Fashion Self Study - Santa Monica College

Six Years Program Review Report

Program:

Fashion Design and Fashion Merchandising

Prepared by: Fereshteh Mobasheri Date:

3/4/2012

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Report Content

Content:

Page

I. Program Description and Goals 1. Goal of the program 2. Integration of Vision, Mission and ILOs 3. How the Program Evaluates its Effectiveness in Meeting SMC Institutional Mission and ILOs 4. Information on Students Background, Using Available Data 5. Changes in the Program Goals since Last Self Evaluation 6. Summary of the Program and/or Course Modification made since the last self-Evaluation 7. Respond to the Recommendation from the Executive Summary of Previous Program Review 8. Notable Achievement Since the Last Self- Evaluation II. Curriculum – Course and Program Content 1. Engagement of Faculty and Advisory Board Members in revision of the Curriculum 2. Appropriateness of Course Design in Relation to Program Goals and SLOs III. Instructional Improvement 1. Activities for Improving Teaching and Learning Environment 2. SLOs Assessment Procedures and Timing 3. Ensuring that SLOs Assessed Consistently over Different Sections Of the Same Course 4. Program or Course Changes Based on the Assessment Outcome 5. Alignment of Syllabus to Course Outline of Record 6. Unusual Patterns in Grading and Retention in Terms of Students Characteristics and Program Goals 7. Faculty Activities, Training or Professional Development to Remain Current with Industry Trends IV. Instructional Environment 2

7 7 17 18 21 22 26 31 31

31 32 33 33 33 37 37 37

1. The Relationship Between Full and Part Time Faculty 2. The Type and Number of Faculty with Regard to Educational Preparation, Workload and Support of Program Goals 3. Engagement in Institutional Efforts and Activities 4. Facilities and Equipment Assigned to the Program and the Need for Program Enhancement 5. Changes in Governmental Requirement and the Impact of these Changes on the Program V. Program Effectiveness 1. Effectiveness in Course Success Rate, Retention Rates, AA degrees and Certificates Awarded 2. Comparison of Student Characteristics Data with Program Goals 3. Program SLOs Relation to the Program Goals and Achievements 4. Student Transfer and Job Placement Rates 5. Observation on Student’s Success After Program Completion VI. Advisory Board 1. Description of the advisory board membership 2. Advisory Board Meetings and its Role and Involvements with the Program 3. Responses to Advisory Board Recommendations 4. Minutes since Last Program Review VII. Conclusion and Recommendation 1. Engagement of All Program Members in the Self Evaluation Dialogue and Review Process 2. Areas of Strengths and Areas that Need Improvement 3. Identification of Strategies for the Future

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40 40 40 41 41

41 42 42 42 42

43 43 43 343

44 44 45

List of Tables

Table 1

LA Mode 2011 Group 1: Poster/ tickets/ Program and Publicity Coordinator

Table 2

LA Mode 2011 Group 2: Garment Coordinator

Table 3

LA Mode 2011 Group 3: Stage Coordinator

Table 4

LA Mode 2011 Group 4: Music Coordinator

Table 5

LA Mode 2011 Group 5: Model Coordinator

Table 6

LA Mode 2011 Group 6: Budget and Accounting Coordinator

Table 7

LA Mode 2011 Group 7: Judging Day, Fitting day, Day of the sho

Table 8

Intern Students in Fall -2010 – Fall 2011

Table 9

Fashion Design: Associate in Art Degree Program 60 Units

Table 10

Fashion Merchandising: Associate in Art Degree Program 60 Units

Table 11

Proposed Fashion Design: Associate in Art Degree Program 60 Units

Table 12

Proposed Fashion Merchandising: Associate in Art Degree Program 60 Units

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List of Appendices

Appendix A Appendix B Appendix C Appendix D Appendix E Appendix F Appendix G Appendix H Appendix I Appendix J Appendix K Appendix L Appendix M

Pictures and the Publicity for Mannequin Collective Description of Iranian Heritage Project TALA (Textile Association of Los Angeles) Award May 19th Program for LA Mode 2011 at California Market Center Name and Position of Some of the Fashion Program Alumni Fashion Faculty Meetings Minutes Evaluation of Obtaining AA Degree in Two Years SLOs for Fashion Program Classes 2010-2011 Margin of Excellence Award Syllabus for Fashion Program Courses as of 2011 Advisory Board Members as of February 2012 Minutes of the Advisory Board Meetings Name of the Fashion Students Scholarship Award Winners

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I.

Program Description and Goals 1. Goals of The Program

The goal of the Fashion Design and Fashion Merchandising program is that our students will achieve any one of the following objectives after two years of studies at SMC:   

Transfer to a four year university program Receive AA degrees in Fashion Design and Fashion Merchandising Receive Occupational Certificate in Fashion Design and Fashion Merchandising

In addition, our program provides opportunities for students not seeking a two year degree to gain knowledge in Fashion and Merchandising, to satisfy their own personal desire. To achieve the above goals the program currently offers:     

Regular courses Cooperative work experience courses Independent study program Annual Fashion Show Visits to local clothing manufacturers, show rooms, textile manufacturers, museums and exhibits

2. Integration of Vision, Mission Goals and ILOs A. Santa Monica Place Mannequin Collective Our Fashion Design and Fashion Merchandising students participated in the opening of the Santa Monica Place, called Mannequin Collective, one of the many projects created for their opening in 2010. The exhibit was during Aug. 6-22, 2010 at the new Santa Monica Place on the third level. The Mannequin provided by the Fashion Design and Fashion Merchandising was based on a multimedia globally and internationally inspired project that transcends all boundaries and restriction. The emphasis was global action, using reusable low impact material to create an artistic dimension in fashion. The project was focused the juxtaposition of being fashion forward in using earth friendly material while tracing our roots. Mobasheri worked with two students – Svetlana Djournett and James Edward Warner – to design and create their piece, which was called “Redefining Our Roots.” Tying in to SMC’s global initiative, the recyclable work was made from rice and rice bags and was meant to demonstrate how we’re all connected to the earth and all have the same roots. Please see Appendix A for pictures and the publicity for Mannequin Collective

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B. Global Citizenship Mobasheri worked with Dr. Tina Fieger and Mitra Moassesi to organize the Iranian Heritage event for Global Citizenships at Edy Second Space at the Santa Monica Performing Art Center on March 12, 2009. Student who participated have developed respect for the inter-relatedness of global human environment, engaged with diverse people, and acknowledged significance of their daily actions relative to broader issues and events. Please see the Appendix B for the description of this program. C. TALA Award One of our Students Eve To won an award from TALA (Textile Association of Los Angeles). By participating the TALA event Eve have acquired self-confidence and self-discipline to pursue her intellectual curiosity with integrity in both her personal and professional life. She also has obtained knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and solve problems. Please see the email that we have received from CFA (California Fashion Association) in Appendix C regarding this important award to Eve To. She was one of the winners in our recent LA Mode 2011 fashion show as well. D. Students Fashion Shows We have had two Students Fashion Shows in the past two years: LA Mode 2010 and 2011. The biggest function of our Fashion Show is to bring together and incorporate all that students of Fashion Design and Fashion Merchandising have learned into one show. Students start by learning how to create a collection, how to present their idea and in what sort of ambiance to present their work. They learn how to choose the idea for their show, select the categories and the targeted consumer they will be designing for. Since we don’t have any funding for this production; students participate in fund raising and getting sponsors for the show. Since students are involved with all the aspects of the show, they end up practicing what they have learned at Santa Monica College in Accounting, Art, Business, Computer Science, Cosmetology, English, Graphic Design, Math and Photography We collaborate with programs such as; Cosmetology with hair and makeup, Business with dealing with funding and Photography for pictures of the show (Before the show and during the show). The main activities in which students are engaged during Fashion Shows include: 1. Poster design and (developing the Program for the show) 2. Producing power point presentation of our students who are participating in the program before the show or videotaping them as they are preparing their lines for the show 3. Producing ticket and sales. Sending tickets to all invited guest 4. Taking Pictures of Clothes 5. Taking Pictures of Students 6. Design Boards 7. Categories and numbering each garment 8

8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26.

Stage Planning Decoration for the stage and selection of props Runway coordination and Choreography of the show Preparing for Back stage activities Publicity Music Selection Making CD Model Selection and training Line up with Models Work with the Models during the rehearsals and the day of the show Fitting Final line up Make up Collecting of donations Ticket sales Revenues and Expenses calculation Book keeping Preparing for Judging Day Day of the show. On this day all the students are involved with the show from modeling, model assistance, ushering, back stage ordinance, assisting the appearance on the stage music, ticket collection and greeting the guests.

Students were divided into seven groups and in each group had to perform specific task. Table 1-7 show tasks and the name of participating students. Appendix D shows May 19th 2011 program for LA Mode at California Market Center. The program shows members of advisory committee, LA Mode 2011 winners, sponsors, models, the name of the student designers, the firms who advertised in the program, acknowledgments, and special thanks to instructors and college administrators.

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Table 1

LA Mode 2011 Group 1: Poster/ tickets/ Program and Publicity Coordinator

1. Poster design and print (developing Program for the show and print). 2. Producing power point presentation of our students who are participation in the program before the show or videotaping them as they are preparing their lines for the show 3. Producing ticket and sales. Sending tickets to all invited guest 4. Publicity

LAST NAME FIRST NAME

Karapetyan Willilams

Ani Britannya

Vasquez De Souza Smith

Andreina Viviam Jessica

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Table 2 LA Mode 2011 Group 2: Garment Coordinator 1. 2. 3. 4.

taking Pictures of Clothes taking Pictures of Students Design Boards Categories and numbering each garment


Karapetyan Vasquez De Souza Smith Yang Baek Christensen

Ani Andreina Viviam Jessica Sunyoung Changmin Elin

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Table 3 1. 2. 3. 4.

LA Mode 2011 Group 3: Stage Coordinator

Stage Planning Decoration for the stage and selection of props Runway coordination and Choreography of the show Back stage helpers


Eom Park Williams De Souza Tsai Fujiwara

Jinhee Hyunsun Vania Viviam Yi-Chen (Sylvene) Eria

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Table 4 1. 2. 3. 4.

LA Mode 2011 Group 4: Music Coordinator

Music Selection Making CD Line up with Models Work with the Models during the rehearsals and the day of the show


De Souza Christensen Park Fujiwara Eom

Viviam Elin Hyunsun Eria Jinhee

Smith

Jessica

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Table 5 1. 2. 3. 4.

LA Mode 2011 Group 5: Model Coordinator

Model Selection and training Fitting Line up Make up


De Souza Williams

Viviam Britannya

Vasquez

Andreina

pham Christensen

thuy Elin

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Table 6

LA Mode 2011 Group 6: Budget and Accounting Coordinator

1. Donations 2. Ticket sales 3. Revenues and Expenses 4. Book keeping

LAST NAME

FIRST NAME

Karapetyan

Ani

Warner

James

Williams

Vania

De Souza

Viviam

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Table 7

LA Mode 2011 Group 7: Judging Day, Fitting day, Day of the show

All the students are responsible to be involved for these three days. LAST NAME FIRST NAME

De Souza

Viviam Elin

Christensen Park

Hyunsun

Fujiwara

Eria

Eom

Jinhee

Smith

Jessica

Warner

James

Williams

Britannya

Karapetyan

Ani

pham

thuy

Christensen

Elin

Tsai

Yi-Chen (Sylvene)

Yang

Sunyoung

Vasquez

Andreina

16

Baek

Changmin

3. How the Program Evaluates its Effectiveness in Meeting SMC Institutional Mission and ILOs Through their experiences with the Santa Monica Place Mannequin project, participation in TALA (Textile Association of Los Angeles Award), and contribution to Annual Students Fashion Shows (Refer to students participating in different task for the LA Mode 2011 Fashion show preparation in group 1-7 in 2- D) our students have learned:

A. Personal Attributes: Students will acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives through the production of the LA Mode Fashion show.

B. Analytic & Communication Skills: Students who participated have obtained knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems;

C. Applied Social Knowledge & Values: Students have developed respect for the inter-relatedness of global human environment, engage with diverse peoples, and acknowledge the significance of their daily actions relative to broader issues and events;

D. Applied Knowledge & Valuation of the Physical World: 1. Students learn how fashion industry plays a role in the global human environment and how they can make ethical business decisions in their professional lives. Students have learned to take responsibility for their own impact on the earth by living a sustainable and ethical life style. 2. By doing the Mannequin Project at The Santa Monica Place not only we helped the community and got recognition but our students became more aware of the community and the effectiveness of working together. We have also been recognized by the companies at Santa Monica which led to hiring our students in their stores and companies. 3. With the Iranian Heritage Project we were able to bring the community together and have some appreciation and recognition about Iranian communities. 4. Students carried out activities in all different phases of the production of the fashion shows which were quite successful. These shows did not require any financial contribution from the Santa Monica College and in fact through the donations and ticket sales that we had received for LA Mode 2011, we were able to donate $3,500 to Red Cross for Japan Relief Funds. Students have acknowledged the significance of their action relative to broader issues and events.

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4. Information on Students Background, Using Available Data Information on student profile is available for the period Fall 2006- Fall 2010 from The Office of Institutional Research. Based on this information the following observations are made for students enrolled in Fashion Design and Fashion Merchandising Program.

A. Enrollment The number of students enrolled in credit courses offered by the Fashion Design and Fashion Merchandising Program (The Program) in the Fall terms were 327 to 381 during the period 20062010. There is a small variation in the number of students enrolled from one year to the next year. In Fall 2010 the number of students enrolled in the Program was 341. For the Fall 2010 number of students enrolled in Fashion Design and Merchandising Program was about 1.1%of the total College Wide enrollment. The percent of female students in the Program were 82.4% to 89.7% during 2006 to 2010. In Fall 2010 this percentage was 88.3% where as this percentage for College Wide was at 54.9%. As it would be expected the Program attracts more female students than male students.

B. Age Group For Fall 2010, the percentage of students enrolled in Fashion Design and Merchandising Program in the age group of 19 years or younger was 22.6%, whereas the same percentage for the College Wide was 32.8%. This may be due to the fact that the number of the foreign students enrolled in the Program is twice as the College Wide. Most of the foreign students start at the Program at age higher than 19.

C. Ethnicity The ethnicity-race of the students enrolled in the Program is similar to the College Wide. The only significant difference is that the percentage of Hispanic students is lower than the College Wide. For example in fall 2010 the percentage for this ethnicity was 22.3% for the Program and 31.8% for the College Wide. Over the period 2006-2010 the percentage of Hispanic students enrolled in the Program has been between 20.9 and 24.9. The information available shows that the percentage of black students during 2006-2010 has been between 7.6% and 11.9%. For the Fall 2010 the Black students enrolled in the Program was 10.6% of the total students. This percentage for the College Wide was 9.8%. It seems that there is minor variation with respect to percentage of Black students in the Program verses the College Wide.

