You are on page 1of 10

FIND YOUR DIFFERENCE

IED Milano
Undergraduate course
Bachelor of Arts Degree

FASHION DESIGN
MILANO | BARCELONA | CAGLIARI | COMO | FIRENZE | MADRID | RIO DE JANEIRO | ROMA | SÃO PAULO | TORINO | VENEZIA
Project by F. Piccioli Muggiani
50 YEARS OF EXPERIENCE
INTERNATIONAL
EDUCATION NETWORK
11 LOCATIONS
AROUND THE WORLD
10000 STUDENTS A YEAR
+100 NATIONALITIES
UNDERGRADUATE,
MASTER, SUMMER,
Title* First Level Academic
Diploma in Fashion Design

SEMESTER AND CONTINUING


Coordinators English and Italian language
Alon Siman Tov
Olivia Spinelli

EDUCATION PROGRAMMES Course Leader

Duration
Michele Guazzone

3 years, full-time

Credits 180

Language English or Italian

Starting date October

Further studies Postgraduates, Masters,


Specialisation courses

* This Diploma, accredited by Italian Ministry


of Education and Research (MIUR), is equivalent
to a Bachelor of Arts Degree.
Project Gentute by G. Bini
THE PROFESSION
The world of fashion faces continuous
and rapid changes. In the past few decades,
the professional once defined as Couturier has
given way to complex and flexible roles covering
different fields with a multifaceted process:
the Fashion Designer and the Shoes and
Accessories Designer.

Today Fashion and Accessories Designers are professionals who make


use of their creativity as a functional tool to turn a source of inspiration
into garments or accessories. They begin their creative process by defining
a personal narration as the basis of the whole production process for
a fashion collection. As they follow the single steps in the development
of a project, they interact with a set of different professionals in order
to guarantee an overall coherence for the final work.

As a result, the stylistic and creative competencies of Fashion and


Accessories Designers are combined with the ability to define innovative
products, to develop stories and take the final product to market.
Today, Designers are called to understand and use languages coming from
different worlds and add them to the traditional fashion codes in order
to trace a more complex path, in line with contemporary trends.
Project by C. Tognati

THE COURSE
Job prospects
Fashion Designer, Shoes and Accessories
Designer, Textile Designer, Product Manager,
Knitwear Designer, Embroidery Designer.

The study path is structured so as to provide students with all the tools they
need to properly and efficiently create a fashion or accessories collection
and place it on the contemporary market. The whole process focuses on the
application of the Design Method, typically used by Made in Italy factories
and taught to students from the first year until their Final Project, to an
increasingly sophisticated practice of design-making. The course provides
students with expertise for the design of different collections, such as
womenswear, menswear, accessories and childrenswear, and for the use
of many techniques in knitwear, printing, textile and embroidery.

Particular attention is paid to the acquisition of pattern-making and sewing


skills, textile and leather technology and processing, design techniques,
fashion illustration and the production process of garments and accessories.
Complementary to the technical and methodological disciplines is the strong
focus on cultural studies. They allow to identify the language of fashion as
a historical, artistic and social phenomenon, as a flow of trends and codes, as
a creative and visual narrative and as an economic system that is featured by
a production chain and by specific marketing and communication strategies.

During the course, students have the possibility to choose among different
workshops (that change every year) such as hand embroidery, written
analysis of trends, hand knitwear, fur.

In the second year, the course offers the possibility to specialise in Shoes
and Accessories Design in Italian language. This curriculum focuses on specific
drawing techniques, on the production processes and on the use of many
different types of leather, skin and metal hardware. IED confirms year by
year whether the specialisation is active or not.
METHODOLOGY Labs are the core of IED
training, the places where

AND STRUCTURE theory can be translated


into practice through the
development of real projects.
The training model alternates lectures,
projects characterised by increasing complexity
and experimentation activities, either
as individual or as a group. IED builds value
on the open discussion and exchange among
students, teachers and companies.

