and 3 – Due Week 5 Weighting: 30% of semester mark Learning Outcomes : • Develop design ideas and realized projects. • Understand the narrative role textiles can play in reflecting and documenting contemporary society. • Understand the design context for textiles • Understand the role of in-house textile design in terms of working within an existing designer’s framework • Realise textile designs both individually and as part of a wider, coherent ‘collection’ Examine an international fashion label with the intention to design a directional range of textiles. Incorperate the signature design style of your chosen label, and simultaneously expresses your own handwriting. Thoroughly research the designer or label of your choice. This will provide you with a solid understanding of the international market position and allow you to make confident design decisions when proposing your ideas. Identify signature use of colour, design elements (including silhouette, accessorising, choice of fabrics, patterning, etc.), mood (masculine/feminine/androgynous, edgy/conservative, quirky, girly, etc), as well as how the designer both responds to, and informs, fashion trends. It is imperative that you ground your research in information from current sources such as Textile View magazine, contemporary fashion journals and magazines, trend forecasters such as wgsn.com, and first-view fashion preview website, such as Style.com. The idea of this assignment is to gain an informed knowledge of the designer’s individual history and signature style, as well as a broader understanding of how this designer fits into the fashion trajectory. As cloth is the basis of fashion design, consideration must be given to the unique ways in which your chosen designer uses cloth in their creations. Designers to choose from include: Byblos, Ferragamo, kors, Junya watanabe. YSL, Jean Paul Gaultier, Armani, Varatos, Giraud, Costume National, Prada, Etro, Trussardi, Rick Owens, Comme des Garcons, Cavalli, Marni, Hermes, Birkkemberg, Ann Demeulemeester, Moschino, Dsquared, D&G, Alexander McQueen, Versace, Dries Van Noten, Armani, Louis Vuitton, Galliano, Cerruti, Calvin Klien, Margiela, Kenzo, Victor&Rolf, Lanvin, Missoni, Paul Smith, Burberry, Yoji Yamamoto, Dior, Chanel, Givenchy and many more… You may choose from the above mentioned designers, or select from outside this list. Select either mens or womenswear. Assessment Project 1 is to be comprised of 3 components: 1/ CONCEPT BOARD This is to be an A3 board which provides a visual narrative of the designer’s work. You are to select key images that exemplify the work of your chosen designer, being careful to pay attention to textile ideas, prints and fabric manipulations, as well as to silhouettes and colour choices. You must include a palette of six key hues that you consider important to the designer’s work. 2/ DESIGNS FOR FASHION TEXTILES Referring to your designer concept board as a guide, produce 3 designs for textiles. Your 3 designs for textiles will to be incorporated into their next fashion collection. It is important to adopt the mindset of an in-house designer, working for your chosen fashion label, in order to design textiles that will be appropriate to the label and season. At least ONE of these designs must feature hand painted/drawn motifs. The finished designs are to be presented on separate boards, each measuring 25cm x 25cm. 3/ SUPPORTING DOCUMENTATION All fashion designers produce support material in order to communicate to buyers the concepts and techniques that have informed their designs for the season. Produce a booklet that explains the season, the muse/inspiration, and the market for your designs, as well as how they relate to the chosen designer’s signature ‘look’. Pay careful attention to the presentation of the booklet – it is a sales tool and hence, must look polished and professional. Notes: Mood boards need to be completed in the early stages of the project, to allow you to use them in developing your design ideas. For this reason, there will be an INFORMAL ASESSMENT of your concept board in WEEK 3 – all mood boards must be COMPLETED for this class.
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A grade will be taken off for all late presentations.
Excellent
Very Good
Good
Assessment Criteria
Satisfactory
Unsatisfactory
Feedback strategy : students will be given both written and verbal feedback throughout the course, in conjunction with peer review discussion and feedback.
