Master, through this program, the cutting-edge methodologies to undertake top-level men's fashion designs that are attractive to the client”

Men's Fashion Design is a field that focuses on creating clothing and accessories that meet the aesthetic and functional needs of men. In carrying out this task, it is essential to have extensive knowledge regarding styles, current trends and customer preferences, mastering the use of natural and sustainable fabrics or the use of tight cuts. In this sense, obtaining these skills is a seal of guarantee to be required by the most leading companies in the field of fashion.

For this reason, TECH has designed this program, which will provide students with the most relevant and up-to-date knowledge and skills in Men's Fashion Design to boost their growth in this sector. Throughout 12 months of intensive teaching, you will identify the techniques  to extract the maximum performance from your fashion designs, or you will acquire the strategies to use the latest textile technology. In the same way, you will learn the cutting-edge methods of men's pattern making or the best methodologies for fashion design.

This program is taught completely online, using the Relearning pedagogical methodology to promote autonomous and flexible learning, giving students the possibility to manage their time as they wish in order to achieve effective teaching. In addition, students will have access to a variety of online resources and tools to facilitate their study.

Once the theoretical phase is completed, the student will enjoy a 3-week internship in a leading company in the world of fashion. As part of an excellent work team, students will be able to acquire a series of competencies that will guarantee them to perform successfully in this demanding and changing sector.  

Enjoy a complete syllabus that will allow you to specialize in Men's Fashion Design in a solvent way"

 

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

• Development of more than 100 practical case studies presented by the best experts in Men's Fashion 
• The graphic, schematic and practical contents with which they are conceived, gather essential information on those disciplines that are essential for professional practice 
• Advanced techniques to obtain the maximum performance from drawings in the field of Men's Fashion Design
• Mastery of the most advanced textile technology 
• Adoption of the most advanced techniques in men's pattern making today 
• All of this will be complemented by theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection 
• Furthermore, you will be able to carry out a internship in one of the best Companies 

Become an expert in Men's Fashion Design enjoying a theoretical learning 100% online, being compatible with your personal and professional life”

This proposal of a Master's Degree, which has a professionalizing nature and a Hybrid learning modality, is aimed at updating professionals who perform their functions in the Men's Fashion Design area, and who require a high level of qualification. The contents are based on the latest scientific evidence, and oriented in an educational way to integrate theoretical knowledge into practice, and the theoretical-practical elements favored facilitate knowledge assimilation and decision-making in this area. 

Thanks to their multimedia content developed with the latest educational technology, they will allow designers the Fashion professional to learn in a contextual and situated learning environment, i.e., a simulated environment that will provide immersive learning programmed to train in real situations. This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise throughout the program. For this purpose, the students will be assisted by an innovative interactive video system created by renowned and experienced experts. 

Don't hesitate and enroll in this program to give your career as a men's fashion designer the boost it needs to grow"

Get the most up-to-date knowledge of the pedagogical landscape in Men's Fashion Design through this Hybrid Master's Degree"

The syllabus of this program is designed to provide students with exceptional skills and knowledge in the field of Men's Fashion Design. The teaching materials for the program are available in a variety of formats, such as videos, lectures and interactive summaries. The teaching methodology is fully online, which allows students to customize their learning according to their personal and educational preferences, managing their study schedules in a flexible way. 

The fully online modality of the program will enable you to learn without leaving your home”

Module 1. Fundamentals and Introduction to Design

1.1. History of Design

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

1.2. Styles and Movements of Design

1.2.1. Decorative Design
1.2.2. Modernist Movement
1.2.3. Art Deco
1.2.4. Industrial Design
1.2.5. Bauhaus
1.2.6. World War II
1.2.7. Transvanguards
1.2.8. Contemporary Design