D. Foreign Students The number of the foreign students enrolled in the Program is significant. In fall 2010 the percentage of the students in the Program in the foreign student category was 24.9%, versus 10.1% for the College Wide. During the period 2006-2010 the percentage of the student enrolment in the Foreign 18

Country category for the Program was 15.2% to 24.9%. The percentage of students enrolled in the Program from out of state is similar to the College Wide percentage.

E. First Time and Transfer Students There is no significant variation between the Program and the College Wide percentage enrolment in the first time students, first time transfers, returning students, continuing students and special admit student categories. The percentage in the Continuing Student category has been increasing during 2006-2010 for the Fashion Design and Fashion Merchandising Program. In this period the Program’s continuing student percentage has increased from 32.4% to 55.1%. The College Wide percentage for this category for Fall 2010 was 54.4%. In the Educational Goal survey the percentage for the students enrolled in the Program that indicated transfer as their goal was 58.7% for the Fall 2010. For the College Wide this percentage was 68.1% for the same year. The reason that the Transfer category percentage for the Program is lower than the similar percentage for the College Wide may be due to the that many students enrolled in the Program are seeking an Associate Degree or Career Objective(Occupational Certificate). For the Fall 2010, the sum of these two categories for the Program was 25.5% versus 12.4% for the College Wide. If we add the Fall 2010 percentages for the Transfer, Associate Degree and Career Objective, we will get 84.2% for the Program versus 80.5% for the College Wide.

F. Education Background For Fall 2010 the students with high a school diploma or equivalent was 83.3% for the Program versus 82.5% for the College Wide for the year 2006. In Fall 2006 the Program provided introduction fashion classes in high schools. This program was discontinued in 2007. For this reason the category Not a High School Graduate was very high, 28.8% in Fall 2006 for the Fashion Program. This pushed down the percentage in the other categories for the year 2006.

G. Full Time Students For the Fall 2010 of the total number of students enrolled in the Fashion Design and Fashion Merchandising Program, 41.9% were in the Full-Time category. The similar percentage for the College Wide was 35.8%. It seems that the program has higher percentage of full time students. This may be due to the fact that The Program had 24.9% foreign country students who are mostly full time students. The reason the full time student percentage is low for the Program in Fall 2006 is that in 2006 there were significant number of High School students attending Fashion classes provided by Santa Monica College in their schools and therefore they were not counted as full time Santa Monica College students. Most students enrolled in the Program are day time students (52.4% to 55.6% during 2007-2010). The day time student number in Fall 2006 was high at 68.4% due to high school students attending the classes offered to them in their high schools. For the period Fall 2006-2010 the percentage of students enrolled at night was between 26.3% and 33.33%. The percentage for the weekend for the same period was from 4.8% to 5.3%. 19

H. On Line Classes The Fashion Design and Fashion Merchandising Program is not currently providing any on line classes. All the classes are exclusively offered face –to- face in the classroom settings. In the period 2006-2010 the number of On Ground offerings was between 18 and 21 sessions in the Fall semesters.

I. Attendance Time The number of students enrolled in Fall 2010 by the Time of the Day were: 4 for the Arranged Hours, 315 for the Day, 178 for the Night and 34 for Weekend for the Total of 531. The total course enrollment during Fall 2006-2010 period was between 482 to 575. If we exclude Fall 2006, a year with significant high school students in the Program, then the percentage of course enrollment for Arranged Hours, Day, Night, and Weekend have not changed much in period Fall 2007 to 2010. Although the percentage of the sections offered in the Arranged Hours Category for the Fall 2010 was 11.1%, the number of students enrolled was less than 0.8% of the total enrollment. This is the result of having only one or two students for each one of these Arranged Hours offerings.

J. Course Completion Rates The Fashion Design and Fashion Merchandising is part of the Photo/Fashion Department. Successful Course Completion Rates have improved for the Fashion Program from 61.1% in Fall 2006 to 67.5% in Fall 2010. The Successful Course Completion Rate for Fall 2010 for the Fashion Program, Photo/ Fashion Department, and College Wide were 67.5%, 62.4% and 68.2% respectively. The gap between the Successful Course Completion Rate of the Fashion Program and the College Wide was 3.6% in Fall 2006 which has been reduced to 0.7% in Fall 2010. For Fall 2010 the Successful Course Completion Rates for the Fashion Program were 100% for Arranged Hours 70.2% for Day, 64.6% for Night and 55.9% for weekend. There has been improvement in Successful Course Completion Rates in all the Time of Day categories. Female students in the Fashion Program have higher Successful Course Completion Rates than male students. This rate for female students was 62.5% to 69.2% in the period Fall 2006-2010, whereas for male students this rate was 30.9% to 56.3% for the same period. Both Asian/PI and White students enrolled in Fashion Program have higher successful Course Completion Rates than other ethnicity groups. For the Asian/ PI ethnicity this rate has varied between 70.4% and 81.1% during Fall 2006-2010 period. For the white students enrolled this rate has increased from 64.3% in Fall 2006 to 74.9% in Fall 2010. For the Black students enrolled in the Program the Success Rate has also increased from 30.4% in Fall 2006 to 52.9% in Fall 2010. For Hispanic students enrolled in the Program the success rates have been 56.6% to 57.8% in the period Fall 2006 to Fall 2009 with very small changes in the success rate from one year to another. However, this rate was increased to 62.7% in Fall 2010. The age group 25 to 29 had the highest Successful Course Completion Rates in the Fashion Program in Fall 2010, at 80.0%. In general the age group 19 or younger has had lower Successful Course Completion Rates compare to the other age groups. However it is not possible to state that there is a direct correlation between Age Group and the rate of Successful Course Completion for Hispanic students. 20

K. Course Retention Rate The Course Retention Rates for the Fashion Program has improved during the period Fall 2006 to Fall 2010. This rate was 77.6% in Fall 2006 and increased to 87.2% in Fall 2010. This rate has also improved for College-Wide at 80.4% for Fall 2006 to 83.3% for Fall 2010. The Course Retention Rate improvement during Fall 2006-2010 is higher for the Fashion Program than the College-Wide. Associate Degrees and Occupational Certificates awarded by Fashion Program during the academic year 2006 -2007 and 2010-2011 were between 12 and 14. There was no significant variation in the number of Degrees and Certificates awarded in the Fashion Program.

K. Summary In summary the significant difference between the back ground of the students enrolled in the Fashion Program and the College Wide are: 1. Percentage of female students are much higher in the Program 2. Percentage of foreign students in the Program is almost twice as the College Wide percentage. 3. Percentage of students with Hispanic background is less in the Program than the College Wide and they have had lower course completion rates. 4. Male students have less Successful Course Completion Rates than female students 5. African American not achieving as well a white /PI 6. The Course Retention Rates has improved during 2006-2010 period and has reached 87.2% in fall 2010, which was higher than this rate for College Wide. It is our experience that by encouragement and, one to one assistance the course completion rates can be increased for the students with Hispanic background. Most of the male students need financial support to enroll or continue with the Fashion Program. From our past students we have learned that assisting them to apply for any financial help from Santa Monica College has given them the time off from work to enroll in the program and increase their success rate in completing the Program.

5. Changes in the Program Goals Since Last Self Evaluation The main program goal is that students in the Program will achieve any of the following objectives after two years of studies at SMC:   

Transfer to a four year university program Receive AA degrees in Fashion Design and Fashion Merchandising Receive Occupational Certificate in Fashion Design and Fashion Merchandising

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The following activities have been carried out in the last two years to increase the chances for achieving our goal: 1. Establishing two year scheduling plan to ensure all required courses are offered in a sequence to ensure our students are able to graduate on time in two years of classes. 2. Finish the curriculum process for the new courses F18, F19, and F20 and offer them in the two year scheduling. 3. Research and examine the needs of Fashion Industries to ensure our program is up to date and our graduating students have qualifications for being hired as professional employee 4. Update our curriculum in Fashion Design and Fashion Merchandising to accommodate the new courses that were approved. 5. Get advice and suggestions from our Advisory Board members for improving the Fashion Program 6. Update The Fashion Design and Fashion Merchandising Homepage at school’s web site 7. Encourage students to participate more in outside activates and involvement in the industry 8. Encourage Fashion students to participate in community projects and competitions with other schools or institutions 9. Create a better teaching environment and acquire newer equipment in the classroom. 10. Arrange and promote Fashion students to participate in internship program before graduating from Santa Monica College 11. Continue our annual students fashion show in LA Mode 2010, 2011 and make sure it is financially self sufficient 12. Keep track of our graduate 13. Evaluation of SLO results at faculty meetings at the beginning and the end of each semester 14. Request for hiring a full time instructor 15. Offer more night and weekend classes In the next three sections of this report more detailed information is provided on activities carried out to improve the Fashion Design and Fashion Merchandising Program.

6. Summary of the Program and/or Course Modification Made Since the Last Self Evaluation A. Course Addition. Mobasheri worked with Georgia Lorenz and Estella Narie to add to the program offering three new courses for AA and Certificate in Fashion Design and Fashion Merchandising. The three courses were approved on August 19, 2010. These three courses are: 1. F18 2. F19 3. F20

Computer Assisted Fashion Illustration and Design Fashion Marketing Window Display for Fashion 22

These courses have been offered since their approval. F18 (Computer Assisted Fashion Illustration and Design) and F19 (Fashion Marketing) have been offer twice, F20 (Window Display for Fashion have been offered once. B. Additional Evening and Weekend Classes We have extended our offerings for the following courses in the evening and weekend classes in order to attract more students who are employed and cannot attend day classes. This will increase the utilization of the class room and its equipments assigned to the Program. The following are courses which have been offered during the past two years at night and weekend times: 1. F I Fashion Trends and Design 2. F 2 Color Analysis 3. F 3 Apparel Construction 4. F6A Pattern Analysis and Design 5. F 7 Fabric for Fashion Design and Fashion Merchandising 6. F11 Advanced Clothing Tailoring 7. F13 Draping I 8. F16 Pattern Grading 9. F17 Apparel Production Manufacturing Techniques C. Participation in Professional Activities We have promoted students to participate in events outside of Santa Monica College. This has included the following activities: 1. California Community College Symposium (CCCS) 2. Textile Association of Los Angeles (TALA) Competition D. Alumni Professional Positions We have started the tracking of the Fashion Design and Fashion Merchandising alumni. This task was accomplished by the application of: 1. Internet 2. Facebook 3. Networking The name and the current positions of some of our past students are shown on appendix D Several of these students have started their own line of design. Some of them are employed in the apparel industry as designer, assistant designer, and pattern maker. Several of these past students are working in merchandising. Two of them have managerial positions in multinational stores. The program is proud of their achievements and the positions that they have attained in the Apparel Industry. E. Computer Aided Design The trend in the fashion industry is to use more and more computer software programs in patternmaking, grading, design presentation, and other aspects of design and Merchandising. This trend has facilitated the globalization of this industry where design is carried out in one country and immediately is available in another country for apparel production. Window display design is transmitted from a central office to all the stores in different cities or countries. In the last few 23

years the apparel industry of Southern California has become more oriented toward design as productions has been moved to other countries which have lower labor cost. In reaction to this trend the Program has added the use of Adobe Photo Shop and Adobe Illustrator also the computerized pattern making and grading with Tukateck program in many of the courses such as Fashion 16 and Fashion 18. F. Participation in Community Activities The fashion program has encouraged its students to engage in the community activities. In the last year students have participated in Mannequin project at Santa Monica Place, In the LA Mode (Santa Monica College Students annual fashion show) 2010, 2011 the students were not only engaged in working with each other, but also involved with working with students from other Santa Monica College departments such as Photography and Cosmetology. G. Internship Program The Fashion Design and Fashion Merchandising have an active internship offering. There are many students who would like to enroll in the internship courses for credit. These students work in the apparel industry for a semester under the guidance of one of the fashion program faculties. For example last academic year 2010-11 students who were enrolled in the internship program are shown in Table 8.

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Table 8

Intern Students in Fall 2010-Fall 2011

Section Student Name F90C Sanna Nilsson

Term Fall 2010

Company Show Room Seven

Job description Sales Rep Assistant

F90A

Charlotte Naitmbark Silvana Equsquiza James Warner

Fall 2010

Sales

F90A

Anna Klockare

Spring 2011

Mondo Clothing wholesale Ranibow West Design Emil Rutenberg Corp One Stop Internet

F90A

Inken Budde

Summer 2011

Gregory Parkinson

Assistant to Designer

F90A

Eria Fujiwara

Summer 2011

Assistant to Designer

F90C

Joanna Hadfield

Fall 2011

Charlotte Tarantola Company Kellwood

F90B

Britannya Williams

Fall 2011

F90A F90A

Fall 2010 Fall 2010

Assistant to Designer Assistant to Designer Fashion web site design

Design

Address 860 S L0s Angeles Street, LA, CA 90014 305 E 9th St. LA CA, 90015 8500 Melrose LA CA, 90069 818 S. Broadway LA CA 90014 2332 E Pacifica Place LA CA, 90220 834 S. Broadway 5th floor # 500 LA 90014 10459 W. Jefferson BL Culver City CA, 90232 13071 E Temple Ave, City of Industry 91746 127 E 9th St. LA CA 90015

West Bank Sales/Inventory Clothing Showroom The students in the internship, with the help of the Job Placement Center develop a program and schedule for the activities that will be carried out during their internship program. They then at the end of the term earn course credit if their work as an intern was satisfactory. Usually each semester, there are two students in this program. It is encouraged that students take internship courses the last year of their studies at Santa Monica College. The goal is that student who receives AA degree or Certificate in Fashion Design and Fashion Merchandising will have one semester of professional experience.

H. Changes in the Advisory Board The Advisory Board for Fashion has 12 members. Some members due to their commitments are not able to attend semiannual meetings of the Board. We have changed the membership in the Board and invited new members to increase the attendance to these meetings. Appendix k: Advisory Board Members and biography 25

I. Faculty Meetings The Program has one full time faculty member and relies heavily on part time instructors. For example, of the nineteen courses offered for the spring 2012 five courses will be taught by the full time faculty and the other fourteen courses by eleven different part time instructors. The interview and selection, coordination and scheduling, monitoring and supervision of these part time faculties are carried out by the full time faculty. To improve the coordination efforts we have initiated two meetings each semester, one at the beginning and one at the end of the semester. In these meetings the full time and part time instructors go over the SLOs and how to improve our teaching methods. There are times that the same course is offered in more than one session in a semester. These sessions are usually taught by different instructors. During faculty meetings issues that may arise regarding the course outline and content are discussed and differences are resolved. In these meetings we make sure that the part time instructors get to know the prerequisite courses to the course that they are teaching. Discussions are carried out on how to encourage the students to participate in our annual Students Fashion Show. In these meetings faculty reviews the new books that have been published recently for adoption as a text book. The faculty also discusses any courses that is required for graduation and may not be offered till the following year. This is to inform students of required courses that they should take in the semester to insure that they will graduate in a timely manner. The part time instructors are asked to encourage all the students to fill out the Vocational Surveys. Upkeep of the Equipments in room B107 is also emphasized in these meetings. The minutes of the Fashion faculty meetings held in the last two years are shown in Appendix F. J. Secretarial support In the past the Program had part time secretarial support and one student help to assist the full time faculty in its coordination efforts. In the last two years the full time faculty has managed without their assistance.