Thorough research into the chosen designer’s signature themes, motifs, inspirations, colour palette, use of pattern, use of materials and embellishment techniques Presentation of a coherent, succinct and professional concept board which effectively conveys this information, as well as the student’s own unique conceptual direction for a new textile design range Inclusion of three original textile designs, including at least ONE featuring hand painted/drawn motifs. Creativity of the textile designs and use of materials Conceptual content of the designs Details of technical aspects of each design, including intended fabric choices & embellishment techniques Incorporation of the chosen designer’s signature motifs into new textile designs Explanation of concept, materials and inspirations through the medium of a creative supporting document Overall presentation of work Bibliography, citing no less than 3 references from a range of sources (books, journals, fashion magazines, SELECT web-based sources. Note: Wikipedia is not a credible source) Comments: Grade
Fail Less 50%
Pass 50 – 64%
Credit 65 – 74%
Distinction 75 – 84%
High Distinction 85 – 100%
Graduate attributes assessed in this task: • the ability to undertake research to inform studio practice • understanding of selected textile design techniques • understanding of the processes employed in designing contemporary textiles PROJECT 2 : TEXTILES AS INSPIRATION FOR FASHION DESIGN Part 1 due week 6 Parts 2 & 3 due Week 8 30% of semester marks. Textile and Fashion designers often derive inspiration from existing textile materials and prints. Sometimes an entire collection might be inspired by a piece of textile that feels right for the next season. Develop a range of 5 fashion ‘looks’ based on the textiles croquis produced for assignment 1. Your fashion and accessories designs must take into account an analysis of market position and current fashion trends, while maintaining a unique creative approach to both textile and fashion design. Your assignment is comprised of three components: 1/ ANALYSIS OF TEXTILE CROQUIS Present a document, accompanied by key imagery, outlining the following: o Where your textile designs fit in the fashion market (eg high street, RTW, couture etc) o Trend analysis – how relevant your designs are to current fashion trends; garment & accessories trends and how they might be paired with your textile designs o What season they would be most appropriate for and why o What type of base cloth the designs would be suited to and why o What type of garments each of your designs would be most appropriate for and why Include images and annotations to accompany your written analysis and include a bibliography which cites ONLY credible internet sources as well as books and journals. Poor referencing and bibliographies will result in reduced marks. Minimum word count: 500 words. 2/ TEXTILE DESIGNS Further develop your textile designs from Assignment 1. Modify scale, colour, texture, etc depending on the SDES2167 Textiles for Fashion
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suitability of the original croquis to the overall look of the garment collection, season, and market positioning. Textile designs are to be neatly and consistently frame mounted on mount board. These extensions of your original designs from Assignment 1 should be recognizable as resolved versions of your previous work. In addition – at least ONE of the 3 designs must feature original textile embellishments sewn/embroidered, etc. 3/ INCORPORATING TEXTILE DESIGNS INTO FASHION SILHOUETTES Sketch 5 fashion ‘looks’, for either men’s of women’s Spring/Summer or Fall/Winter. While taking into account current fashion trends, these must be your own original designs, and all three fashion prints that make up your textile collection for the season must be used at least once. Each look can be comprised of as few, or as many, individual garments as you wish, remembering that you are sketching a ‘total look’, to be featured on a fashion runway (ie consider accessories and layering of garments that complete your vision for each fashion ensemble). Your fashion sketches must include the following:
Excellent
Very Good
Good
Assessment Criteria
Satisfactory
High quality artistic renderings of fashion silhouettes on figures Full colour rendering of textiles and prints, as applied to the garments and to scale Fabric swatches and annotations outlining the key features, technical details, embellishment techniques, trims and textile choices intended for each garment Unsatisfactory
o o o