1.3. Designers and Trends

1.3.1. Interior Designers
1.3.2. Graphic Designers
1.3.3. Industrial or Product Designers
1.3.4. Fashion Designers

1.4. Project Design Methodology

1.4.1. Bruno Munari
1.4.2. Gui Bonsiepe
1.4.3. J. Christopher Jones
1.4.4. L. Bruce Archer
1.4.5. Guillermo González Ruiz
1.4.6. Jorge Frascara
1.4.7. Bernd Löbach
1.4.8. Joan Costa
1.4.9. Norberto Cháves

1.5. The Language of Design

1.5.1. Objects and the Subject
1.5.2. Semiotics of Objects
1.5.3. The Object Layout and its Connotation
1.5.4. Globalization of the Signs
1.5.5. Proposal

1.6. Design and its Aesthetic-Formal Dimension

1.6.1. Visual Elements

1.6.1.1. The Shape
1.6.1.2. The Measure
1.6.1.3. Color
1.6.1.4. Texture

1.6.2. Relationship Elements

1.6.2.1. Management
1.6.2.2. Position
1.6.2.3. Spatial
1.6.2.4. Severity

1.6.3. Practical Elements

1.6.3.1. Representation
1.6.3.2. Meaning
1.6.3.3. Function

1.6.4. Frame of Reference

1.7. Analytical Methods of Design

1.7.1. Pragmatic Design
1.7.2. Analog Design
1.7.3. Iconic Design
1.7.4. Canonical Design
1.7.5. Main Authors and Their Methodology

1.8. Design and Semantics

1.8.1. Semantics
1.8.2. Meaning
1.8.3. Denotative Meaning and Connotative Meaning
1.8.4. Lexis
1.8.5. Lexical Field and Lexical Family
1.8.6. Semantic Relationships
1.8.7. Semantic Change
1.8.8. Causes of Semantic Changes

1.9. Design and Pragmatics

1.9.1. Practical Consequences, Abduction and Semiotics
1.9.2. Mediation, Body and Emotions
1.9.3. Learning, Experiencing and Closing
1.9.4. Identity, Social Relations and Objects

1.10. Current Context of Design

1.10.1. Current Problems of Design
1.10.2. Current Themes of Design
1.10.3. Contributions on Methodology

Module 2. Pattern Making and Tailoring

2.1. Pattern Making Introduction

2.1.1. Basic Concepts of Pattern Making
2.1.2. Tools and Materials in Pattern Making
2.1.3. Obtaining Anatomical Measurements
2.1.4. Measurement Tables
2.1.5. Types of Pattern-Making
2.1.6. Industrialization of Models
2.1.7. Information That the Pattern Must Contain

2.2. Female Pattern

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

2.3. Male Pattern

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

2.4. Children’s Pattern

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

2.5. Transformation, Development and Scaling of the Pattern

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

2.6. Introduction to Cutting and Tailoring

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

2.7. Identifying Textiles

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

2.8. Types of Sewing and Garment Transformation

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

2.9. Closures, Finishing and Textile Finishing

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

2.10. Moulage

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

Module 3. Photography.

3.1. History of Photography.

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

3.2. Image Formation

3.2.1. The Photographic Camera
3.2.2. Basic Parameters in Photography
3.2.3. Photometry
3.2.4. Lenses and Focal Length

3.3. Photographic Language

3.3.1. Types of Plans
3.3.2. Formal, Compositional and Interpretative Elements of the Photographic Image
3.3.3. Framing
3.3.4. Representation of Time and Movement in Photography
3.3.5. The Relationship of Photography with Reality and Truth

3.4. The Photographic Camera

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

3.5. The Digital Image

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

3.6. The Behavior of Light

3.6.1. The Photon
3.6.2. Reflection and Absorption
3.6.3. Quantity and Quality of Light
3.6.3.1. Hard and Soft Light
3.6.3.2. Direct and Diffuse Light