The didactic path is based on the process, by getting awareness and IED methodology, based on learning Year after year, IED guarantees a punctual
acquisition of the cultural, methodological, competence in specific professional areas. by doing and on project culture, is carried update of the didactic contents and
technical and technological knowledge out together with a selected group faculties. Finally, limited enrolments
of the professional field of reference During the third year students deal of professional teachers, recognised allow a direct and constant open
and on the application of the acquired with topics of increasing complexity in their field of study and reference discussion and an optimal use of contents,
knowledge, also through the development and acquire the most advanced tools point for students. laboratories and equipment.
of projects in collaboration with agencies, for the elaboration and communication
companies and institutions, which allow of a project, learning the management
to continuously measure oneself with of the different phases of developing
the productive system. an idea - from the concept to the real
output - achieving their own design
The three years, divided into six semesters, autonomy and putting it to the test
are structured in such a way as to in the Final Project, the climax and
progressively increase the students’ synthesis of the whole training itself.
design skills: the first year provides
the basic technical and cultural tools The workshops and transversal
for understanding and managing courses involve students from different
the creative process, stimulating the classes and contribute to developing Cultural
search for one’s own design identity. a multidisciplinary approach and and
enhancing teamwork aptitude.
1 YEAR
ST
2 ND
YEAR 3 RD
YEAR Technical
Identity Process Autonomy
The second year is a moment of in-depth Disciplines
study, in which the methodology, tools Students also have the opportunity
and theoretical knowledge are tested to customise their study path by choosing Design
through guided project activities. among possible specialisations, training Activities
The cultural and technical disciplines activities of their choice and the additional
support the development of the design ones proposed by the school. Companies
Project Devenir l’autre by S. Gasparini

PROGRAMME
reach expressive independence. developing the ability to view

1 YEAR
ST The course deals with all the
fundamental phases involved in a
correct design representation of
things in 3D. Part of the course
provides a first approach to
accessory modelling, more
STYLE AND HISTORY clothing and accessories: specifically bags and small
OF ART AND COSTUME from freehand illustration leatherwork. Students will gain
The course investigates the most to preparatory sketches for the experience in a workshop and by
important artistic movements study of a figure’s proportions creating prototypes.
and their leading personalities in and on to technical drawing.
the modern and contemporary GRAPHIC DESIGN 1
age. In addition to describing HISTORY OF FASHION 1 Using graphic composition
how art has developed in the The evolution of style and programs to acquire IT literacy
course of history, it develops a fashion in the Western World makes it easier for students to
critical understanding of artistic from the mid-nineteenth to the express an idea and enables the
codes as a complex visual text mid-twentieth century. The digital tools of representation to
and as a phenomenon that course analyses the social and be correlated with the notions of
narrates cultural, social and technical processes that visual perception. Teaching the
aesthetic evolutions. represented the main changes in use of the leading image
the fashion world by looking processing programs enables
DESIGN METHODS into case studies of Fashion students to maximise the impact
This course provides students Designers and their collections. of a concept, manage 2D images
with the analytical tools they and modify their contents.
need to examine the nexus PATTERN MAKING
between a product and the AND TAILORING 1 TEXTILE CULTURE 1
processes behind its creation. Model-making is the gradual The study and research of the
This theoretical groundwork acquisition of familiarity with the materials for a fashion collection
allows students to understand techniques used to develop a are the basic ingredients in this
and manage the disciplines collection, both in its constituent course. Familiarity with fibres,
that contribute to designing a components and as a whole. This fabrics, materials and the most
collection. Every design process course provides students with important processes of
is a confluence of functional, the theoretical and practical classification, together with how
technological and formal tools they need for creating they are produced and worked,
aspects: the course goes from models, using the most suitable enables students to recognise
how the idea is formulated materials for the scale of the each yarn’s specific properties and
to the development of the project and the various phases of acquire awareness in the use of
actual object. study. A 3D overview allows to materials. The course also
examine and che the idea in its develops the students’ knowledge
TECHNICAL DRAWING consistency in terms of physics of the main theories of colour
Familiarity with technical laws and elaboration techniques. applied to the textile
drawing provides students Model-making is also used to manufacturing industry and
with the basic tools for check on proportions and, as a introduces them to the basic
communicating their work and consequence, to modify lines and techniques for creatively
representing the design process. volumes. The focus in this course developing prints and products.
Students learn the graphic is on the practical and sensory
language that is necessary to nature of the experience, on
FASHION DESIGN 1 projects. The aim of this course is the complexity of the fashion methodology and processes in activities, as well as strategic
The workshop activity includes
an intensive session devoted to
the reproduction of a historical
2 YEAR
ND to teach students the correct use
of the leading graphic design
software programs used to
narrative.