Accurate and detailed analysis of the appropriateness of textiles for end use Detailed analysis of contemporary fashion trends, in relation to the student’s own textile designs and garment design ideas Quality and rigour of the supporting document, including presentation standard Inclusion of three original textile designs, including at least ONE featuring hand painted/drawn motifs – and ONE featuring original textile embellishments sewn/embroidered, etc. Textile designs exhibit originality while being appropriate to the season, market and garment styles, taking into consideration current fashion textile trends Colour, pattern, motif coherency between the textile designs as an overall collection Quality of croquis renderings Fashion sketches include all details: design, silhouette, indication of drape, scale of pattern, swatches, and annotations, to build a comprehensive idea of the intended final designs Fashion designs are innovative and unique, while reflecting current fashion trends to maintain a contemporary and seasonally-appropriate aesthetic Overall presentation of work Comments: Grade
Fail Less 50%
Pass 50 – 64%
Credit 65 – 74%
Distinction 75 – 84%
High Distinction 85 – 100%
Final notes: Take care to present this project as a body of work. Each of the components must cohere into a professional presentation, ready to pitch to a client/professional designer, for manufacture. A grade will be taken off for all late presentations. Assessment Project 3 : TRANSFORMING A SCARF FROM HISTORICAL / CULTURAL RESEARCH TO PRODUCT DEVELOPMENT Weighting: 30% of semester mark Part 1 Due: Week 10 Parts 2-4 Due: Week 14 Feedback strategy : students will be given both written and verbal feedback throughout the course, in conjunction with peer review discussion and feedback. SDES2167 Textiles for Fashion
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Learning Outcomes Assessed • Develop a critical awareness of textile processes as vehicles for expressing ideas • Demonstrate proficiency in designing with various textile techniques Develop technical rendering and fashion illustration skills • Have an understanding of the correct procedures for the use of health and safety issues involved in textile design production Use cultural research, to develop your own CONTEMPORARY textile design for fashion. As a designer for the directional genre of fashion, you must produce cutting edge ideas which have a strong, fresh look, and a bold identity. Fashion history reveals a long lineage of ever-changing trends, often reflecting influences from historical or cultural sources, which are constantly being recycled and reinvented for new eras. You are to examine examples of this throughout fashion history, in order to inform your own, unique designs. Choose one of the following countries as a starting point for your inspiration: 1/ INDIA
2/ CHINA
3/ MEXICO
4/ EGYPT
From this point of reference, you will design a scarf that uses textile embellishments to reflect your inspirations and unique design signature. You may choose to design either a mens, womens, or childrens scarf. Fabric choices and colour should relate to seasonal direction. Your assignment will comprise of 5 components: 1/ CONCEPT BOARD & STATEMENT Start with a colour and inspiration board to guide your design ideas (A3 in size). Your inspirations could come from the textiles, architecture, costume, crafts or artifacts of your chosen country. Inspirations can be current or historical in nature (or both), but the finished designs must be contemporary. As your concept board will be the springboard for your ideas, it must be completed in the early stages of the project. For this reason, there will be an INFORMAL ASSESSMENT of your concept board for Project 3 in WEEK 10. Include a 1 page written document which articulates research, points of inspiration, original conceptual ideas and intended fabrication/embellishment techniques, cite no less than 3 reference sources for your information. 2/ TECHNICAL SAMPLING Before producing your final product, you will need to develop physical samples of techniques you will use to embellish your scarf. These could include: dyeing, screen printing, heat transfer printing, foiling, flocking, weaving, stitching, embroidery, beading, folding, etc. Present 4 different technical samples, each measuring 15cm x 15cm, to illustrate your process of technical innovation. Think quality of idea rather than quantity, remembering that the point of this exercise is to experiment with diverse materials and techniques before settling on the final 4 samples for submission. 3/ FINAL PRODUCT Produce a scarf that represents the pinnacle of your ideas and use of textile techniques. There is no size or shape restriction – be innovative. The scarf should employ at least 2 techniques explored throughout the course. You must accompany your scarf with an A3 image of it, as it is to be worn on the body. This image can take the form of a sketch, computer rendering, or photograph. 4/ SUPPORTING DOCUMENTATION Compile a document that includes your concept board, concept statement, technical aspects of your final work (construction and embellishment techniques used), plates of your textile samples, image of your final work, and a technical rendering of the final product. It is up to you how you choose to present your concept document, but care must be given to make it informative, as well as professional and visually appealing.