3.7. Expressiveness and Aesthetics of Lighting

3.7.1. Shadows, Modifiers and Depth
3.7.2. Lighting Angles
3.7.3. Lighting Schemes
3.7.4. Light Measurement

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

3.7.5. Illumination Natural Light

3.7.5.1. Diffusers
3.7.5.2. Reflectors

3.7.6.  Artificial Light Illumination

3.7.6.1. The Photographic Studio
3.7.6.2. Sources of Illumination
3.7.6.3. Cold Light
3.7.6.4. Studio Flash and Compact Flash
3.7.6.5. Accessories

3.8. Editing Software

3.8.1. Adobe Lightroom
3.8.2. Adobe Photoshop
3.8.3. Plugins

3.9. Photo Editing and Development

3.9.1. Camera RAW Development
3.9.2. Noise and Focus
3.9.3. Exposure, Contrast and Saturation Adjustments Levels and Curves

3.10. References and Applications

3.10.1. Most Important Photographers in History
3.10.2. Photography in Interior Design
3.10.3. Photography in Product Design
3.10.4. Photography in Fashion Design
3.10.5. Photography in Graphic Design

Module 4. Fashion Drawing

4.1. History of Illustration

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

4.2. Materials and Mediums in Illustration

4.2.1. Materials
4.2.2. Mediums
4.2.3. New Technologies

4.3. Artistic Anatomy

4.3.1. Introduction to Artistic Anatomy
4.3.2. Head and Neck
4.3.3. Torso
4.3.4. Upper Limbs
4.3.5. Lower Limbs
4.3.6. The Movement

4.4. Proportion of the Human Body

4.4.1. Anthropometry
4.4.2. Proportion
4.4.3. Canons
4.4.4. Morfoligical
4.4.5. Proportion

4.5. Basic Composition

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

4.6. The Human Face

4.6.1. The Head
4.6.2. The eyes
4.6.3. The nose
4.6.4. The Mouth
4.6.5. The eyebrows
4.6.6. The ears
4.6.7. Hair

4.7. The Human Figure

4.7.1. Balance of the Body
4.7.2. The Arm
4.7.3. The Hand
4.7.4. The Foot
4.7.5. The Leg
4.7.6. The Bust
4.7.7. The Human Figure

4.8. Fashion Illustration Techniques

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

4.9. Illustration of Materials

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

4.10. The Search for Personal Style

4.10.1. Fashion Figure
4.10.2. Styling
4.10.3. Fashion Poses
4.10.4. Hairstyles
4.10.5. The Design

Module 5. History of Clothing.

5.1. Prehistory

5.1.1. Introduction
5.1.2. Prehistoric Civilizations
5.1.3. Trade in Prehistoric Times
5.1.4. Costume in Prehistoric Times
5.1.5. Furs and Furshops
5.1.6. Fabrics and Techniques
5.1.7. Chronological Concordances and Similarities in Prehistoric Clothing

5.2. Ancient Age: Egypt and Mesopotamia

5.2.1. Egypt
5.2.2. The Assyrian People
5.2.3. The Persian People

5.3. Ancient Age: Classical Greece

5.3.1. Cretan Clothing
5.3.2. The Fabrics Used in Ancient Greece
5.3.3. Ancient Greek Garments
5.3.4. Ancient Greek Undergarments
5.3.5. Ancient Greek Footwear
5.3.6. Ancient Greek Hats and Headdresses
5.3.7. Colors and Ornaments of Ancient Greece
5.3.8. Accessories of Ancient Greece

5.4. Ancient Age: the Roman Empire

5.4.1. The Fabrics of Ancient Rome
5.4.2. The Garments of Ancient Rome
5.4.3. Undergarments of Ancient Rome
5.4.4. Ancient Roman Footwear
5.4.5. Ancient Roman Hats and Headdresses
5.4.6. Relationship of Social Status and Clothing in Ancient Rome
5.4.7. The Byzantine Style

5.5. High Middle Ages and Low Middle Ages

5.5.1. General Historical Features of the Medieval Period
5.5.2. Clothing at the Beginning of the Middle Ages
5.5.3. Clothing in the Carolingian Period
5.5.4. Clothing in the Romanesque Period
5.5.5. The Gothic Clothing