7. Respond to the Recommendation from the Executive Summary of the Previous Program Review In the last Program Review there were seven issues that were raised. Here in this section responses to these seven issues are provided: A. Fashion is encouraged to gather and use accurate data to inform planning and decision making. The Fashion Design and Fashion Merchandising Program has always gathered information on Southern California job market and the trend of this industry. Furthermore the Advisory Board members have in the past provided information of the changes in Apparel Industry in Southern California. In the past decade the number of employees in the Apparel production in California has decreased. However, most of design and marketing are still carried out locally even though production has moved to low labor cost countries. 26

In response to industry trends the Fashion Design and Fashion Merchandising Program has added courses in computer aided design (CAD). Most of our students graduating in the two year program have developed sufficient capabilities in the application of Adobe Photo Shop and Adobe Illustrator for Fashion Design, Merchandising and Marketing. To complete our course program and increase the qualification of our students to be hired in the apparel industry, as stated earlier, we were successful in getting approval for three new courses in Fashion Marketing, Fashion Window Display and Computer Assisted Fashion Illustration and Design.

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B. A two Year scheduling plan to ensure all required courses are offered in a logical sequence should be developed, especially to ensure the needs of international students are met. The Fashion Design and Fashion Merchandising Program offers two degrees: AA and Occupational Certificate. The AA degree involves satisfactory completion of 60 semester’s units which includes at least 40 semester units in the Fashion Design areas. For the Fashion Design, it is recommended to take the following courses in four semesters as shown in Table 9.

Table 9 FASHION DESIGN: Associate in Art Degree Program- 60 Units The major consists of 40 units. The following courses totaling 40 units are required. FIRST LEVEL CLASSES Fashion 1, Trends and Design (3)

Fashion 9A, Fashion Illustration & Merchandising (3)

Fashion 3, Apparel Construction (3)

Fashion 6A, Patter Analysis & Design (2) or Fashion 13 Draping I

Fashion 10, Advance Design & Construction (3)

Fashion5, Fashion Buying (3)

SECOND LEVEL CLASSES Fashion 13, Draping 1 (3)

Fashion 2, Color Analysis

or Fashion 6A, Pattern (3) Analysis & Design (2)

THIRD LEVEL CLASSES Fashion 14, Draping II (3)

Fashion 6B, Pattern Drafting and Design (Intermediate) (3)

Fashion 11, Tailoring (2)

Elective

Fashion 7, Fabric for Fashion Design and Merchandising (3)

Elective

FOURTH LEVEL CLASSES Fashion 12, Fashion Show Production (3)

Fashion 8, History of Fashion Design (3)

Additional elective courses to bring the total to 60 Units are selected from the following courses: Art 10A Design I, Art 20B Drawing II, Business 63 Principal of the entrepreneurship, F9B, Advanced Fashion Illustration and Advertising, F15 Ethnic Fashion, F16 Pattern Grading, Fashion 17 Apparel Production Manufacturing Techniques, F18 Computer Assisted Fashion Illustrator and Design, F19 Fashion Marketing, Fashion 20 Window Display for Fashion

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For the Fashion Merchandising, it is recommended to take the required courses shown in Table 10 in four semesters.

Table 10 FASHION MERCHANDISING: Associate in Art Degree Program- 60 Units The major consists of 40 units. The following courses totaling 40 units are required FIRST LEVEL CLASSES Fashion 1, Trends and Design (3)




SECOND LEVEL CLASSES Fashion 13, Draping 1 (3)or Fashion 6A, Pattern Analysis & Design (2)

Fashion 2, Color Analysis (3)


Elective

THIRD LEVEL CLASSES Fashion 7, Fabric for Fashion Design and Merchandising (3

Fashion 12, Fashion Show Production (3)


FOURTH LEVEL CLASSES Fashion 8, History of Fashion 9B Fashion Design (3) Advanced Fashion Illustration and Advertising (3)

Fashion 15 Ethnic Fashion (3)

Fashion 19 Fashion Marketing

Elective

Additional elective courses to bring the total to 60 Units to be selected from the following courses: Art 10A Design I Art 20B Drawing II, Business 31 Business English Fundamentals, Business 63 Principal of the entrepreneurship, CIS1 Computer Concepts with Applications, F6B Pattern Drafting and Design (Intermediate), F11 Advanced Clothing-Tailoring, Fashion 16 Pattern Grading, Fashion 17 Apparel Production Manufacturing Techniques, F18 Computer Assisted Fashion Illustrator and Design, Fashion 20 Window Display for Fashion. Appendix F shows an evaluation to see if the students who started in Fall 2010 could be able to take the 40 unites requirement in two years. Schedules of course offered in Fall 2010 through Spring 2012 are provided in this Appendix. This Appendix also shows courses that could have been taken by a student who is interested in either receiving AA degree in Fashion Design or Fashion Merchandising during the Fall 2010 to Spring 2012 in order to graduate in two years. The information provided in this Appendix proves that the goal of graduating in two years could have been achieved by students in Fashion Design. For Fashion Merchandising F19 Fashion Marketing was not offered in Fall nor Spring semesters however it was offered in winter session 2012. Therefore students could have also received their AA or Certificates in two years.

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C. Evidence of assessment measures and response to results should be included in the next report SLOs assessments showed that there is no need for significant modification of the course objectives. In some courses small modifications are made to the SLO, Method of presentation, and coverage of subject matter in the course. For example for F3 student SLO was: Student will be able to select appropriate fabric and construct a garment by utilizing the appropriate machines and techniques. A second SLO was added as to students to produce a comprehensive reference notebook containing notes, pictures, diagrams and sewing samples utilized in garment construction projects. In the same the course for methods of presentation internet and smart cart technology was added to enhance the students’ learning outcome and video and field trips were deleted. In addition the percentage of term time used for different topics was modified and two new topics were added. D. The program must adhere to the requirement of annual advisory board meetings and board membership should be refreshed and updated. The Program has had advisory Board for the past 20 Years. The advisory Board meets twice a year which usually last two to three hours. The Advisory Board on occasions has recommended changes to the curriculum and the course offerings. One of these recommendations was to add a course on computer aided design (Adobe Illustrator and Adobe Photo Shop). The Fashion and Merchandising Program added Fashion 18 (Computer Assisted Fashion Illustration and Design) two years ago. Several members of the Advisory Board have terminated their membership due to other commitments .In the last two years two new members have been added to this Board to replace members that are no longer have been able to participate in these meetings. For details on Advisory Board see the Section VI and Appendix G and H E. Local industry trends should be carefully monitored. The members of the Advisory Board who are owners and active in different part of the Fashion business have contributed significantly to the faculty’s understanding of local industry trends. Furthermore faculty members participate in various seminars, visit Fashion Marts/Show Rooms and Fashion Retail stores within different offerings. Fashion Program receives California Apparel News, Fashion Show, Collezioni, Gap Press, Show Details magazines. Review of these publications provides great insight to the trends in this industry. F. Evidence of SLO assessment and evaluation should be included in the next report. This report includes evidence of SLO assessment process and consistency in Section III – 2, III 3 and III – 4. Furthermore, Appendix F and Appendix H provide information on minutes of Fashion Faculty meetings and SLO Received from Faculties, respectively. G. Fashion is encouraged to complete the curriculum process for the proposed new courses and include them in the 2 year scheduling plan. The three courses proposed by the Fashion Design and Fashion Merchandising program (Fashion 18 Computer Assisted Fashion Illustration and Design, Fashion 19 Fashion Marketing and F20 Window Display for Fashion) were approved and has been offered in the past two years. Two of these courses are now part of the required courses (F18 and F19) and will be offered at least once a year. 30

8. Notable Achievement Since the Last Self- Evaluation The following list provides some of the achievement of the Program: 1. Worked with Georgia Lorenz and Estella Narrie to add to the program the three new courses to the Program for AA and Certificate in Fashion Design and Fashion Merchandising. The three courses were approved on August 19, 2010. They were: Fashion 18 (Computer Assisted Fashion Illustration and Design) Fashion 19 (Fashion Marketing), Fashion 20 (Window Display for Fashion) 2. Worked on the Home page for Fashion Design and Fashion Merchandising program to bring it up to date. 3. Added new Advisory Board Members to the Fashion Program 4. Visited museums in Egypt, Jordan, France, Canada, New York city, Washington D.C., San Francisco and Los Angeles on Apparel and Fashions 5. Became more knowledgeable with apparel used and history of fashion from other nationalities by visiting museums in Egypt, Jordan and France 6. Added more slides and visual aids for class presentations from pictures in above trips 7. Used the internet and new technology for improving teaching 8. Served in Faculty Senate and Faculty Association 9. Helped Santa Monica College library in acquiring more books in Fashion Design and Fashion Merchandising 10. Placed many students as intern in Apparel industry (see the list in Table I in Section I-6G) of students for the last two years

II.

Curriculum – Course and Program Content 1. Engagement of Faculty and Advisory Board Members in Review and Revision of Curriculum During our Advisory Board meetings the trend in the industry was discussed and recommendation was made to add courses in Computer Aided Design and Fashion Marketing. The new course proposals were prepared for these two subjects and submitted to the Program Review for approval. Fashion 18 (Computer Assisted Fashion Illustrator and Design) and Fashion 19 (Fashion Marketing) were established based on these efforts. During our faculty meetings the need for a course on window display for fashion was discussed. The outline and subject matters to be covered were developed. The request for this new course Fashion 20 (Fashion Window Display) was submitted and approval was received. Based on these additional offerings the curriculum for both Fashion Design and the Fashion Merchandising are revised to reflect the new trends in the fashion industry.

2. Appropriateness of Course Designs in Relation to Program Goals and SLOs Evaluations carried out by instructors and discussed in faculty meetings proved that course designs are appropriate in relation to Program goals and SLOs. Based on instructor 31

recommendations we have added to the SLOs to take into account the fact that now students use computer in carrying out many of their projects. For example in Fashion 5 (Fashion Buying) students now use computer search for making merchandise selection from on line retailers for price and quality comparison and then based on these findings develop a power point presentation for their projects & assignments. SLO for this course has been modified to reflect the fact that students now must use computer to complete some of the course projects & assignments. An example of computer utilization is the use of The Smart Cart in Room B107 which has made it more efficient and productive for the instructors to show different alternatives for the process of drawing, design and construction of apparel. This has changed the students learning outcomes as they can visualize much better instructor’s presentation. The SLOs in many classes has expanded because of increase efficiency in instructor’s presentations. The course outlines for our Program now reflects the utilization of The Smart Cart.

III. Instructional improvement 1. Activities for Improving Teaching and Learning Environment The following activities were carried out to improve instruction in classes: 1. Visited the Shoe museum in Toronto, Canada in 2010 which I took more than 100 pictures that have been used in lectures for some of the classes (F1 Fashion Trends and Design and F8 History of Fashion) 2. I have visited Egypt in 2010 and managed to document all the findings which will supplement my lecture in beginning and advanced classes for sources of inspirations and also the history of clothes. 3. I have also visited Louvre museum and Versailles and several Castles in Loire Valley, France gathered more information to share with students. Purchased DVD of Louver and Versailles that was shown to our students and was well appreciated 4. Visited exhibits such as: Le Livret-Jeu at Grand Trianon in Musee Galliera in France (The 18th CENTURY BACK IN FASHION Couturiers and Fashion Designers at Grand Trianon), which have been used in F1 Trends and Design, F8 History of Fashion and F10 Advance construction and Design as the evidence of how the past fashion could be source of inspiration for new trends for both Haute Couture and ready to wear fashion. Fashioning Fashion at Los Angeles County Museum of Art, Rodarte: Fra Angelico Collection (Kate and Laura Mulleavy designs) in the Italian Renaissance gallery at LACMA, Medieval Gospel Illumination exhibit at Getty museum, Fashion in Middle Ages at the Getty Museum and Il Teatro alla Moda (Theater in Fashion) at Wallis Annenberg Center. All the pictures and information from these exhibits have been used in lectures and sources of inspiration for fashion classes. 5. Visited major retailers at least once a week to update knowledge on the new trends in fashion as well as recognizing the best sellers or poor sellers in the clothing business. 6. Have been awarded $5,000 from the Margin of Excellence Grant which is to improve our lab and equipment 7. Have reviewed and read most of the new books in fashion to adapt suitable books for our program 32

2. SLOs Assessment Procedures and Timing The full time faculty prepares the objectives and SLOs of each one of the courses. These objectives and SLOs are then sent to each instructor. Instructors ensure that SLO and course objectives have been met for each course that they teach. Fashion Design and Fashion Merchandising instructors have been meeting at the end of each semester to go through their Syllabus and SLO’s in the classes they have taught. This is to discuss the teaching experience in the classes and to discuss how the objectives and SLOs for the courses have been met. SLOs received from the faculty of the Fashion Design and Fashion Merchandising during the Fall 2010 through Fall 2011 are provided in Appendix H.

3. Ensuring that SLOs are Assessed Consistently over Different Sections of the Same Course Several of the Fashion Design and Fashion Merchandising courses are offered in more than one section in a given semester. These include: F1 (Fashion Trend and Design) F2 (Color Analysis) F3 (Apparel Construction) F6A (Pattern Analysis and Design) F9A (Fashion Illustration and Merchandising) In the Fashion Faculty meetings at the beginning of each semester there is a discussion regarding the SLOs and syllabus of the above courses to make sure that the same format for the syllabus are followed to assure that the SLOs are achieved by the end of the semester. During the semester there is also discussions held between the full time and part time instructors to assure that the syllabus are consistent.

4. Program or Course Changes Based on the Assessment Outcome Three courses have been added to the program in the past two years based on assessment outcome, input from Advisory Board and The Program faculty recommendations. Furthermore, as stated in section II-2 outlines of some of the courses offered by the program have been modified to reflect the use of computer by students in carrying out their assignments and their projects. Furthermore, the new course F18 (Computer Assisted Fashion Illustration and Design) provides important useful tool for our student to compete in the professional markets. Therefore, recommendation is made to add this course as a curriculum requirement for Fashion Design students. Furthermore, it is recommended that F15 (Ethnic Fashion) also be added to the requirement. To limit the number of required units to 40, it is therefore recommended that Fashion 11 Tailoring and F14 Advance Draping (Draping II) become an elective course instead of a requirement for Fashion Design. It is recommended that this change in required courses be effective for students starting in Fall 2012. 33

Based on above recommendations Table 2 and Table 3 are modified. Table 4 and Table 5 show the proposed requirements and course sequences for Fashion Design and for Fashion Merchandising. It is recommended that this new Tables become effective as of Fall 2012. Based on Tables 4 and 5 the following courses should be offered at least in one section in each one of Fall and Spring semesters: Fall:

F1, F3, F6A, F6B, F9A, F9B, F10, F15, F18, F19

Spring: F2, F5, F7, F8, F12, F13 By providing the above courses in Fall and then in Spring there is an assurance that students in both Fashion Design and Fashion Merchandising will be able to take 40 units of requirements in 2 years. It is recommended that the above Fall and Spring scheduling for the required courses start in Fall 2012. Some of the basic courses in the Program are offered in more than one semester and one section. These include: F1, F2, F3, F6A and F9A. Since The Program offers each semester 17 to 19 classes, it will be possible to offer each one of the elective courses such as F11 (Tailoring), F14 (Advance Draping), F16 (Pattern Grading), F17 (Apparel Production Manufacturing Techniques), and F20 (Window Display for Fashion)in Fall or Spring semesters.