Excellent
Very Good
Good
Assessment Criteria
Satisfactory
Unsatisfactory
A grade will be taken off for all late presentations.
Concept board accurately and creatively reflects a contemporary approach to colour, texture and cultural research Articulate written research, points of inspiration, original conceptual ideas and intended fabrication/embellishment techniques, with min 3 refs 4 innovative technical samples measuring 15 x15cm each, exploring a variety of materials and textile embellishment techniques across the SDES2167 Textiles for Fashion
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range of samples responding to the concept. Skill demonstrated in technical samples Creativity and innovation interpretation of concept evident in final contemporary scarf Skill evident in production of final scarf product A3 image of completed scarf on a body Quality and detail of technical rendering Professional presentation creative supporting document Comments: Grade
Fail Less 50%
Pass 50 – 64%
Credit 65 – 74%
Distinction 75 – 84%
High Distinction 85 – 100%
FINAL NOTES ON PROGRESSIVE ASSESSMENT: Your visual diary is to be used consistently throughout the semester to record ideas and sketches for each project, and to demonstrate your ongoing research. Visual diaries will be routinely checked throughout the semester, for evidence of this. Assessment Project 4 : The final 10% of semester marks will be made up of class participation, including studio engagement and active participation in class activities and discussions
WEEKLY COURSE SCHEDULE
Week
Dates
Description
1
30/7
2
6/8
Lecture / Studio Introduction to the course, administrative details and OH+S. Introduction to Project 1 Introduction to concept boards Research for week 2: Designer research task, concepts and methods Lecture : Project 1 - Case Study Studio: Introduction to illustrating textile designs
Requirements : Students bring in a variety of drawing materials, pencil, ink, copic markers, pastels, various papers for mixed media, alternative mark making tools such as sponges, feathers, combs etc Research for week 3: Part 1 of Assessment Project 1 3
13/8
4
20/8
5
27/8
6
3/9
Lecture : Concepts look books: support materials developed by designers Studio : Informal Assessment: Concept boards for Project 1 due
Research for week 4: Students compile motifs for Assessment Project 1 Lecture: Textile designs and their role in fashion - Pattern and Placement Studio : Textile croquis design workshop Requirements : Students bring minimum 5 sketch stage design ideas to develop in class
Research for week 5: Students finalise Assessment Project 1 Lecture : Introduction to Project 2 Studio : Project 1 Assessment – In-class presentations Research for week 6: Analysis of Textile Croquis for Project 2 due Lecture : Fabric manipulation in Fashion Studio : Informal Assessment: Analysis of Textile Croquis for Project 2 due +Embellishment introduction workshop – machine embroidery and 3D manipulations Requirements : Students bring a variety of fabrics, yarn, pins, hand sewing
needle, fabric scissors Research for week 7: Identify and analyse design signature elements employed by chosen designer 7
10/9
Lecture : Fashion illustration Studio : Fashion illustration workshop Requirements : Students bring 80gsm A4 paper, pacer pencil, eraser, ruler,
French curve, fineline marker, copic markers or other rendering tools. Research for week 8: Students finalise Assessment Project 2
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8
17/9
Studio : Project 2 Assessment Lecture : Introduction to Project 3 The Body Wrapped – Ways To Wear A Scarf
Research for week 10: Students research colour, textiles, architecture, costume, crafts, and artifacts of a chosen country. This research will be presented as a concept board and 1 A4 page written account. See Part 1 of Assessment Project 3 9
24/9
Mid Semester Break 10 8/10
NON TEACHING WEEK – NO CLASS
No Lecture (3 hr studio) Studio : Informal Assessment: Part 1 of Assessment Project 3 due + Shibori dye workshop Requirements : Students bring silk and cotton fabrics, rubber bands,
bulldog clips, scissors, small wooden blocks, needle and thread, face mask, plastic bags, gloves, apron Research for week 11: Contemporary scarf designs, sketches of design ideas 11
15/10
Project 3 : progress and advice No Lecture (3 hr studio) Studio: Screen print workshop using stencils Requirements : Students bring a variety of fabrics, print paste, stencils,
blade, scissors masking tape, cartridge paper, plastic bags, gloves, apron Research for week 12: Contemporary scarf designs, sketches of design ideas 12 13
22/10 29/10
14 15
5/11
Informal Assessment: Project 3 concept statement and board due 3 hr studio workshop – self directed according to each student’s scarf design Lecture : Approaches to presenting textile and fashion work Project 3 : progress and advice PROJECT 3 SUBMISSION PROJECTS READY FOR COLLECTION
RESOURCES FOR STUDENTS TEXTILES STUDIO OCCUPATIONAL HEALTH AND SAFETY PROCEDURES 1.