5.6. The Modern Age: Renaissance, Baroque and Rococo.

5.6.1. Century XV and XVI:  Renaissance
5.6.2. XVII Century: Baroque period
5.6.3. 18th Century Rococo

5.7. Contemporary Age: Neoclassicism and Romanticism.

5.7.1. The Clothing Industry
5.7.2. Charles Frederick Worht
5.7.3. Jacques Doucet
5.7.4. Women's Clothing
5.7.5. Josephine Bonaparte: The Empire Style

5.8. Contemporary Age: Victorian Era and The Belle Époque.

5.8.1. Queen Victoria
5.8.2. Men's Clothing
5.8.3. Dandy
5.8.4. Paul Poiret
5.8.5. Madeleine Vionnet

5.9. Contemporary Age: From Clothing to Fashion

5.9.1. New Context and Social Change
5.9.2. Fashion Designers
5.9.3. Coco Chanel
5.9.4. New Look

5.10. Contemporary Age: The Century of Designers and Fashion

5.10.1. The Modern Clothing
5.10.2. The Rise of the American Designers
5.10.3. The London Scene

Module 6. Textile Technology

6.1. Introduction to Textiles

6.1.1. History of Textiles
6.1.2. Textiles Over Time
6.1.3. Traditional Textile Machinery
6.1.4. The Importance of Textiles in Fashion
6.1.5. Symbolism Used in Textile Materials
6.1.6. Fabric Technical Data Sheet

6.2. Textile Materials

6.2.1. Classification of Textile Fibers

6.2.1.1. Natural Fibers
6.2.1.2. Artificial Fibers
6.2.1.3. Synthetic Fibers

6.2.2. Properties of the Fibers
6.2.3. Recognizing Textile Fibers

6.3. Threads

6.3.1. Basic Ligaments
6.3.2. General Characteristics of Threads
6.3.3. Classification of Threads
6.3.4. Spinning Phases
6.3.5. Machines Used
6.3.6. Yarn Numbering Systems

6.4. Openwork Textiles

6.4.1. Openwork Fabrics
6.4.2. Ligament Staggering
6.4.3. Ligaments in Openwork Fabrics
6.4.4. Classification of Ligaments
6.4.5. Types of Ligaments
6.4.6. Types of Openwork Fabrics
6.4.7. The Openwork Weave
6.4.8. Special Weaves

6.5. Knitted Fabrics

6.5.1. History of Knitted Fabric
6.5.2. Classification
6.5.3. Typology
6.5.4. Comparison Between Flat Fabric and a Knitted One
6.5.5. Characteristics and Behavior According to its Construction
6.5.6. Technology and Machinery for Obtaining It

6.6. Textile Finishes

6.6.1. Physical Finishes
6.6.2. Chemical Finishes
6.6.3. Fabric Resistance
6.6.4. Pilling
6.6.5. Dimensional Change of Fabrics

6.7. Dye

6.7.1. Previous Treatment
6.7.2. Dye
6.7.3. Machinery
6.7.4. Inputs
6.7.5. Optical Brightening
6.7.6. Color

6.8. Printing

6.8.1. Direct Printing

6.8.1.1. Block Printing
6.8.1.2. Roller Printing
6.8.1.3. Thermotransfer Printing
6.8.1.4. Screen Printing
6.8.1.5. Warp Printing
6.8.1.6. Corrosion Printing

6.8.2. Reserve Printing

6.8.2.1. Batik
6.8.2.2. Tie-Dye

6.8.3. Other Types of Printing

6.8.3.1. Differential Printing
6.8.3.2. Polychromatic Electrostatic

6.9. Technical and Intelligent Fabrics

6.9.1. Definition and Analysis
6.9.2. Application of Textiles
6.9.3. New Materials and Technologies

6.10. Skin, Leather and Others

6.10.1. Skin and Leather
6.10.2. Classification of Leather
6.10.3. Tanning Process
6.10.4. Post-Tanning Treatment
6.10.5. Technological Process of Tanning
6.10.6. Conservation Methods
6.10.7. Synthetic Leather
6.10.8. Debate: Natural or Synthetic Leather