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The Program also offers courses during winter and summer sessions, mostly the basic courses. Some of the required or elective courses could be also offered during these sessions if there is a need.

Table 11 ROPOSED FASHION DESIGN: Associate in Art Degree Program FIRST LEVEL CLASSES Fashion 1, Trends and Design (3)








THIRD LEVEL CLASSES Fashion 18 Computer Assisted Fashion Illustration and Design (3)

Fashion 6B, Pattern Drafting and Design (Intermediate) (3)


Elective

Fashion 7, Fabric for Fashion Design and Merchandising (3)

Elective



(New Requirements are shown in red color)

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Table 12: PROPOSED FASHION MERCHANDISING: Associate in Art Degree Program FIRST FIRST LEVEL CLASSES Fashion 1, Trends and Design (3)



Fashion 6A, Patter Analysis & Design(2) or Fashion 13 Draping I (3)




Elective

Fashion 7, Fabric for Fashion Design and Merchandising (3

Elective



THIRD LEVEL CLASSES Fashion 9B Advanced Fashion Illustration and Advertising (3)

Fashion 19 Fashion Marketing (3)



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5. Alignment of Syllabus to Courses Outline of Record Based on the instructors experience and the SLOs that have been prepared, the syllabus for some of the courses are modified over the time and maybe somewhat different than the course outline of the record. Appendix J shows the modified syllabus for all the Fashion Program

6. Unusual Patterns in Grading and Retention in Terms of Students Characteristics and Program Goals In order to retain and increase the success rate of the completion in the Fashion Design and Fashion Merchandising Program there have been occasions that special assistance has been provided to some students. These include individual counseling by the instructors and referral to Counseling at the College. Sometimes for students who have lower levels of achievement, special projects are given in order to improve their grade and therefore increase retention in the Program. Furthermore students with special needs are given extra time to finish their assignments or the tests without decreasing the level of the Student Learning Objectives in the course.

7. Faculty Activities, Training or Professional Development to Remain Current with Industry Trends In the past two years the full time faculty has carried out the following activities to remain current with the Fashion Industry Trend: 1. Have had assistance from the Media Center at SMC for learning how to update the Fashion Program Homepage 2. Travel to France (Paris, Avignon, Cannes, Montpellier, Nice, Nimes, Versailles, Chateau de Versailles) and to Canada (Toranto, Ottawa, and Montreal) , visiting many museums /exhibits in these cities and taking pictures which were shared with students in various classes (through Ecompanion) 3. Visit the Market Week and Trade Shows in Fashion Market Center in Los Angeles, San Francisco 4. Visit stores which carries High price, Moderate price, and Mass Merchant in Los Angeles and in cities named in Paris, Cannes and Montreal 5. Visit exhibits at the local museums such as Los Angeles Museum of Art, Getty Museum and Musee Galliera 6. Use Internet to keep current with fashion reports and images. 7. Review monthly fashion magazines such as W, weekly newspapers such as California Apparel News, daily newspapers such as, Women’s Wear Daily, Wall Street Journal and seasonal fashion magazines (Vogue, Bazaar, Collezioni Donna, Fashion Show, Book Moda Haute Couture, Gap Press Haute Couture

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8. Review of new fashion books in order to assign the appropriate books to the courses offered to the program. This review have included the following books from several publishers: a- Pearson Publishing Company: 1. Retail Buying Practices and Policies in a Global Economy by Susan S. Fiorito, 2. History of world costume and Fashion by Daniel Delis Hill 3. Adobe Illustrator for Fashion Design by Susan Lazear 4. Apparel Product Design and Merchandising by Cynthia L. Regan 5. Apparel Product Development by Johnson And Moore 6. Retail Buying by Diamond & pintel 7. Retail category Management by Fowler & Goh 8. Contemporary Visual Merchandising by diamond 9. Merchandising of Fashion Products by Doris H Kincade & Fay Y. Gibson 10. Merchandising Mathematics for Retailing by Cynthia Easterling, Ellen L. Flottman and Marian H. Jernigan 11. Textiles by Sara J. Kadolph b- Fairchild Publishing Company 1. Visual Merchandising and Display Martin Pegler 2. Apparel Production Terms and Processes by Janace Bubonia 3. Fashion Marketing by Mirianne C. Bickle 4. Tailoring Techniques for Fashion by Milva Fiorella Di Lorenzo 5. Color Studies by Edith Anderson Feisner 6. Practical Guide to Patternmaking for Fashion Designers by Lori A. Knowles c- Berg Publishing Company 1. 2. 3. 4. 5.

Body Style by Theresa M. Winge Fashion Forward A Guide to Fashion Forecasting by Chellsea Rousso Fashion Theory The Journal of Dress, Body and Culture by Valerie Steele Fashion and Art by Adam Geczy, Vicki Karaminas Fashion Production Terms by Beverly Berke, Debbie Gioello

d-Thames & Hudson Publishing Company 1. Fashion Designer’s Textile directory 2. Renaissance People by R. Davis, B. Lindsmith 3. The clothing of the Renaissance World by Margaret F. Rosenthal, Ann Rosanlind Jones e- Abrams Book Company 1. Seventeenth-Century women’s Dress Patterns 2. Saint Laurent Rive Gauche: Fashion Revolution by Pierre Berge, Jeromine Savignon and Gilles de Bure 38

3. Culture Chanel by F. Claire Prodhon 4. Imperial Chinese Robes form the Forbidden City by Ming Wilson and Verity Wilson f- Mc Graw-Hill Company 1. Core Concepts in Fashion By Laura Portolese Dias 2. Essentials of Contemporary Advertising by William F. Arens and David Schaefer g- Bibbin Media Corp 1. Fabric Source book Domestic and International h.- The Goodheart-Willcox Company, Inc 1. The world of Fashion Merchandising i- Prentice Hall Publishing 1. Contemporary Visual Merchandising and Environmental Design by Jay Diamond and Ellen Diamond

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IV. Instructional Environment 1. The Relationship Between Full and Part Time Faculty In the Fashion Faculty meetings we discuss and review student’s progress and all instructional activities to stay current and maintain our Program objectives. It is difficult to have full attendance in each meeting since all but one of our faculty members are part time instructors who have other jobs besides teaching at Santa Monica College. However, we do provide the minutes of each meeting to every Fashion instructor after each meeting. We are fortunate to have caring instructors in our Program who willingly volunteer to attend these meetings and also help out during the annual students fashion show (LA Mode Fashion Show) which brings our faculty together in an important event for the Program.

2. The Type and Number of Faculty with Regard to Educational Preparation, Workload and Support of Program Goals There is only one full time faculty in the program with usually an overload each semester. To teach the rest of the courses part time instructors are hired who have degrees in fashion, art or business of fashion. Several of these instructors have work experience in the apparel industry. These instructors are carefully selected based on their qualification to teach the assigned courses. The full time faculty sometime attends the classes taught by part time instructors and provides feed back to them to assure that SLOs are successfully achieved. The production of the fashion show provides a significant input as to what elements of our program (such as color selection, fabric selection, pattern making, construction and merchandising) are successful and what parts needs improvement. These assessments are then used to increase our efforts and attention in courses that need improvements. There has been a change in the secretarial support .Fashion program used to have two hours of help every day which has been changed since 2009. Since the budget cuts the Fashion Program have lost students helpers which were of some help before. For the past twenty some years the only one faculty member has requested each year for a new full time faculty. In order to achieve The Program goals The Fashion Design and Fashion Merchandising Program needs to add new full time faculties.

3. Engagement in Institutional Efforts and Activities Fashion Program has been encouraging the mission of the college by changing the attitude of our students toward decreasing material waste and helping them to have environmental awareness. In doing so every instructor in the Fashion Program has encouraged students to recycle the fabrics and papers which are used in every class. Attempts are made to bring to our students attention about the ecology and our environment and ways to conserve and maintain our planet from 40

destruction. Course material such as syllabus or projects is place on eCompanian in order to conserve paper waste.

4. Facilities and Equipment Assigned to the Program and the Need for Program Enhancement The need for the new equipments for the Program such as new sewing machines, new high tables and high chairs has been identified for room Business 107 which is used for most of the classes in the Fashion Design and Fashion Merchandising Program. The fund for this improvement will be provided by Margin of Excellence Grant ($4,999.00) that have been awarded (See Appendix H) Fashion Program needs more space for offering lab and lecture classes. It would be beneficial to have an extra space for students so that they will be able to use as a lab to finish their home works , since most of them do not have any of the equipments at home. There is also need for additional storage space. The current storage is highly crowded. With additional storage space we can accept more fabric donations and which will help to reduce students cost for purchasing fabrics.

5. Changes in Governmental Requirement and The Impact of these Changes on the Program We are not aware of any changes in the government requirements that would impact The Program

V.

Program Effectiveness 1. Effectiveness in Course Success rate, Retention Rates, AA degrees and Certificates Awarded As stated previously in section I-4 Information on Students Background, Successful Course Completion Rates have improved for the Fashion Program from 61.1% in Fall 2006 to

67.5% in Fall 2010. The gap between The Program and College Wide Successful Course Completion Rates for the Fashion Program was 3.6% in Fall 2006 which has been reduced to 0.7% in Fall 2010. Female students in the program have had higher Successful Course Completion Rates than male students. Both Asian/PI and White students have also had higher Success Course Completion Rates. In Fashion Program the age group 25 to 29 performed well with 80.0% Successful Course Completion Rates in Fall 2010. The Course Retention Rates in the Fashion Program has improved during the period Fall 2006 to Fall 2010 from 77.6% to 87.3%. The Associate Degrees and Certificates awarded by the Fashion Program have been 12 to 14 each year during the period 2006 to 2011. There was no specific trend regarding the number of Degrees and Certificates awarded during this period. 41

2. Comparison of Student Characteristics Data with Program Goals There is no set relation between student characteristic data and the program goals for the Fashion Design and Fashion Merchandising Program. However the Program attracts more female students than male students. The female students are over 80.0% of the enrollment in the Program. For instance in Fall 2010 the female student percentage in the program was 88.3% where as this percentage for the College Wide was at 54.9%. The percentage of the foreign students in the Program is almost twice as the College Wide percentage of this category.

3. Program SLOs Relation to the Program Goals and Achievements The goal of the Program is that after two years of studies at Santa Monica College students will be able to transfer to a four year university program, receive AA degrees or Occupational Certificate. The SLOs that are prepared by instructors and discussed in faculty meetings of the Fashion Design and Fashion Merchandising Program are in line with the Programs Goals and Objectives. The 40 unites requirements and 20 units of elective courses provided by the Program enable students receiving AA degrees and Occupational Certificate to have a strong foundation in Fashion Design and Fashion Merchandising. These students are able to gain employment in the Fashion Industry and some are able later on to start their own business.

4. Student Transfer or Job Placement Rates In the Educational Goal survey the transfer category percentage for students enrolled in the Program was 58.7% in Fall 2010. This is almost 10% lower than College-Wide transfer category for the same year. The main reason that there is a gap between the Program and the College Wide category is that The Program has 25.5% looking for AA degree and Career Objectives where as this percentage for the College Wide was 12.4%. It is difficult to know exact job placement rates for students who receive AA or Occupational Certificate in the Program. This is especially true for foreign students in the Program since many of them go back to their home country after graduation. Through Facebook and personal contacts a partial list of the past students and their current jobs was prepared. This information is shown in Appendix D which shows the name , position and the company that these past students are working for.

5. Observation on Student’s Success After Program Completion Through using Facebook a partial list of students who have finished the Program and are currently employed in the Fashion Industry was collected. The table in Appendix E shows the result of this effort. Forty seven percent of these past students are employed in the Fashion Design and 53% in Fashion Merchandising. However, the data in Appendix E is a very small sample of our graduating students. Efforts will be made to extent this list. 42

Based on data in Appendix E; our alumni in Fashion Design are working as Designers, Assistant Designers and Pattern Makers. Several of them have established their own firms. The former students engaged in Fashion Merchandising are working as Fashion Coordinator, Visual Merchandiser, Stylist and Sales. Some of these former students are working for multi-national firms such as ZARA, DIOR, and J CREW. The Program will increase its effort in establishing connection with the past students by using Facebook, Twitter and other forms. Furthermore, in the Fashion Show courses the instructors will be asked to discuss the importance of being in touch with the Program after students receive their degrees. We will be requesting students to provide information on their employment and positions after they graduate.

VI. Advisory Board 1. Description of the advisory board membership The program has had an advisory board since 1989. Members of the advisory board are from apparel manufacturing, merchandising, designers, and CAD/CAM software providers, Garment Contractors Association and California Fashion Association. Currently the advisory board has 10 members. The Appendix K provide information on the current advisors

2. Advisory Board Meetings and its Role and Involvements with the Program The advisory board meets twice a year and the meetings last two to three hours. This board has been supportive of the Program by offering suggestions about the curriculum and courses and has facilitated student’s internship in their respective companies. It has supported students Annual LA Mode Fashion Show by their contribution toward prizes and cost of the show. The board members have provided insight to the job market in the apparel industry. We have received first hand information on all aspects of the industry from the members. They have facilitated our student’s visitation to their companies.

3. Responses to Advisory Board Recommendations Advisory board on occasions has recommended specific recommendations on changes to the curriculum and course offerings. For example, recommendation has been made that students need to gain knowledge in the application and use of Adobe Illustrator and Adobe Photo Shop for design and merchandising presentation.

4. Minutes since Last Program Review Appendix L shows minutes of the Advisory Board meetings for July 15, 2010, November 18, 2010, and November 3, 2011.

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VII. Conclusions and Recommendations 1. Engagement of All Program Members in the Self Evaluation Dialogue and Review Process The Program has only one full time faculty. It relies on part time instructors to teach more than 2/3 of the courses offered each semester. For example in Spring 2012 semester there are10 Instructors who teach 14 Courses. It is fortunate that our part time instructors are willing to participate in many of the programs activities even though most of them teach only one course of our offerings. These part time instructors provide their SLO in a timely manner; attend most of the Faculty meetings. Some of them attend our Advisory Board meetings. In addition most of these instructors provide great assistant in the preparation and the actual fashion show production. The results of all of these activities contribute to the development of this Self Evaluation which is prepared by the full time faculty.