Food should not be consumed in the workshop areas especially where chemicals are used eg in the Textiles Print / Dye room GG02.
2.
Students must wear footwear at all times in studios and workshops. Shoes or boots must completely enclose the foot: that is, sandals and thongs are unacceptable especially in GG02.
3.
Students may not operate equipment or machinery if wearing loose or torn clothing, bracelets or dangling jewellery (eg. pendants, drop earrings, etc.), or if long hair is unrestrained. Any directive by a staff member refusing a student access to machinery is final and will not be revoked until an approved safe dress standard is met.
4.
There are a number of processes in the Art and Design studios which require the use of specific safety equipment and clothing or personnel protective equipment (PPE) eg. dust masks, safety footwear, protective gloves etc. This applies in the Textiles Print / Dye room GG02. Academic and technical staff will alert you to the need to wear specialist equipment which you will have to provide. You will be asked to leave the class if you do not provide your PPE as required.
5.
Never place hands in any chemical or solution. Ascertain the nature of all materials with which you are working and ensure that you are wearing/using the appropriate protective clothing or equipment. You will be instructed in these procedures, however, if in doubt, consult your lecturer or a technical officer.
6.
Material Safety Data Sheets (MSDS) must be read and followed. Textile specific sheets are available in GG02.
TEXTILE TECHNICAL NOTES The classwork folder for this course (on the COFA student server) contains a series of PDF’s on various aspects of textiles. These have been written by COFA staff for use in studio. It is expected that you print a copy of these and read before specific workshops. Together these are an excellent resource for these textile technical areas. SDES2167 Textiles for Fashion
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STUDIO MATERIALS AND EQUIPMENT Textiles students will be required to supply most of the materials required for the studio projects. Equipment can be borrowed for use in the studios provided a COFA borrowers card is deposited and arrangements made with staff for safe storage of the equipment after the college closes. No COFA equipment can to be taken off campus. Materials and equipment required will be distributed with each project and will need to be provided by students. All students are required to wear protective clothing and covered shoes in print room GG02 and supply their own pair of rubber gloves and a dust mask. KEY SUPPLIERS • Eckersleys, 93 York Street, Sydney. Ph 9299 4151 • Elsegoods, 8 Little Queen Street, Chippendale, NSW. ph 9699 8892 Silks, fine cotton. • Spotlight – various locations - Birkenhead Point, Victoria Road and Bondi Junction. • Fabric Shop, 110 Commonwealth Street, Surry Hills. ph 9211 5536. • The Fabric Store, 21 Cooper Street, Surry Hills. Ph 9211 2217 M to F 9.30am to 5pm. Sat 10-4. • Tessuti Fabrics, Bondi Junction, City. • Textiles and Lace, Roseberry. • Chinatown has many shops selling fabrics. • Virginia farm Wool Works, 122 Annangrove Road, Annangrove, NSW 2156. ph 9654 1046 fax 9654 1290 <www.virginiafarmwoolworks.com> Wool materials for felting. • First Edition Fibres and Yarns, 16-18 Charles street, PO Box 201, Eurora Vic 3666. ph / fax 03 57 953 578. Wool materials for felting. • Reverse garbage, Marrickville and Casula Powerhouse. • Lloyd Reed Loom Company, 605 Botany Road, Rosebery. Ph9699 1655. Basketry materials. • Lincraft, various locations. Vliseofix, solvy, machine threads, fabrics. • Batik Oetero, 8/9 Arnhem Close, Gateshead NSW 2290 Australia tel. +61 2 4943 8808 fax +61 2 4943 8841 email: sales@dyeman.com. Dyes, natural plant dyes, chemicals, equipment, books. www.dyeman.com TEXT BOOKS The textbooks below make up a general reading list for textile design and are excellent references for contemporary textiles practice. Specific references will be given for each project. The COFA library has an excellent range of textile, art and design books, magazine, videos etc. ‘Art Textiles Of The World’ and ‘Portfolio’ series By Telos Publishers Balfour-Paul, Jenny. Indigo. British Museum Press. 