Module 7. Male Pattern Making

7.1. Evolution of Male Fashion

7.1.1. Social and Historical Context of Male Fashion
7.1.2. Renunciation of Ornamentation and Reconquest of the Right to Fashion
7.1.3. History of Tailoring

7.2. Male Clothing

7.2.1. Typologies of Garments and Variations
7.2.2. Male Accessories
7.2.3. Brand Analysis and Communication
7.2.4. Trends of the Moment

7.3. Male Morphology Study

7.3.1. Evolution of the Male Body
7.3.2. Studies of the Male Body
7.3.3. Typology of the Male Body

7.4. Pattern of the Shirt

7.4.1. Measurements
7.4.2. Trace
7.4.3. Variations

7.5. Trouser Pattern

7.5.1. Measurements
7.5.2. Trace
7.5.3. Variations

7.6. Jacket Layout

7.6.1. Measurements
7.6.2. Trace
7.6.3. Variations

7.7. Jacket Lapel Designs

7.7.1. Measurements
7.7.2. Trace
7.7.3. Variations

7.8. Vest Pattern

7.8.1. Measurements
7.8.2. Trace
7.8.3. Variations

7.9. Male Coat

7.9.1. Measurements
7.9.2. Trace
7.9.3. Variations

7.10. Traditional Tailoring

7.10.1. Materials
7.10.2. Lining
7.10.3. Assembly
7.10.4. Stitches

Module 8. Representation Systems Applied to Fashion

8.1. Introduction to the Technical Drawing of Fashion

8.1.1. How and When Technical Drawings Are Used
8.1.2. How to Create Technical Drawings for Fashion
8.1.3. Drawing From a Physical Garment
8.1.4. Technical Guidelines in Fashion

8.2. Documentation Preparation

8.2.1. Preparing the Document for Technical Drawing
8.2.2. Anatomical Base Mannequin
8.2.3. Color, Texture and Prints

8.3. Lower Body Garments

8.3.1. Skirts
8.3.2. Pants
8.3.3. Stockings

8.4. Upper Body Garments

8.4.1. Shirts
8.4.2. T-Shirts
8.4.3. Vests
8.4.4. Jackets
8.4.5. Coats

8.5. Underwear Garments

8.5.1. Bra
8.5.2. Briefs
8.5.3. Underpants

8.6. Details of the Model

8.6.1. Neckline
8.6.2. Collars
8.6.3. Sleeves
8.6.4. Cuffs
8.6.5. Pockets

8.7. Design Details

8.7.1. Construction Details
8.7.2. Decorative Design Details
8.7.3. Pleats
8.7.4. Stitches
8.7.5. Tips
8.7.6. Ribbing

8.8. Fasteners and Trimmings

8.8.1. Zippers
8.8.2. Buttons
8.8.3. Hooks
8.8.4. Tape
8.8.5. Knots
8.8.6. Buttonholes
8.8.7. Velcro
8.8.8. Eyelets
8.8.9. Loops
8.8.10. Studs
8.8.11. Rivets
8.8.12. Rings
8.8.13. Buckles

8.9. Add-Ons

8.9.1. Bags
8.9.2. Glasses
8.9.3. Footwear
8.9.4. Jewelry

8.10. The Technical Data Sheet

8.10.1. Technical Drawing Export
8.10.2. Information of the Technical Data Sheet
8.10.3. Models and Types of Technical Data Sheet
8.10.4. Completing a Technical Data Sheet

Module 9. Fashion Design

9.1. Methodology of Fashion Design

9.1.1. Concept of a Fashion Project
9.1.2. Project Methodology Applied to Fashion
9.1.3. Research Methods in Fashion Design
9.1.4. Briefing or Design Brief
9.1.5. Documentation
9.1.6. Analysis of Current Fashion
9.1.7. Forming Ideas