2. Areas of strengths and Areas that Need Improvement The program provides in depth courses in all aspects of Fashion Design. This includes courses in trends in fashion, apparel construction, pattern making, draping, fashion illustration and computer aided design. by the time our students have completed the basic fundamental required courses and in addition taking elective course such as ethnic design, advance pattern making, advanced construction , marketing, window display for fashion and have participated in at least one annual fashion show they become knowledgeable about all phases of the business of fashion and fashion industry. They are well qualified to accept professional jobs in the industry. Statements we have received from the industry show the strengths and high qualifications of our graduating students. We have strengthening our Merchandising Program by adding three new courses F18 Computer Assisted Fashion Illustration, F19 Fashion Marketing and F20 Window Display for Fashion. Students in the Merchandising Program take all the basic foundation of fashion design which helps them greatly in obtaining good positions in the industry. For examples two of our recent graduates have become managers in ZARA in Santa Monica and ZARA in Grove Shopping Centers. The most important need of the Fashion Design and Fashion Merchandizing Program is to add an additional full time instructor. The following three paragraphs are from the most recent request which was submitted on October 23, 2011 which fully describes this need. The program used to have two full time instructors till 1994. Since then has only one full time instructor. The program heavily relies on part time instructors to teach many of the classes. For fall 2010 for Fashion Design/Fashion Merchandising the Contract (i.e. full-time) was 0.95 FTE, Hourly FTE was 1.77 and therefore %Contract was 34.92%. For fall 2011 the Program is offering 14 courses. The one full time instructor is teaching 5 courses and the remaining 9 courses are taught by part-time instructors. There is a great deal of turnover, as many of the instructors are not available every session and class hours. Interviewing, scheduling, performance monitoring of all the part time instructors are 44

done by the one full time faculty of the Program. The new full time faculty will reduce the number of part - time instructors hired and therefore decrease the time spent by one full time faculty in search, interviewing and other supporting tasks that are required. The time saved will be utilized to increase the interaction with students and participate in more college and committee meetings. It is becoming a challenge to find several qualified part time instructors for each semester, coordinate schedule of classes and make sure that the students are able to take all the required courses on time to graduate and receive their certificates in two years.

3. Identification of Strategies for the Future Fashion Design / Merchandising industry have been globalized regarding design, fiber production, textile design and production of fabric, pattern making, and apparel production. In most cases these functions are carried in different countries and through computerized process are integrated. It is becoming important to understand the comparative advantages that each region/country has. To be able to function as a designer in a global market there is a need to become knowledgeable to transfer design, pattern and flats effectively from one location to another. Our strategy for the future should be to introduce the use of computer in every course in the Program. This will increase the efficiency and effectiveness of teaching the subject matters, and meanwhile students will learn how to use computer to carry out their assignments and projects more productively. The fashion Design and Fashion Merchandising Program has started this journey. In the next 2 years we will review each course objective and SLO and carry out additional modification to make sure that there is integration between course objective, outline, SLO and the application of available computerized techniques.

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Appendix A Pictures and Publicity for Mannequin Collective

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SMC LIKES DUMMIES Students Create Art on Mannequins for New Santa Monica Place Santa Monica College has become fond of dummies. Or, more precisely, mannequins. SMC has joined The Mannequin Collective, one of the many projects created by the soon-to-be-opened new Santa Monica Place. Two groups of students – one from the Fashion Design Program, the other from the Art Department – have created works of art using a blank mannequin as their canvases. Their mannequins will be among about 100 that will be on exhibit Aug. 6-22 at the new, three-level open-air shopping and dining destination in the heart of Santa Monica. “This has been a great project,” said fashion design professor Fereshteh Mobasheri. “We got students involved, we get recognition from the community, and our work is being exhibited alongside art created by such organizations as Cirque du Soleil.” Mobasheri worked with two students – Svetlana Djournett and James Edward Warner – to design and create their piece, which they called “Redefining Our Roots.” Tying in to SMC’s global initiative, the recyclable work is made from rice and rice bags and is meant to demonstrate “how we’re all connected to the earth and all have the same roots,” Mobasheri said. Also creating work was a group of seven art students, led by Fredy Lopez and overseen by Art Department Chair Ronn Davis. Their piece, titled “Gaia” or “Mother Earth,” is made of acrylic paint, papier mâché, clay and artificial leaves. “The opportunity to work as a collective on a project gave invaluable experience to everyone involved,” Lopez said. “From the inception of a unique idea to seeing it through and all the finishing touches, each of us learned how to work with each other and help each other. After seeing what we created at the end of the process, we are excited at the outcome.” The other art students involved in the project are Lana Linetskaya, Jose Sanchez, Kylie Mickel, Rafael Dodge, Adam Ormsby, and Lois Koa. Participants in the exhibit include a broad range of individuals, institutions and retailers throughout Los Angeles, including the Geffen Playhouse, Los Angeles Zoo, Boys and Girls Clubs of Santa Monica, Heal the Bay and Barney’s New York. Area artists include Huguette Caland, who is also a fashion designer; Gwen Samuels of the Santa Monica Art Studio, whose broader work focuses on “clothing as identify;” and Santa Monica painter and graphic artist Peter Tigler. The Mannequin Collective is a partnership that benefits Otis College of Art and Design in Los Angeles. The top five mannequins, chosen by a jury of local artists and community leaders, will be displayed at the main Otis campus in Westchester, as well as at the Otis fashion design location in downtown Los Angeles. Santa Monica Place will donate $10,000 to support scholarships at Otis in the name of the grand design winner. The new Santa Monica Place, located two blocks from the beach and adjacent to the Third Street Promenade in downtown Santa Monica, opens Aug. 6. The grand opening celebration will be held at 10 a.m., and a series of special events will be held all day long and for many days following.

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Mannequin name:

Redefining our roots

Design Description: Multimedia globally and internationally inspired project that transcends all boundaries and restriction. The emphasis will be global action, using reusable low impact material to create an artistic dimension in fashion. The project will focus on the Juxtaposition of being fashion forward in using earth friendly material while tracing our root.

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Appendix B Description of Iranian Heritage Project

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Process Paper for planning an event at SMC Notes from The Iranian Heritage Project, Spring 2009

Co-planners: Tina Feiger, Fereshteh Mobasheri, and Mitra Moassessi Facility: Contact Belinda Romo for reserving room/ facility [email protected] and complete necessary on-line paperwork Visit space to establish your event set-up needs Email Charlie Yen regarding sound/ media assistance If you are using the Edye Second Space, contact Linda Sullivan and David Toledo to also discuss support staff needs for event. Funding and Payments for services: Complete proposal for Global Citizenship with realistic budget, and timeline. (Contact Georgia Lorenz for specifications and further information). Contact Judy Neveau for supplemental funding through SMC Associates, community group, who can provide additional assistance with PR. Consider requesting funding from relevant groups in the community or AS clubs. Highlight the co-sponsorship in all PR. Once approved for funding through Global Citizenship funding, retrieve proper paperwork from Lisa Rose, President’s office .for Speakers/performers to complete. Return paperwork to Lisa Rose’s office. Reminder, paperwork and Board approval must be completed a month in advance of event. Check with Lisa about SMC Board Agenda Deadline dates. Open an Auxiliary Account in Auxiliary Services through George Prather. Deposit extra funds. Public Relations: 6 weeks before the event create invitation or flyer. It takes a week to develop a flyer with proper wording etc. ( if you are working with others). Develop a special list of invitees- community members, key faculty/admin/ College Board Members etc. Print Flyer either through Printex or campus media center. Send invitation to Bruce Smith. Establish date when to disseminate district email blast. (You have only one opportunity for this with his office). Discuss which other organizations should receive press release from Bruce’s office. Contact Stephanie Ricks ( Nosey cat)… for further press releases specifically in SM. Contact Saul Rubin, current Corsair Faculty advisor, for coverage of event in college newspaper. Create buzz by attending Senate meeting and by announcing event in Department meetings, etc. Contact Waleed Nasr in Technology to upload info. about event on Campus Facebook Website. 63

Miscellany Meet or talk with speakers/ performers in advance to review what they will be providing at event and about audience expected. Map out a timeline of the day of the event. Meet with the providers of refreshments to clarify where they will set up, times etc. Think about ways to spruce up event inexpensively, i.e. a few plants etc. Determine if you will need student ushers, and who will organize them Check signage for the event. Is it easy to find the building etc.? Create extra signage if necessary to post at the facility on the day of the event. Discuss parking needs with campus police if you are having outside guests. Create Certificates of Appreciation for speakers/ performers. After the event: Submit paperwork with bills attached to Auxiliary services for payment. Expect a several week delay.. Contact Georgia Lorenz to secure payment from Global Task force fund for speakers and other services. Send out thank you notes to key folks on campus who helped with event. Collect any press coverage that the event received outside the college and send to Bruce Smith. Key contacts; Gordon Dossett, Faculty Leader; Global Citizenship Task Force. Ext. 4525 Georgia Lorenz, Dean of Global Citizenship Task Force ext. 4277 Waleed Nasr, College Face book ext. 4398 Judy Neveau, SMC Associates ext. 4303 Geroge Prather, Auxiliary services accounts ext 4976 Belinda Romo, Facilities reservations Ext. 3005 Lisa Rose, SMC Board Agenda info ext. 4402 Saul Rubin, Corsair Advisor ext. 3537 Bruce Smith, Press for SMC ext. 4209 Charlie Yen, Events set-up ext. 3002

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Appendix C TALA (Textile Association of Los Angeles) Award

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From: To:

Amy Brown [[email protected]] MOBASHERI_FERESHTEH

Cc: Subject:

TALA Scholarship Awards - SMC recipient

Attachments:

Sent:

Fri 5/13/2011 11:06 AM

une 2 invitation.pdf(

Hello Fereshteh, We are pleased to announce that Eve To has been selected as the recipient of a Scholarship Award! Award winners will receive scholarships in the name of those industry donors who have contributed to the Textile Association of Los Angeles (TALA) Scholarship Fund of the California Fashion Foundation. Please see the attached letter addressed to Eve for specific details, including instructions on the delivery of the garments. The letter will be sent directly to the student, but you may also notify her in advance. Eve is invited to the luncheon with you, or a representative of SMC; details of the luncheon are also attached. Below is the programming schedule for the June 2nd luncheon, scheduled for 11:30am – 2pm: PROGRAM 11:30 a.m.

◦

12:00 p.m.

◦

Welcome message by Brian Weitman, President of TALA and of STC-QST, LLC

12:30 p.m.

◦

Award Ceremony: Emcee: Kathy Swantko, President of FabricLink.com

1:00 p.m.

◦

Guess, Inc. Grand Prize Design Award

1:30 p.m.

◦

Special Guest Speaker: Lonnie Kane, President of Karen Kane, Inc. “The Road Ahead…”

1:45 p.m.

◦

Closing Remarks by Brian Weitman

Networking

If you have any further questions, please let me know. Regards,

_______________________________ Amy Brown Director of Business Development California Fashion Association 444 S. Flower St., 34th Floor Los Angeles, CA 90071 t.213.688.6288 f.213.688.6290 [email protected]

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From: To:

TSANG_CHUI MOBASHERI_FERESHTEH

Sent:

Cc: Subject:

RE: TALA Scholarship Awards - SMC recipient

Tue 5/31/2011 6:11 PM

Attachments:

Congratulations to you and your department on the award being received by the student in your program! Please let me know the amount of her award has won so that we can properly acknowledge her accomplishment.

CLT

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From:

Rob Rader [[email protected]]

Sent:

To: Cc:

MOBASHERI_FERESHTEH

Subject: Attachments:

RE: TALA Scholarship Awards - SMC recipient

Tue 5/31/2011 2:50 PM

WOW!

RR Rob Rader | Partner | Schwarcz, Rimberg, Boyd & Rader LLP | 6310 San Vicente Blvd., Suite 360 | Los Angeles, CA 90048 | Direct: 323.302.9488x204 | Fax: 323.931.4990 | Email: [email protected] | http://srbr-law.com/

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Appendix D

May 19th Program for LA Mode 2011 at California Market Center

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Santa Monica College Annual Student Fashion Show

Santa Monica College’s Fashion Design and Merchandising Department, under the direction of Fereshteh Mobasheri, offer an exciting and rapidly growing program with enormous application and design potential within the industry. The program meets the needs of a diverse student body with means to such goal as: 1.

A.A. or Vocational Degree

2.

Transfer to a major university or institution

3.

Develop and/or update skills

4.

Pursue personal interests

The fashion show represents the work of Santa Monica College’s Fashion Design students. Respected members of the fashion industry have judged the designs. A certificate signed by our superintendent, Dr. Chui L. Tsang will award the winner. We are very grateful to all who have helped to make this show possible.

MEMBERS OF THE ADVISORY COMMITTEE Brenda French French Rag Company 11500 Tennessee Avenue Los Angeles, CA 90064 Peter Jacobson Creative Concept 110 E. 9th Street, Suite 272 Los Angeles, CA 90079 Kurt Kreseir Owner/President of Evy of California 810 S. Flower Street Los Angeles CA 90017 Isle Metchek President of California Fashion Association 444 S. Flower Street Los Angeles, CA 90071

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Joe Rodriguez President of Garment Contractor Association of Southern California 110 E. 9th Street, Suite A701 Los Angeles, CA 90079 Emil Rutenberg Owner/President of Emil Rutenberg Manufacturing Company 818 S. Broadway, 4th Floor Los Angeles, CA 90014 Ram Sareen President Founder/Owner of TukaTeck Inc. 5527 E. Slauson Avenue Los Angeles, CA 90040 Charlotte Tarantola Head Designer and President of Charlotte Tarantola Manufacturing Company 4216 W. Jefferson Boulevard Los Angeles, CA 90016 Uri Harkham Tracy Owner/President of Janathan Martin Company 857 S. San Pedro Street #300 Los Angeles, CA 90014 Joe Vecchiarelli Owner of Vecchiarelli Brother Inc 1203 S. Olive Street Los Angeles, CA 90015

PROGRAM Opening Remarks Fereshteh Mobasheri, Director Coordinator of Santa Monica College’s Fashion Design and Merchadising Program

LA Mode 2011 Fashion Show Awards Four Categories (each three prizes) First: $200 Second: $100 Third: $50 Best of Show: $300

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LA Mode 2011 Winners Contemporary Sportswear Sponsor: Evy of California Kurt Kreiser 1st CSW21 Eria Fujiwara 2nd 3rd Tie 3rd Tie

CSW27 CSW12 CSW22

Inken Budde Inken Budde Yi Chen Tsai

Resort (Swimwear, Resort Dress, Tropical Mood) Sponsor: Joe Vecchiarelli 1st R19 Eria Fujiwara 2nd R9 Inken Budde 3rd R1 Tsai Yi Chen

Office (Contemporary Mode, Simple Dress, Shirt and Blouse, Tailored Suits) Sponsor: Emil Rutenberg 1st OW14 Thuy Pham 2nd 3rd

OW13 OW15

Inken Budde Julie McMurry

Evening Wear (Couture Image, Robe De Soi, Shimmer Shine) Sponsor: Ram Sareen 1st EW53

Inken Budde

2nd 3rd Tie 3rd Tie

Viviam DeSouza Carolin Oetinger Lan Nguyen

EW63 EW12 EW31

BEST IN SHOW Sponsors: Kurt Kreseir Evy of California and Ram Sareen Tukatech Tie R19 Eria Fujiwara Tie EW53 Inken Budde