1998 Belfer, Nancy. Batik And Tie Dye Techniques. Dover Publications. New York. 1972 Black, Sandy (ed) Fashioning Fabrics : contemporary textiles in fashion. Black Dog Publishing, UK. 2006 Black, Sandy (2008) Eco – Chic : the fashion Paradox, Black Dog Publishing, UK. Bolton, A. The Superwoman Wardrobe, V+A Publications, UK, 2002. Bowles, Melanie and Ceri Isaac, Digital Textile Design, Lawrence Kind Publishers, May 2009 Braddock, S and O'Mahony, M. techo textiles - Revolutionary Fabrics for Fashion & Design'. Thames and Hudson, UK. 2005 (revised edition). ISBN 9780500512456 Braddock, Sarah and O'Mahony, Marie. 'Sports tech Revolutionary Fabrics Fashion& Design', Thames and Hudson, UK. 2002 Cole, Drusilla. Textiles Now, Laurence King Publishers 2008 Edelkoort, L, Bloom Book - Horti-Culture for the 21st Century 2001 CFA 745.4/110 On reserve. Fletcher, Kate (2008), Sustainable Fashion and Textiles : Design Journeys Earthscan, UK. Flint, India (2008) Eco Colour : botanical dyes for beautiful textiles, Murdoch Books, Australia 2008 ISBN 9781741960792 Handley, Susannanh, ‘Nylon : the Manmade Fashion Revolution’ Bloomsbury, 1999. Hibbert, Ros ‘Textiles Innovation – traditional, modern and smart textiles’, Line Publications UK 2003. Manheim, Julie (2009), Sustainable Jewellery, A and C Black, London, UK. Morrell A. Contemporary Embroidery. Studio Vista, UK. 1994. McNamara, A and Snelling, P. Design and Practice for Printed Textiles. Oxford, Melbourne.1995. ISBN 9780195533712 Pepin Van Roojen, Batik Design, Shambhala 1997 McQuaid, M. Extreme Textiles : Designing for high Performance, Smithsonian Cooper-Hewitt, National Design Museum and Princeton Architectural Press, New York. 2005. Quinn, Bradley. Textile Designers at the Cutting Edge Quinn, Bradley. Techno Fashion Quinn, Bradley, The Fashion of Architecture, Berg Quinn, Bradley. Textiles Designers at the Cutting Edge, Edition 1, Laurence King Publishing, UK. 2009. ISBN 9781856695817 Quinn, Bradley (2010) Textile Futures: Fashion, Design and Technology, Seymour, Sabine (2008) Fashionable Technology : The Interface of Design, Fashion, Science and Technology, Springer Wien, New York. Sutton, Ann and Sheehan D. Ideas in Weaving. Interweave Press, USA. 1989. Thomas, T. 2000 Felt: Art, Crafts and Design, Arnoldsche Art Publishers, Stuttgart, Germany. Wada, Yoshiko. Memory On Cloth – Shibori Now Kodansha,Tokyo 2002 SDES2167 Textiles for Fashion
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Wada, Yoshiko. Shibori: The Inventive Art of Japanese Shaped Resist Dyeing. Kodansha,Tokyo. 1983 Wells, Kate. Fabric Dyeing and Printing. Conran Octopus, London. 1997. ISBN 9781850298663 MAGAZINES Textile View Magazine Hali Object (online) Surface Design Textileforum
Fiberarts International Textiles Selvedge Textile Fibre Forum Textile : Journal of Cloth and Culture
EXPECTATIONS OF STUDENTS IN THIS COURSE Attendance/Participation An integral part of this course is engagement in class activities. Consequently you may fail the course if you do not attend regularly even if you complete all assignments. You must actively participate in classes and complete all set work to a satisfactory standard as discussed in class. Assessment Assessment dates are listed are listed in the Weekly schedule below and in the Project outlines. Risk of Failure Warnings ‘At Risk’ letters will be sent to any student that is at risk of failure in this course due to poor academic performance or poor attendance at both scheduled lectures and studio classes. These letters are sent at any time during the semester and particularly after the first assessment in