HISTORY OF PHOTOGRAPHY
relation to three techniques of
textile decoration: digital print,
embroidery and manipulation.
thinking and company policies
aimed at a proper brand
positioning.
outfit. HISTORY OF FASHION 2 create customised books, The course defines a study path
The course is focused on the portfolios and articulated throughout different aesthetic DESIGN METHODS FOR THEORY AND ANALYSIS OF
FIGURATIVE ANATOMY historical development of fashion graphic designs, taking into directions and their use by VISUAL COMMUNICATION THE FILM AND AUDIOVISUAL
This course includes a historical during the second half of the consideration layout and Photographers, developed in This course explores the design PRESENTATIONS
and contemporary interpretation twentieth century. The evolution aesthetic issues. relationship to the technical methods and the leading styling The course focuses on the
of the human silhouette as in trends and styles is analysed changes and the artistic, cultural tools used in the fashion industry. phenomenology of the media
perceived in different fields: art, from a historical, cultural, social TEXTILE CULTURE 2 and social turning points. The Students experiment with the and on how they relate to artistic
photography, graphics and and economic standpoint, This course completes the study course pays particular attention process of coming up with movements and to their
fashion. The body’s proportions providing students with the tools of techniques for creatively to the history of fashion creative ideas and of changes. The aim is to provide
and shape are analysed, using they need to understand the designing fabrics and materials. photography, the evolution of understanding the different students with an articulated
theories and methods of language of fashion, highlighting In addition, the analysis of the languages, representation professions involved. The result familiarity with cinema and
depiction. The focus of the course its mechanisms and identifying technical details of knitwear is techniques and the style of the is the development of links audiovisual media, so as to stress
is to study human anatomy for its key phenomena. backed up by practical exercises. most important photographers. between styling and the their reciprocal influence as well
the purposes of traditional and This manual activity enables communication of a fashion as the dynamics that drive the
multimedia fashion design. DRAWING TECHNIQUES students to put the design BUSINESS THINKING design project. narrative of a cinema script.
AND TECHNOLOGIES methods learned earlier into AND MANAGEMENT Therefore, students analyse the
ARTS SEMIOTICS 1 Starting from the basic practice, and to hone the basic The role of the Product Manager PHENOMENOLOGY OF directorship, the photography,
The focus of this course techniques learned during the knowledge they have already is to supervise the development CONTEMPORARY ARTS the soundtrack, the script and
is on the interpretation of the first year, the course provides acquired, such as terminology, of a product linked to the fashion The course focuses on the the overall visual impact on
relationship among contents, students with more solid skills techniques of traditional and system (phases and modalities of developments of fashion from the public awareness.
texts and images and of the through technical drawing digital execution and finishing. creation, timing, costs, benefits). 2000 to today and provides
narrative processes used by by hand. It encourages the Focusing on this profession, the students with the tools to FASHION DESIGN 4
the different forms of visual development of a personal FASHION DESIGN 2 course aims at providing the analyse the most recent The workshop represents a
communication. Semiotics is used style for future projects. The course gives an overview of students with the technical evolution of fashion design in preparatory phase for the Final
as a tool for the figurative and the entire design process, starting skills required to develop relationship with the Project. The initial inspiration
plastic reading of works of art PATTERN MAKING from the selection of a research product-oriented fashion mechanisms of communication is decided upon, together with
through which students can AND TAILORING 2 topic up to the development of collections. and contemporary art. Students its articulation through
define the path of evolution Model-making (womenswear and a womenswear, menswear and are called to make use of a critical iconographic and theoretical
and study of Western fashion menswear) constitutes a childrenswear collection, also perspective developed research and the following
from the late sixteenth to the significant support for courses in using knitwear techniques. The throughout the three years in phases for the development
early nineteenth century.
The methodology is based upon
the examination of the
design, which requires the study
and presentation of models, and
helps defining prototypes.
concept of collection is articulated
also in terms of communication
to favour the interaction with
3 YEAR
RD order to analyse the phenomena,
trends and bodies representing
the starting point for the
of the final collection.