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2011 Sponsors Joseph Vecchiarelli...................................................................................... $600 Kurt Kreiser ................................................................................................. $600 Ram Sareen .................................................................................................. $600 Christopher T. Williams ............................................................................. $300 Marquis D. Lewis ........................................................................................ $300 Veidec/SOS ................................................................................................. $300 Back to Total Health, Dr. Eric Swartz ...................................................... $200 Best Natural Smile ...................................................................................... $200 Design Knit, Inc. .......................................................................................... $200 Dk Design Fabrics ....................................................................................... $200 Easy Ways USA, LLC DBA Volcano ........................................................ $200 Emil Rutenburg ........................................................................................... $200 Firuze ............................................................................................................ $200 IDS International Design .......................................................................... $200 Kay Celine .................................................................................................... $200 Ouikwan Kim .............................................................................................. $200 Top’s Art Supplies ...................................................................................... $200 Vy L. Pham .................................................................................................. $150 Ms. Mary T. Smith ...................................................................................... $125 Artem Zakaryan .......................................................................................... $100 Ben D. Whitwell .......................................................................................... $100 F&S Fabrics, Richard Snyd ........................................................................ $100 International Silk and Woolens................................................................. $100 Kato’s Sewing Machines ............................................................................ $100 Leo H. Hernandez ..................................................................................... $100 Samaritan Medical Rehabilitation Management .................................... $100 Sewing Art Center .................................................................................... $100 Simply Raw Hair Design, Lafay Davenport ........................................... $100 STC-QST, LLC ............................................................................................. $100 Sun Dyeing and Finishing, Inc. ................................................................. $100 Suthida Cruz................................................................................................ $100 Thomas-Joseph Savoca ............................................................................... $100 Thuy T. Le .................................................................................................... $100 Tini Ahrnberg .............................................................................................. $100 Ms. Mary T. Smith ........................................................................................ $70 Jessica Smith DMSP Family ......................................................................... $65 Changmin Baek ............................................................................................. $50 Edwin L. & Joyce K. Williams ..................................................................... $50 Isis by Design, Ruriko Yamada ................................................................. $50 Linda Hamilton ............................................................................................. $50 Pasquale Shoe Repair .................................................................................. $50 Viviam F. Desouza ........................................................................................ $50 Marco A. Molina ........................................................................................... $30 Laurel M. Corothers ..................................................................................... $20 Sally L. Petersen ............................................................................................ $20 Sun Stones Garden Art ................................................................................. $10

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MODELS Female Emma Nicole Aderheim Regina Allen Jessica Arroyo Inken Budde Kimberly Calderon Madison Embleton Anastasia Evans Ava Haghighi Tea Jovanovic Moneque Jeffries Mona Karimi Yenna Pfefferle Sofi Ronnestrand Anna Salman Josefin Snihs Sarah Silek Pamala Spruijt Jessica Smith Charlotte Toates Malin Wennergren Andranay Williams

Male Pontus Braendstraem Calvin Chang Fredric Helin Javerick Jones Shawn Kelly Mert Tuzlu

JUDGES We would like to give a special thank you to the following fashion industry members who gave their time and talent to select the winners of LA MODE 2011. Barbara Lesser Owner/Designer 1360 E. 17th Street Los Angeles, CA 90021

Oscar Vera RTW Selling Professional Bloomingdales 315 Colorado Avenue Santa Monica, CA 90401

Michael Kuluva Creative Director Tumbler and Tipsy California, USA

Maryam Khoi Owner and Designer of “Femme Mystique”

Beverly Vallegos Designer for Evy of California

Peter Jacob Sales Representative Creative Concept Show Room

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LA MODE 2011 DESIGNERS South Korea ................................... Changmin Baek Germany ..............................................Inken Budde Sweden ......................................... Elin Christensen Brazil ............................................ Viviam DeSouza South Korea ....................................... Jinhee J. Eom Japan ...................................................Eria Fujiwara New Zealand ................................ Joanna Hadfield Armenia/Russia .......................... Ani Karapetyan South Korea .........................................Sangmi Kim Finland ................................................ Riitta Martin Texas ............................................... Julie McMurry Vietnam ............................................... Lan Nguyen Germany ......................................Carolin Oetinger South Korea ....................... Ashley Hyunsun Park Vietnam ................................................. Thuy Pham California .................................. Jessica Rose Smith Thailand ........................ Suleewan, Sue, Suriwong Vietnam.......................................................... Eve To Taiwan ................................ Sylvene Yi-Chen Tsai Philadelphia ......................................James Warner California ................... Britannya Megan Williams Brazil .............................................. Vania Williams South Korea .................................. Sunyoung Yang California ................................. Andreina Vasquez

ENTRIES Contemporary Sports Wear Black and grey plaid cotton day dress (Fujiwara, Eria) “T” shaped kimono mini with orange waist tie (Vasquez, Andreina) Brown zebra print bustier with leather strap halter, beige cotton Jacket with brown zebra lining, capri blue jeans (Fujiwara, Eria) Brown checkered mini dress with belt (Nguyen, Lan) Long black pencil skirt with high slit and tie dye, silk patterned, beige green tank top (Christensen, Elin) Orange one shoulder asymmetrical dress with printed waistband (Williams, Vania) Blue high waist jodhpur pants with lace hem with a 100% silk fuchsia cowl drape neckline spaghetti strap tie-ups top (Williams, Britannya Megan) Sheer rose and leather blouse with grey lace skirt (McMurry, Julie)

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Royal blue tulle top cowl neck with sea green high waist bonded pencil skirt (Karapetyan, Ani) Orange skirt and with matching back open top (Martin, Riitta) Beige straight pencil dress with Light Blue Leather front pattern panel (Oetinger, Carolin) Silk lined blue and grey hoodie sweater with knitted extended cuffs matching shorts and an asymmetrical zipper top (Budde, Inken) Shawl collar jacket with kimono sleeve dress and leggings (Park, Hyunsun) Chinese influence mini jumpsuit (Baek, Changmin) Leopard kimono asymmetrical top with black mini skirt (Park, Hyunsun) Blue wool plaid dress (Baek, Changmin) Peplum umbrella skirt with lime green piping (Vasquez, Andreina) Short sleeve dolman velvet jacket with navy sheer gathered panel pants (Tsai, Yi Chen) Geisha v-neck circle dress with red sash on waist (Vasquez, Andreina) Black Corduroy and wool dress (Martin, Riitta) Black sleeveless button down dress with vertical lace-up on princess seam, mandarin collar (Fujiwara, Eria) Grey micro suede ruffle top with ruffle top shorts (Tsai, Yi Chen) Black with blue polkadot sweetheart dress with complex design neckline (Hadfield, Joanna) Fitted empire dress w geometric seam detail and wool plaid chest panel (Smith, Jessica) Purple dress with a ruffled neckline (Martin, Riitta) Paisley blue and brown dress (Warner, James) Asymmetrical and blue knit zipper dress (Budde, Inken) Slate grey shirtdress with lace yoke (McMurry, Julie) Gold pleat stripe dress (Yang, Sunyoung) Blue peg abstract printed skirt (Pham, Thuy) Floral green button up dress with dark green knitted vest (Baek, Changmin) Floral top cropped top with blue tuck shorts with innocent front bow (Baek, Changmin) Short coral color silk dress with same color leather belt (Oetinger, Carolin) Toupee vintage dress with striped lace panel (DeSouza, Viviam) Moo-moo 60’s with strapless slip dress (Vasquez, Andreina) Zebra print dress with red sash (Warner, James) One shoulder red dress (Martin, Riitta) White romantic vintage lace dress (DeSouza, Viviam) Princess denim dress with zipper detail (Smith, Jessica) Hunter green military inspired jumpsuit (DeSouza, Viviam) Beige vintage dress polka dots panel (DeSouza,Viviam) White pleat dress with pink silk straps on shoulder (Hadfield, Joanna) Navy blue strapless bustier dress (McMurry, Julie) Blue military strapless dress (Desouza, Viviam) Long sleeve lace dress (Hadfield, Joanna) Black beaded bodice with blue wool pants (Hadfield, Joanna)

Office Wear (Contemporary Mode, Simple Dress, Shirt and Blouse, Tailored suits)

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Three piece suit: burgundy strapless top, cropped black jean jacket and black skinny jeans (Smith, Jessica) Ruffle shirt with purple skirt (Williams, Vania) Fitted princess wool top with shirred dark grey silver grey wool pants and teal topstitched coat (Budde, Inken) Punching kimono sleeve top with orange A-line skirt (Park, Hyunsun) Dusty rose cowl neck top, black and white pencil skirt (Smith, Jessica) Fitted dark grey flannel suit with yoke skirt (Budde, Inken) Silk blouse and peg pleat skirt (Yang, Sunyoung) Black sleeveless dress with black bolero jacket (Martin, Riitta) Brown dress with light gold lapel and belt (Williams, Vania) Graphite suit, vintage print top, graphite vent skirt (DeSouza, Viviam) Three piece suit: grey jacket, slacks, and black bustier (McMurry, Julie) Princess style wool dress with shirred silk top, heavy wool double breasted coat with velvet piping and oversized pleated collar (Budde, Inken) Neckline cutout with side pleat dress (Pham, Thuy) Grey and plaid dress under black wool winter coat (McMurry, Julie)

Resort (Swimwear, Resort Dress, Tropical Mood) Flared out ruffle maxi with linen hot pants under. Outfit is reversible. (Tsai, Yi-Chen) Layered ruffle maxi with linen mini dress under. Outfit is reversible. (Tsai, Yi-Chen) Halter purple print beach dress with a flounce bottom (Yang, Sunyoung) Yellow flower printed wrap around beach dress (Fujiwara, Eria) White empire long beach dress with a flounce bottom (Yang, Sunyoung) Asymmetrical blue silk tie halter-top with blue silk shorts with knitted hoodie vest (Budde, Inken) Bright green and gold embellished single adjustable top with brown high waist extra wide free flow beach pants (Williams, Britannya Megan) A coral green bandeau top and short black hot pants with chiffon skirt (Christensen, Elin) Blue tent silk slip dress with chiffon gathers on front yoke and dropped sleeves (Budde, Inken) Blue floral resort dress with one shoulder asymmetrical top (Baek, Changmin) Botanical print with shirred bra top and uneven circle skirt (Fujiwara, Eria) Two layered halter dress with tied up strap on the back (Fujiwara, Eria) Light and dark brown dye asymmetrical wrap dress (Fujiwara, Eria) Horizontal strip sailor fitted dress (Warner, James) Long coral butterfly sleeve dress with oriental inspired print panel (Vasquez, Andreina) White jersey with black tree print beach cover up (Fujiwara, Eria) White raglan linen suit, nude layered top, and white linen shorts (DeSouza, Viviam) One shoulder brown floral print dress (DeSouza, Viviam) Brown chiffon long breach dress with jersey pair of shorts (Fujiwara, Eria) Blue circle skirt halter dress (Karapetyan, Ani) White v-neck tunic gown with blue neckline (Baek, Changmin) Brown slip dress with tied shoulder strap (Fujiwara, Eria)

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(Couture Image, Robe De Soi, Shimmer Shine) Iridescent orange/grey chiffon one shoulder dress (Williams, Vania) Black and purple empire dress with bow (Smith, Jessica) Mini purple bubble dress (Yang, Sunyoung) Long metallic brown circle skirt and brown brush painted cowl shirt/top (Williams, Vania) One shoulder leather flower dress (Williams, Vania) Champagne color asymmetric ruffled deep V dress (Tsai, Yi-Chen) Black embroider circle skirt and deep green pleated top with two front bows (Williams, Britannya Megan) Deep blue cowl neck dress with full lace back multicolor crystal on back lace (Williams, Britannya Megan) Black v-neck, circle skirt dress (Karapetyan, Ani) Dark royal blue asymmetric fitted dress with boned bustier and silk chiffon asymmetric elements on the top of dress and chiffon silk belt (Karapetyan, Ani) Pink long silk chiffon dress with roses, one shoulder, lace (To, Eve) Plaid red color princess dress, with black band and bow on back (Oetinger, Carolin) Pink slant shirring dress with one lace shoulder and open slit at the bottom (Pham, Thuy) Emerald and gold asymmetrical dress (Smith, Jessica) Bubble purple skirt with shirred shoulder and sash on waist (Pham, Thuy) A feminine looking leather circular dress with flower fabric (Eom, Jinhee) Youthful looking layered skirt with bustier top (Eom, Jinhee) Geometrical micro-mini dress in pattered velvet fabric (Eom, Jinhee) Basic body fitted dress, black and white stripe (Eom, Jinhee) Self-woven mini dress (Baek, Changmin) Bustier top and bubble circular skirt (Eom, Jinhee) Beige weaved leather bodice asymmetrical chiffon draped dress with silk shorts (Tsai, Yi-Chen) Silver rose cocktail dress with black satin bow on back (Park, Hyunsun) Blue leather bustier with peg skirt; navy blue, chiffon on front, satin on the back (Karapetyan, Ani) Silk printed dress with a slit in front (Christensen, Elin) Tight fitted blue and fuchsia pink skirt with black satin kimono, wide neck top with back Bow (Williams, Britannya Megan) Indigo (self dyed) blue evening gown with asymmetrical top and knife pleated skirt (Budde, Inken) Self-woven costume dress (Changmin, Baek) Beige tweed bustier mini dress with contrast chiffon stripe (Tsai, Yi-Chen) Lavender floral decorated bubble gown (Yang, Sunyoung) Cowl neck evening dress with attached belt (Nguyen, Lan) Satin kimono one shoulder ivory dress with ode belt (Nguyen, Lan) Japanese pattern dress with red silk skirt (Vasquez, Andreiana) A romantic gold gown tie neckline (Eom, Jinhee) Brown lace over suede tube dress with leather belt (Nguyen, Lan) Dark purple one shoulder long dress (Pham, Thuy) Deep turquoise silk v-neck leotard with center gathers and a bow on back and deep blue-green chiffon gown (Williams, Britannya Megan) Lavender short pleated laced silk chiffon dress (To, Eve)