week 6. Late Submission Penalties Where, because of illness or misadventure, you cannot hand in an assignment on time, or your work has suffered to a substantial degree, you can apply for Special Consideration. Please note that you must apply no later than 3 days from when the assessment is due. For information on Special Consideration see: https://my.unsw.edu.au/student/atoz/SpecialConsideration.html CONTINUAL COURSE IMPROVEMENT Periodically student evaluative feedback on the course is gathered, including UNSW’s Course and Teaching Evaluation and Improvement (CATEI) process. Student feedback is taken seriously and continual improvements are made to the course based in feedback. It is important that students complete the CATEI course and teaching surveys for this course. This is completely anonymous and provides important student observations and suggestions to ensure that the course is continually improved. Over the past semesters we have, for example: • Re-organized the project outlines and given cleared details of all parts of each project. • Introduced the Archive project • Introduced lectures on materials processes, fabric structures, textile technologies and sustainable issues INFORMATION LITERACY To assist in the development of online information literacy skills, students will be directed to: ELISE for Postgraduate Students (Enabling Library Information Skills for Everyone), an online information tutorial about finding and using information at UNSW Library: http://sujectguides.library.unsw.edu.au/elise Online subject guides designed by the COFA Library to accompany specific Art and Design discipline areas: http://subjectguides.library.unsw.edu.au/art and http://subjectguides.library.unsw.edu.au/design Library How to Use Guides (includes Using Sirius and Using the LRD): http://library.unsw.edu.au/HowDoI Endnote Tutorials to learn how to use EndNote bibliographic software to store, organise and manage your references: http://www.endnote.com/training General UNSW Library Home Page: http://www.library.unsw.edu.au The UNSW Library Catalogue: http://lrd.library.unsw.edu.au Sirius (UNSW Databases & e-Journals): http://sirius.library.unsw.edu.au E-Journals Access to UNSW e-Journal subscriptions is available via the LRD or Sirius, e.g.: UNSW Library Home page > Sirius > Find e-Journal > Title Examples include: Art, Design and Communication in Higher Education Creativity Research Journal Design issues Graphics Journal of Visual Culture Leonardo SDES2167 Textiles for Fashion
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Media International Australia Visual Communication Working papers in Art & Design Object magazine UNSW Library Databases Access to UNSW Database subscriptions is available via the LRD or Sirius, e.g.: UNSW Library Home page > Sirius > Find Resource > Title ... (type in database name) Examples include: ArtBibliographies Modern Art Full-Text Avery Business Source Premier Communication and Mass Media Complete Design and Applied Arts Index Factiva JSTOR Project MUSE ProQuest Sage Full Text Collections Image Collections ARTstor Digital Collection (available via LRD and Sirius) Digital Collections Subject Guide Creative Commons Image search: http://search.creativecommons.org (to find images you can use, mix and share) This document has been written by the course authority with input from the lecturers at the beginning of S2/2013 and all information is correct at this time. Course and any arrangements for courses including projects and staffing allocations as stated in this document are an expression of intent only. The School of Design Studies reserves the right to discontinue or vary arrangements at any time without notice. Information is correct at the time of printing but may be amended without notice by the School. July 2013 Š School of Design Studies, College of Fine Arts, University of New South Wales.
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