9.2. Creative Processes Applied to Fashion Design

9.2.1. The Field Notebook
9.2.2. Moodboards
9.2.3. Graphic Research
9.2.4. Creative Techniques

9.3. Referrals

9.3.1. Commercial Fashion
9.3.2. Creative Fashion
9.3.3. Stage Fashion
9.3.4. Corporative Fashion

9.4. Collection Concept

9.4.1. Functionality of the Garment
9.4.2. Clothing as a Message
9.4.3. Ergonomic Concepts

9.5. Stylistic Codes

9.5.1. Permanent Stylistic Codes
9.5.2. Seasonal Stylistic Codes
9.5.3. The Search for Personal Stamp

9.6. Collection Development

9.6.1. Theoretical Framework
9.6.2. Context
9.6.3. Research
9.6.4. Referrals
9.6.5. Conclusions
9.6.6. Representation of the Collection

9.7. Technical Study

9.7.1. Textile Chart
9.7.2. Chromatic Chart
9.7.3. The Glaze
9.7.4. The Technical Data Sheet
9.7.5. Prototype
9.7.6. Price Tag

9.8. Interdisciplinary Projects

9.8.1. Drawing
9.8.2. Pattern Making
9.8.3. Sewing

9.9. Production of a Collection

9.9.1. From Sketch to Technical Drawing
9.9.2. Artisanal Workshops
9.9.3. New Technologies

9.10. Communication and Presentation Strategy

9.10.1. Photography in Fashion Lookbook, Editorial and Campaign
9.10.2. Portfolio
9.10.3. The Catwalk
9.10.4. Other Forms of Exhibiting the Collection

Module 10. Sustainability in Fashion

10.1. Reconsider Fashion Design

10.1.1. The Supply Chain
10.1.2. Main Aspects
10.1.3. Development of Sustainable Fashion
10.1.4. Future of Fashion

10.2. Life Cycle of an Item of Clothing

10.2.1. Think in the Life Cycle
10.2.2. Actions and Impact
10.2.3. Evaluation Tools and Models
10.2.4. Strategies for Sustainable Design

10.3. Quality and Safety Standards in the Textile Sector

10.3.1. Quality
10.3.2. Labelling
10.3.3. Safety of Garments
10.3.4. Consumption Inspections

10.4. Planned Obsolescence

10.4.1. Planned Obsolescence and Waste of Electrical and Electronic Devices
10.4.2. Extraction of Resources
10.4.3. Waste Generation
10.4.4. Recycling and Reusing Electrical Waste
10.4.5. Responsible Consumption

10.5. Sustainable Design

10.5.1. Garment Design
10.5.2. Design With Empathy
10.5.3. Selection of Fabric, Materials and Techniques
10.5.4. Use of Monomaterials

10.6. Sustainable Production

10.6.1. Sustainable Production
10.6.2. Techniques For Zero Waste
10.6.3. Construction
10.6.4. Design to Last

10.7. Sustainable Distribution

10.7.1. Suppliers and Producers
10.7.2. Commitment to Local Communities
10.7.3. Sales
10.7.4. Design According to Need
10.7.5. Inclusive Fashion Design

10.8. Sustainable Use of the Garment

10.8.1. Patterns of Use
10.8.2. How to Reduce Washing
10.8.3. Adjustments and Maintenance
10.8.4. Design for Adjustments
10.8.5. Modular Garment Design

10.9. Recycling

10.9.1. Reusing and Remanufacturing
10.9.2. Revaluing
10.9.3. Recycling Materials
10.9.4. Closed Cycle Production

10.10. Sustainable Fashion Designers

10.10.1. Katharine Hamnett
10.10.2. Stella McCartney
10.10.3. Annika Matilda Wendelboe
10.10.4. Susan Dimasi
10.10.5. Isabell de Hillerin

Through didactic formats such as video or interactive summaries, you will obtain an enjoyable and fully effective learning experience”