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Light blue long pleated, sheered dress (To, Eve) White long silk chiffon pleated dress (To, Eve) Graphite gown with metallic detail (DeSouza, Viviam) Blue vintage inspired dress with beading around waist and on sleeve (Hadfield, Joanna) Light grey and silver A-line dress with Godér on the back (Oetinger, Carolin) Light yellow denim dress with sheer silk top and black band (Oetinger, Carolin) Lilac asymmetrical puffy sleeve peg skirt (Karapetyan, Ani) White long asymmetrical top wedding gown (Karapetyan, Ani) Peach and grey strapless cocktail dress with ruffles and pockets (McMurry, Julie) Leather and lace strapless black dress ( McMurry, Julie) Black lace dress (McMurry, Julie) Gold strap lace romantic gown with over lace (Baek, Changmin) Light purple halter dress (Pham, Thuy) Blue cocktail basic bodice dress with belt (Eom, Jinhee) Indigo blue dyed asymmetrical dress with layered skirt (Budde, Inken) Pink silk strapless gown with pleating (Hadfield, Joanna) Lavender cupcake dress with white tulle (Karapetyan, Ani) Hot pink asymmetric dress with cascade hem (Pham, Thuy) Black cowl dress (Yang, Sunyoung) White swan-like mini dress (Eom, Jinhee) Gold and black fitted princess dress with gathering (Smith, Jessica) Burgundy rose dress with black ribbon (Park, Hyunsun) Black sequence party look dress (Eom, Jinhee) One shoulder crystal top, long chiffon print gown (Williams, Vania) Vintage lace ballerina gown (DeSouza Viviam) Metallic halter dress with tie and A line skirt (Smith, Jessica) Light chiffon gown with a Japanese peplum (Vasquez, Andreina) Pink and brown suede/silk halter dress (Martin, Riitta) Long dark grey strapless silk dress (Oetinger, Carolin) Rose lace cowl neck fitted dress with straps (Smith, Jessica) Beige lace long slip dress (Yang, Sunyoung) Light blue bodice jumpsuit with animal skin printed pants (Changmin, Baek) Glitter lace bodice see through gown (Eom, Jinhee) Beige halter dress with beads (Martin, Riitta) Embroidered light pink gown with net ruffled skirt (Yang, Sunyoung) Light pink silk baby doll dress with petal sleeve (Pham, Thuy) Beige chiffon shirred dress (Fujiwara, Eria) White lace cocktail dress (To, Eve) Plum silk halter evening dress (Kim, Sangmi) Black wool dress with four layers of ruffles at skirt (Suriwong, Suleewan)

85

86

87

88

89

90

91

92

93

94

95

96

97

98

ACKNOWLEDGEMENTS Fashion Show Coordinator Fereshteh Mobasheri, Director Coordinator of SMC’s Fashion Design & Merchandising Department Flyer, Poster, and Program Design Ming-Yea Wei, Carol Ring Britannya Williams, Andreina Vasquez Printing ",srG Albert Desalles, Don Girard Reprographics Cecil Godbold, Richard Yancey Certificates and Awards Lisa Rose Video and DVD Production Leroy Nakamura Sound, Lighting, and Technical Director Augie Guerrero Hair and Makeup Hair: Designs by SMC Cosmetology Students under the direction of Helen LeDonne Music Kevin Brough Special Events Manager Adrienne Hall Ticket Sales Linda Sullivan, Vinnessa Cook Tuxedos Friar Tux Shop Manager: Debra Selik 8621 Wilshire Blvd. Beverly Hills, CA 90211 www.friartux.com

SPECIAL THANKS TO OUR INSTRUCTORS Jan Ardell, Jemi Armstrong, Robert Armstrong, Marina Boyadzhyan, Lorrie Ivas, Sofi A Khachmanyan

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Robin Lake, Fereshteh Mobasheri, Barbara Rain, Helene Nelson, Jaime Gwen Scholnick, Benito Torda, Jr.

SPECIAL THANKS TO SANTA MONICA COLLEGE ADMINISTRATORS Dr. Chui L. Tsang Superintendent/ President Randal Lawson Executive Vice President Teresita Rodriguez Vice President, Enrollment Development Jeff Shimizu Vice President, Academic Affairs Michael Tuitasi Vice President, Student Affairs Marcia M.Wade Vice President, Human Resources Don Girard Senior Director, Government Relations & Institutional Communications Bob Isomoto Vice President, Business/Administration Robert L. Jones Department Chair

MANY THANKS Thank you to all our Fashion Design and Merchandising students for their help in assisting the LA MODE 2011 production particularly these students: Changmin Baek, Inken Budde, Elin Christensen, Viviam DeSouza, Jinhee J. Eom, Eria Fujiwara, Ani Karapetyan, Ashley Hyunsun Park, Thuy Pham, Jessica Rose Smith, Yi-Chen, Sylvene, Tsai, Britannya Megan Williams, Vania Williams, Sunyoung Yang, Andreina Vasquez Who helped with all the tasks such as; music selection and production, Model selection, fitting,

100

photography, garment entries and numbering, poster design/board design, pre show power point presentation, ticket sales and many more.

101

Appendix E The Name and Position of Some of the Fashion Program Alumni

102

Partial list of Student’s Name, Positions, And Company

Name

Position

Company

Vania De Assis William Jami Sabina Sana Nilsson Joyce James Warner Vivaim De Souza Tanya Manjarrez Yolanda Mancini Debbie Talanian Inken Budde

Ayaka Omatoa Charity Beynen Lisa Michelle Joanna Hadfield Park Hmdi Abdosh Susanne

Training for manager position Assistant Designer Assistant Designer Visual Merchandising Stylist Sales Stylist Pattern Maker Designer / Owner Designer/Owner Designer Designer Sales Sales Designer Sales Fashion Coordinator

ZARA QUEEN OF HEART SUN DESIGNE CLUB MONACO CHICO’S FASHION INC DIOR BOUTIQUE PATTERN WORLD PLINK CAVIAR line STELLA PROSEYN THERESE TRAN MULTEE PURPOSE MFG BIG WANGS J.CRW Freelance ZARA SWEDISH TV PERSONALITY

Simon Gabay Milton Hernandez Sandra Stifani

Sales Sales Visual Merchandiser

Saori Yamashita

Merchandising Division in Japan

2B FREE Forever 21 TV for Daily Soap and H&M in Germany Coach

103

Appendix F Fashion Faculty Meetings Minutes

104

Fashion Department Meeting

2/17/10

In attendance: Fereshteh Mobasheri, Robin Lake, Jemi Armstrong, Barbara Rain, Marine Boyadzhyan, Benito Torda, Jamie Scholnick SLO for Fall 2009 Discussion of each teacher’s evaluations of SLO’s Variations in syllabi, approaches to teaching How have students performed? Robin L: has issue with attendance. Overcommitted students miss too many classes. Jemi A: her class is based on cumulative skills, attendance is essential. Benito T: some students have issues with space limitations at home, scheduling. They can’t easily keep up with their work. Fereshteh M: refer students to psych counseling department for help with coping The service is free, helpful. Foreign students can be homesick. Talk with students privately, give the phone # to counseling. Fereshteh M: Never bend rules or change grades for students. Set requirements and policies on syllabus. Marine B: Based on experience, she does not accept late assignments. All agree, attendance affects learning outcome. As necessary, we are teaching manners and appropriate behavior, like not leaving the classroom during lectures, presentations, and critiques. Marine B. SLO for fall Met all her goals. Some students are irresponsible. Responsibility is important. State rules and enforce. She had a student push to have a project graded in a rush, seemed like she wanted to use it for another class also. Marine refused. Fereshteh M: Don’t be bullied. Robin L. SLO for fall Met all her goals. Students who did poorly were those who missed too many classes and assignments. Jami S. SLO for fall Met her goals. Won’t accept late assignments. Added to her syllabus 25% value for attendance and participation. Jami S: Can we add more Saturday classes? Attendance is very good and enthusiasm is good. 105

Fereshteh M: Add as many people to classes as possible. We want to show good enrollment numbers. emi A: her class can’t go over 30. Robin L: Be practical. Some classes like Fashion 2 can go up to 50 if necessary. But each teacher knows their space and tools restrictions. Jemi A. SLO for fall Was thrilled with her 9B class. 9A is more like boot camp. She met goals for both classes. She emphasizes a buddy system for students to get info from each other. She did a blog for frequently asked questions and a digital trend board. Barbara R. SLO for fall She met her goals despite the demanding syllabus. Attendance is essential. She simplified some areas by giving preapproved pattern #s and put sample photos on e-companion. She wished there were lab time available and more Juki machines. She was impressed with her students’ projects. Fereshteh M. Beware of teaching online. Don’t put info on e companion that could preclude attendance. Don’t dismiss class early. Students gossip and spread the word. Don’t let in outsiders to your classes. No auditing. No guest lecturers without proper paper trail. Contact HR for release form. Benito T. SLO for fall Satisfied with syllabus and outcomes. He assesses students in first class to learn their backgrounds, comprehension, study habits. Two weeks before the end of the semester, he assesses their abilities. Fashion Show Marine and Cynthia, beware of costs. Fereshteh M. suggested they find a free location like shopping center or department store.

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Fall 2010 Fashion Department Meeting Date: Thursday, November 4, 2010 Time: 11am to 12:30pm Location: The Bread Factory Faculty Lounge Attending: Fereshteh Mobasheri – meeting leader Lorrie Ivas, Jan Ardell, Jemi Armstrong, Robin Lake, Barbara Rain, Carol Sapos, Benny Torda, Jr. (11:30am) Marine Boyadzhyah (11:30am) Not Attending: Sofi Khachmanyan Meeting called to order by Fereshteh to update info for the 2010/11 school year; update on Advisory Board and 2011 Fashion Show … First topic was open forum on discussing any Classroom Issues: Barbara mentioned maintenance on sewing machines – button-hole machines Robin mentioned students with spotty attendance Lorrie & Barbara shared info on student in transitional living situation; dealing with good students with serious personal issues General consensus re: it is important to be professional in dealing with these various situations, as it all comes down to the SLO’s, not whether or not the professor is liked or disliked Student Schedules – Attendance: Robin and others mentioned students’ crammed class schedules Comments on how students should be able to really “get into” the fashion classes, especially studio classes – but with 4 other classes, often they are spread too thin, time wise Students need to have a balanced schedule with personal lives and work, but often the international students HAVE to maintain a certain amount of credits, or they cannot stay in USA Fereshteh, Jemi & Lorrie all mentioned their use of eCompanion in order for students to have assignments available to them emi offered her demos online for Robin’s and others’ classes, but eCompanion only works for students registered in that particular class; offer to send info to instructors was made Copyright/textbook Material Usage: Do not put any copyrighted/textbook PowerPoints on eCompanion Student Schedules and Prerequisites: Students should not be registered for a class without the proper prerequisite Issue of students being able to register without prerequisite (no computer lock-out) discussed, making it mandatory to ask each student if they have taken required prerequisite on the very first day… if not, they are not to attend the class Discussion of those students who say “they have taken it elsewhere, or already know it…” etc., etc. are not to be allowed to stay in class; this situation holds back the progress of the balance of classmates who did progress through the proper prerequisites Example given: Students take 6B first, but never took 6A – student then blames prior 107

class for lack of foundation skills Professor Communication re: Future Scheduling, Operations: Fereshteh reinforced the fact that she puts 200% effort in accommodating needs of faculty and students – and sets up the schedule with the budget and available room locations and faculty availability schedules – she does not know the final decision on what “passed” or was OKed until the schedule comes out It is ineffective to email Larry or Fereshteh ahead of time to ask what is on the schedule, or for further scheduling; Fereshteh always allows lead time for all to plan accordingly with their outside commitments Scheduling is a “puzzle” of time constraints, budget, student needs, teacher availability, etc.; the puzzle changes every semester and inter-term Fereshteh reinforced importance of EVERYONE responding to EMAILS in a timely fashion!!! Not having a cell phone with Internet, or a home base with Internet is not an excuse, as the SMC campus provides for all instructors as well as all public libraries. Fereshteh even offered one professor a cell phone she has (everyone clamored for it if he didn’t take her up on her offer! ;). She said it is a staple method of communication between her and the faculty – not to mention the student-professor communication! Reminder for future schedules: give Fereshteh as wide a time range as possible for future classes Pre-Planning for SMC Fashion Show 2011: Discussion of date of 2011 fashion show, where it would not conflict with late May Memorial Day weekend, or Fridays (more costly day for most venues); Thursday, May 12 or Thursday, May 19 seemed to have a popular consensus with all Next step is to check on any possible venues; Fereshteh is working on the California Market Center venues (same location as 2010 event); invited all to check other locations POSTER: Jemi will lead creation of poster with her students – will begin accessing their work and awaits actual date of event to continue layout SPONSORS: everyone needs to get at least two (2) sponsors for the 2011 Fashion Show – can be at least $50 or more Please announce in class that ALL can be sponsors (students’ family, employers, their own networking, etc.); check to be made out to “Santa Monica College” Discussion of Sponsor List as well as Advisory List - all faculty to send Fereshteh any lists of Sponsors Advisory Board Development: Those who already have not sent Fereshteh their suggestions for Advisory Board Members, please send list with their bio Jemi suggested a new member, as did others, but Fereshteh cautioned that she needs to verify all submissions for membership and clarify what they will bring to the department Closing Thoughts/Reminders: Next meeting tentatively planned for Thursday, Dec. 9th at 11am to 12 noon Faculty members reminded to bring in list for Advisory Board, any suggestions for Fashion Show 2011 locations, any possible sponsors to approach Will discuss planning a “letter of introduction” from SMC Fashion Department to source sponsors 108

Meeting ended at 12:30pm! Another great meeting with a great group! Minutes prepared by Lorrie Ivas

Fashion Department Final Fall Meeting – Thursday, Dec. 9, 2010 Time: 11:20am Location: Faculty Lounge Attending: Fereshteh M. – Marine B. – Barbara R. – Jan A. – Benny T. – Robin L. – Lorrie I. Fereshteh opened meeting with announcement that all instructors must take digital photos of student projects (with students) in order to curtail the “passing along” and turning in same assignments from one class to another. She needs these photos saved on a disc and sent to her before grades are due. Students are using email, scanning and other technology dishonestly to have patterns drafted, as well as other assignments. Quotes were asked by group re: location of La Mode 2011. Lorrie visited the Fairmont Miramar. Will revisit Stephanie Alexander after the holidays with specific requests for 1) quotes re: 500+ people for evening event, 2) A/V provided by hotel, 3) light hors’derves pricing 4) T-arm added to already-provided stage risers (or perhaps utilize models walk on ground floor and weave through seats/tables 5) quotes for tables and chairs or just chairs in row seating 6) pricing on allday, or at least 12 noon on for setup. Others will find various locations in Santa Monica area rather than downtown. Jemi is requested to begin assigning students to create the La Mode 2011 poster, awaiting the actual dates of May 19 (or May 12) and actual location, time, etc. These details can be added as soon as location is confirmed. Very light schedule for Winter 2011. Spring 2011 registration for international students may be delayed, so please accept as many as you can in order to build student numbers and, hence, the department as a whole. The first day of Spring 2011 - please make sure that all students have taken the proper prerequisites - do not allow students in if they do not. If enrollment is low, you can adjust accordingly. Grade more strictly and, in the case of much larger enrollment, eliminate an assignment if necessary but teach the actual content; the goal is high numbers for future offerings. Everyone is going wonderfully this semester. A great group of instructors! Please send Fereshteh any bookstore requests (wish-lists) for supplies, etc. to be sold to students. This is a convenience as well as creating uniformity in supplies used in class. Make sure students take the proper sequencing - FAS 3 – 6A or concurrently; Cannot do Patternmaking II if students don’t have Patternmaking I. 109

Focus on getting Donations for La Mode! Vocational Surveys MUST be filled out (some were found on table NOT turned in!). Meeting: Fashion Department LA MODE 2011 meeting Date: March 1, 2011 Leader: Fereshteh Mobasheri Attending: Wynn Armstrong, Barbara Rain, Jan Ardell, Robin Lake, Lorrie Ivas, Helene Bernier Fereshteh opened meeting thanking all for coming on an off-teaching day as well as taking in many more students in each class! All maxed out – great for growth. Handouts given (email attached) reviewing LA Mode 2011 dates. Request for all to be sent in .doc format as many don’t have .docx accessibility. Clarification of keys returned to CAMPUS POLICE (where keys were originally picked up) rather than to Fereshteh Mobasheri. Jan Ardell requested key for B107. Wynn Armstrong requested key for B253. Forms for LA MODE donation sponsors were reviewed. Any companies can be approached – fabric stores, etc. as well as related services/businesses. Encourage students to donate/get sponsors on their own – they should want to donate/buy tickets and support this event. Do not state that the donations are tax-deductible. Every person’s tax situation is different. Faculty encouraged to get NEW donors/sponsors. Faculty encouraged to solicit more advisory board members by giving Fereshteh a background/contact info on prospects. Prizes will be awarded for the students winners - $200 for First Prize $100 for Second Prize for Third Prize and $400 for Best of Show … so money must be raised!!!!