relationship between shape and The course is structured as other didactic areas. PATTERN MAKING evolution of style in our time.
content, of the aesthetic impact a workshop so as to imply AND TAILORING 3
and of the fruition context, the direct acquisition of the ARTS SEMIOTICS 2 The course strongly relies upon BUSINESS THINKING
establishing an evaluation techniques and to aid the correct The course analyses the the knowledge acquired in the AND MANAGEMENT 2
perspective of the works understanding of geometries aesthetics and the language of previous years and provides an The course focuses on the
examined aimed at identifying and volumes. clothing and its representation in-depth study of womenswear analysis of the fashion
the communication process. and use in different systems of and menswear coats. The production chain in its
GRAPHIC DESIGN 2 narration. The organisation of the student is called to pay specific competences, professional roles,
The multiple methods and unity between expression and attention to details. and industry dynamics within
processes of visual design are content and of the consequential its reference markets.
oriented towards relationship between aesthetics FASHION DESIGN 3 Students acquire the basics
communication and towards and usage are examined, so that The course represents an of communication applied to
presenting comprehensive students learn to understand in-depth approach to design the organisation of business
Project Devenir l’autre by S. Gasparini
DEPARTMENT OF DESIGN AND APPLIED ARTS
School of Artistic Design for Enterprise
First Level Academic Diploma in Fashion Design
Milan

SUBJECT CREDITS

1ST YEAR
STYLE AND HISTORY OF ART AND COSTUME 6
DESIGN METHODS 4
TECHNICAL DRAWING 4
HISTORY OF FASHION 1 4
PATTERN MAKING AND TAILORING 1 8
GRAPHIC DESIGN 1 6
TEXTILES CULTURE 1 8
FASHION DESIGN 1 6
FIGURATIVE ANATOMY 4
ARTS SEMIOTICS 1 6
Interdisciplinary Lectures/Seminars/ Workshops 4
Total credits required 1st year 60

2ND YEAR
HISTORY OF FASHION 2 6
DRAWING TECHNIQUES AND TECHNOLOGIES 4
PATTERN MAKING AND TAILORING 2 6
GRAPHIC DESIGN 2 6
TEXTILES CULTURE 2 6
FASHION DESIGN 2 12
ARTS SEMIOTICS 2 4
HISTORY OF PHOTOGRAPHY 4
BUSINESS THINKING AND MANAGEMENT 1 6
Electives 4
Interdisciplinary Lectures/Seminars/Workshops
2
Competitions
Total credits required 2nd year 60

3RD YEAR
PATTERN MAKING AND TAILORING 3 6
FASHION DESIGN 3 6
DESIGN METHODS FOR VISUAL COMMUNICATION 6
PHENOMENOLOGY OF CONTEMPORARY ARTS 4
BUSINESS THINKING AND MANAGEMENT 2 4
THEORY AND ANALYSIS OF FILM AND AUDIOVISUAL PRESENTATIONS 4
FASHION DESIGN 4 8
Electives 6
Internships
Competitions 4
Interdisciplinary Lectures/Seminars/ Workshops
Foreign language 2
FINAL PROJECT 10
Total credits required 3rd year 60

Total credits required during 3 years 180


CAREER AN INTERNATIONAL NETWORK
IED Career Service supports all students PARTNER IED is a 100% Italian excellence as well ALUMNI
during their first steps in the job market as an international network with campuses
and facilitates their integration through Here there are some of the partners in Italy, Spain and Brasil. More than 120.000 former students.
constant relations with companies, that already collaborated with IED: ALUMNI platform - dedicated to IED
agencies and institutions. During their 3M, Accenture, Adidas, Alessi, Alfa Romeo, 170 academic partnerships spread former students now professionals -
studies, students have the opportunity Amnesty International, Apple, Arnoldo over Europe, Asia, USA, Canada, Australia, is filling up with a global, multicultural
to meet companies and participate Mondadori Editore, Aston Martin, Barilla, New Zealand and South America. and interdisciplinary community.
in selection interviews for the activation Benetton, BMW, Bottega Veneta, Bulgari, Many of these allow students to participate It is a place of exchange, communication
of internships and collaborations, thanks Calvin Klein, Canon, Campari, Cappellini, in the Exchange Study Program and and bespoke services, an incubator
to a bespoke activity of continuous Coca Cola, Damiani, De Agostini, Diesel, Erasmus+ attending a semester abroad. of opportunities, relations and visibility.
support and monitoring. Dior, Dolce&Gabbana, Ducati, Edizioni
Condé Nast, Emergency, Emilio Pucci, Moreover, IED is member of a wide-ranging
Every year IED organises exclusive Ermenegildo Zegna, Fendi, Ferrari, academic and cultural network:
meetings with companies and agencies Ferrero, FIAT Chrysler, Flos, Fontana CUMULUS – International Association
that introduce themselves and meet Arte, Ford, Gianni Versace, Giorgio Armani, of Universities and Colleges of Art, Design
students with the specific aim of selecting Herno, Hewlett Packard, Honda, IBM, and Media; ELIA - The European League
the most suitable profiles to be included Illy, Ikea, Inditex Group, Jaguar, Jil Sander, of Institutes of the Arts; WDO – World Design
in their teams, once the study path is over. Lamborghini, Lancia, Lavazza, Lego, Louis Organization; ENCATC – European Network
Career Days are precious occasions Vuitton, Luxottica, Marni, Maserati, Martini, on Cultural Management and Policy.
dedicated to students including also Max Mara, Mediaset, Microsoft, Missoni,
a series of meetings with the HR Managers MTV, Moschino, Nestlé, Nike, Nintendo, IED also keeps relations with various
of companies. Students have the chance Nivea, Piaggio, Pirelli, Pixar, Polaroid, international Universities and Academic
to present their own works highlighting Pomellato, Prada, Puma, RCS, RAI, Redbull, Associations, including: ADI - Associazione
their motivation, creativity and aspirations. Renault, Roberto Cavalli, Salvatore per il Disegno Industriale, NAFSA - Association
Ferragamo, Sergio Rossi, Sony, Swarovski, of International Educators, EAIE – European
Swatch, Tod’s, Toyota, Universal Studios, Association for International Education.
Valentino, Volkswagen, We Are Social,
WWF Italia, Yahoo, Yoox. The international dimension and vocation
are also confirmed by the presence of
students coming from over 100 countries.
IED is a place of fruitful exchanges
and confrontation between different
cultures and contributes to training
a new generation of professionals ready
for entering the contemporary market.

USEFUL LINKS

ied.edu/how-to-apply
ied.edu/undergraduate-pricelist
ied.edu/financial-aid
ied.edu/services
ied.edu/alumni
COVER Project Trasfigurando in fin la meraviglia by C. Juarez, photo by M. Marinotti

Last review: 12/2018


BECOME A IED
STUDENT ied.edu/how-to-apply

Deepening the contents, fully understanding


the values and opportunities of a study path
compared to another, focusing on aptitudes,
talents and aspirations are turning points
to find your own way.

IED leads you along this path and provides


you with an advisor who will help you
to consciously choose your study path.

Below the main steps to be followed:

• Book a free orientation interview


with your personal advisor to catch the
course that suits you the best, in line
with your expectations or to get all
the information of the chosen course;

• The admission process begins: once you


receive from your advisor the credentials
to access your personal area, just upload
the necessary documents, take the
language test - if required - and finally
get ready for the motivational interview,
prior to enrolment.

Welcome to IED!