$50

Garments will be prejudged for acceptance into show. Actual outside judges will evaluate the accepted garments. No faculty will be judging the actual show garments, but faculty will be involved in helping on MAY 4th – Wednesday – 8am thru 2pm. For outside our campus recognition, it is important for our students to participate in the “Fashion Symposium.” i.e., Fashion 1 can pick #6 for students. All faculty will be resent the “Fashion Symposium” package via email. TALA and other scholarships can be announced to all class members. Fereshteh will continue to send all fashion-related events/scholarships to faculty. SMC logo stationery will be provided by Fereshteh’s office in order to print out sponsorship letters. Letterhead stationery can be used for faculty recommendations as well. Letterhead will lend validity to LA MODE requests for sponsors, donors, etc. IMPORTANT DATE: Thursday - May 19 at California Market Center at 10am thru show Email Fereshteh to validate your availability. Don’t forget to send your syllabi to Fereshteh via email as well as drop off hard copy. At end of semester, how your effectively utilized syllabi (with comments, etc.) as well as the SLO’s for your classes should be turned in via hard copy & email as well. 110

Flex forms will be due. All the dates for LA MODE can be filled out (as you are available) for your flex time, as well as the Spring Opening Meeting with Photo/Fashion on Feb. 11). Meeting adjourned at 12 noon. Noted prepared by Lorrie Ivas March 1, 2011

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Nov. 28 2011 Monday 11am Bread Factory Feresheh Mobasheri, Jemi Armstrong, Robin Lake, Barbara Rain, Marine B, Lorrie Ivas Fashion Show Date: May 24, 2012 Thursday night at California Market Center Students need to “sell” ad space on program. Begin to tell them in this current semester that the fashion show fundraising is Faculty encourages students to begin collecting money for collecting donations. A volunteer faculty is needed to oversee donation process and keep track of accounting. Please contact Fereshteh. Jemi Armstrong is the faculty advisor for overseeing Fashion Show poster/visual images. All faculty: encourage students to sign into our program – not costume, business, art, graphic design… they must take the fashion course of study. Loyalty to fashion department should be first priority. We need fashion students to graduate with the fashion certificate and/or AA graduates. Transfers to other schools will inhibit our 2-year AA graduates. Problem with faculty communication via email: When Fereshteh requests faculty availability, some faculty respond much too late, or not at all. It is difficult to place class time/location assignments for faculty class schedule. PLEASE CHECK YOUR EMAIL! All faculty needs to keep track of student graduates when they leave… and keep track of where they go. Put on your LinkedIN or Facebook page if you have. Communicate with Fereshteh: She is the go-to person: Any fashion info, flex forms, class request/equipment/questions - go directly to Fereshteh. If emails sent from Carlota re: flex form, or other department info, send directly back to Fereshteh with a cc: to Carlota to ensure Fereshteh gets the documents in a timely fashion. Please do not discourage students by stating “you should change your major!” … never tell students they can’t do something. Everything can be learned – the time frame may be different for each. Do not let students in your class if they do not have the proper prerequisites. Please email your course outlines (all the courses you teach at SMC) to Marine at: [email protected] and please put your name and Course Numbers in the Subject Line for her. Do not eat at or near the computers/faculty smart cart, etc. Please have students clean up after each class – especially morning and afternoon classes. No cups, water bottles, fabric and thread residue, etc., etc. Have students remove any fabrics/ Spread the word to students: Community College Symposium – please upload on eCompanion - and encourage students to participate Please encourage your students to register for Winter 2012 - Fash20 Window Display class. Wynn Armstrong is teaching FASH 18 – Photoshop & Illustrator for Fashion. The class has a cap, but if the students have their own laptop with proper software, he can accept them in the class. Two + Two… finish 2 years at SMC… and can finish at CSUN for a 4-year degree. Meeting adjourned at 12:15pm.

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Appendix G

Evaluation of Obtaining AA Degree in Two Years

113

Two test shave been carried out, one for students perusing Fashion Design and the other for students in Fashion Merchandising. If a student started school in Fall 2010, using the tables 2 and 3 in section I-7 for requirements, and the schedule of classes offered as shown in this appendix, this student could have taken the following required courses and graduate in 2 years : 1-The Required Courses taken by a student perusing Fashion Design AA degree

Fall 2010

Courses F1 F3 F6A F9A

Day and Time TTH MW F M

Hours 12:00-1:20pm 2:45-5:50pm 8:00-12:05am 6:45-9:50pm

units 3 3 2 3 11

Hours 6:15-10:20pm 9:30=10:50am 8:00-11:05am

units 3 3 3 9

Total

Spring 2011

Courses F2 F5 F13

Day and Time W TTH F

Total

Fall 2011

Courses F6B

Day and Time F

F11 F10 F8

F MW TTH

Hours 8:00-12:05am 12:30-2:35pm 3:00-7:05pm 12:00-2:50pm 9:30=10:50am

units 3 3 3 3 12

Total

Spring 2012

Courses F7 F12 F14

Day and Time MW MW MW

Hours 3:00-6:05pm 12:00-2:35pm 8:00-11:05am

units 3 3 3 9

Total

For a total of 41 units of required courses the students would then taken 20 units of elective from the list of elective courses that have been specified.

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2- The required courses taken by a student perusing Fashion Merchandising AA degree Courses F1 Fall 2010 F3 F6A F9A

Spring 2011

Courses F2 F5 F13

Day and Time TTH MW F M

Day and Time W TTH F

Hours 12:00-1:20pm 2:45-5:50pm 8:00-12:05am 6:45-9:50pm Total

units 3 3 2 3 11

Hours 6:15-10:20pm 9:30=10:50am 8:00-11:05am

units 3 3 3 9

Hours 10:15-12:20am

units 3 3

Hours 3:00-6:05pm 9:30-10:50am 12:00-2:50pm 2:15-3:35 Total

units 3 3 3 3 12

Hours 2:30-6:35pm 12:00-2:35pm

units 3 3 6

Total

Summer 2011

Courses F15

Day and Time MWTTH

Total

Fall 2011

Spring 2012

Courses F7 F8 F10 F19

Courses F9B F12

Day and Time MW TTH MW TTH

Day and Time F MW

Total

For total of 41 units in 2 years These test shows that a student starting in Fall 2010 can take all the required courses in a timely manner to graduate by the end of Spring 2012. The following tables show the schedule of all courses offered by the Program during the period Fall 2010 through Spring 2012. 115

Schedule of Classes in Fashion Design and Fashion Merchandising during Fall 2010-Spring 2012 Fall 2010 Section #

Course

Time and Day

Instructor

Room

Units

2227

F1

6:45-9:50pm

L Ivas

HSS203

3

4227

F1

12:00-1:20pm

TTH

F. Mobasheri

B107

3

4228

F2

6:00-10.05pm

TH

R Lake

B105

3

2228

F2

1:30-5:35pm

M R Lake

B105

3

2229

F3

8:00-11:05am 12:00-3:05pm S

J. Ardel

B107

3

2230

F3

2:45-5:50

MW

Barbara Rain

B107

3

2231

F5

8:00-9:20am

TTH F. Mobasheri

B107

3

4229

F6A

6:00-10:05pm

M Marina Boyadzhyan

B107

2

2232

F6A

8:00am-12:05pm

F

Sofi hachmanian

B107

2

2233

F8

9:30-10:50

F. Mobasheri

B 107

3

4230

F9A

6:45-09:50pm

M

J Armstrong

A119

3

4231

F9A

6:45-09:50pm

TH

J Armstrong

A119

3

2234

F10

11:15am-2:20pm

MW

F. Mobasheri

B107

6

2235

F11

12:45 -4:50

Torda

B107

2

2236

F13

7:45 -10:50am

MW

F. Mobasheri

B107

3

3192

F16

2:00-4:05am

TTH Carol Sapos

B107

3

2237

F88A

Independent study

F. Mobasheri

B 107

1-3

2238

F90A

Internship

F. Mobasheri

B 107

1

2239

F90B

Internship

F. Mobasheri

B 107

2

2240

F90C

Internship

F. Mobasheri

B 107

3

T

TTH

F

116

Winter 2011 Section #

Course Time and Day

1198

F6B

8:00am-12:15pm

MTWTH

Instructor

Room

Units

Jan B Ardell

B107

3

Spring 2011 Section #

Course

Time and Day

Instructor

Room

Units

2150

F1

8:00- 9:20am

TTH

F Mobasheri

B 107

3

2151

F1

12:00-1:20pm

TTH F Mobasheri

B 144

3

4226

F1

6:00 – 10:20pm

M

L Ivas

B107

3

4227

F2

6:00-10.05pm

T

Helen Reiner

B105

3

4228

F2

6:15-10.20pm

W

R Lake

B107

3

2152

F3

8:00 – 11:05am 11:15 – 2:20pm S

B Rain

B107

3

4229

F3

6:00- 9:05pm

TTH Jan Ardel

B107

3

2153

F5

9:30 – 10:50am

TTH

F. Mobasheri

B107

3

2154

F6A

2:30 – 6:35pm

S

Marina Boyadzhyan

B107

2

4230

F6A

6:00- 10:05pm

M

Marina Boyadzhyan

B107

2

2156

F7

3:00- 6:05Ppm

MW

R Lake

B 105

3

2157

F9A

8:00 – 11:05am

J Scholnick

A119

3

4231

F9A

6:45-09:50pm

TH

J Armstrong

A119

3

2158

F9B

1:15 – 5:20pm

F

J Armstrong

A119

3

2159

F12

12:00 2:35am

MW F Mobasheri

B107

3

3137

F13

8:00 – 11:05am 11:15 – 2:20pm F

B107

3

3144

F14

8:00 – 11:05am

B107

3

2161

F17

3:00 – 8:05pm

B107

3

S

Sofi Khachmanian

MW F. Mobasheri F

117

Mr. B. Torda

F18

1:30 – 3:35am

F87B 2163

2162

TTH

Wynn Armstrong

B253

3

Independent Study

B 107

1-3

F90A

Arrange 4 hours

B 107

1

2164

F90B

Arrange 8 hours

B 107

2

2165

F90C

Arrange 12 hours

B 107

3

Summer 2011 Section #

Cours e

Time and Day

Instructor

Room

Units

1286

F1

8:00-10:05am

MTWTH

F. Mobasheri

B107

3

1287

F3

12:45PM-5:05pm

MTWTH

Marina Boyadzhyan

B107

3

1288

F15

10:15AM- 12:20pm

MTWTH F. Mobasheri

B107

3

1289

F90A

F. Mobasheri

B 107

1290

F90B

F. Mobasheri

B 107

1291

F90C

F. Mobasheri

B 107

Fall 2011 Section #

Course

Time and Day

Instructor

Room

Units

2190

F1

8:00-9:20am

TTH

F. Mobasheri

B107

3

4207

F1

6:00-9:35pm

M

L Ivas

B107

4208

F2

6:00-10.05pm

W

R Lake

B105

4

2191

F3

8:00-11:05am 11:15-2:20pm S

Barbara Rain

B107

6

4209

F3

6:00-9:05pm

TTH

J. Ardel

B107

6

2192

F5

12:00 1:20pm

TTH

F. Mobasheri

B107

3

118

4210

F6A

6:00-10:05pm

2193

F6B

2194

W

Marina Boyadzhyan

B107

6

8:00-12:05am 12:30-2:35pm F

Sofi Khachmanian

B107

4

F7

2:30-5:35pm

MW

Robin Lake

B105

6

2195

F8

9:30-10:50am

TTH

F. Mobasheri

B 107

3

4211

F9A

6:45-09:50pm

TH

J Armstrong

A119

3

2196

F10

12:00-2:50pm

MW

F. Mobasheri

B107

6

3161

F11

2:45-6:50pm

B. Torda

B107

4

2198

F13

7:45 -10:50am

MW

F. Mobasheri

B107

6

3179

F19

2:15-3:35am

TTH

Christoher Griffin

B107

3

F88A

Independent studies in Fashion

F. Mobasheri

B 107

1-3

F90A

Internship

F. Mobasheri

B 107

1

F90B

Internship

F. Mobasheri

B 107

2

F90C

Internship

F. Mobasheri

B 107

3

Instructor

Room

Units

Jan Ardel L. Rvas

B107 B107

3 3

F

Winter 2012 Section #

Course

Time and Day

F1 F20

8:00-10:05am 10:15am-12:20pm

MTWTH MTWTH

Spring 2012 Section #

Course

Time and Day

Instructor

Room

Units

2160

F1

8:00- 9:20am

F Mobasheri

B 107

3

2161

F1

12:00-1:20pm

TTH

F Mobasheri

B 107

3

4212

F1

6:00 – 9:05pm

M

L Ivas

B201

3

4213

F2

6:15-10:020pm

T

Helen Reiner

B105

3

4214

F2

6:15-10:20pm

W

R Lake

B107

3

TTH

119

4215

F3

6:15- 9:20pm

TTH

B. Rain

B107

3

2162

F3

8:00-11:05am 11:15–2:20pm F

J. Ardel

B107

3

2163

F5

9:30 – 10:50am

TTH

F. Mobasheri

B107

3

2164

F6A

2:30 – 6:35pm

S

Marina Boyadzhyan

B107

2

4216

F6A

6:15- 10:20pm

M

Sofi Khachmanian

B107

2

2165

F7

3:00- 6:05pm

B 105

3

2166

F9A

3:00 6:05pm

T

Helen Reiner

B107

3

2167

F9A

3:00 6:05pm

TH

J Armstrong

B105

3

2168

F9B

2:30 – 6:35pm

F

J Armstrong

A119

3

2169

F12

12:00 2:35pm

MW

F Mobasheri

B107

3

2170

F13

2:30-5:45 6:00-9:00pm

B. Torda

B107

3

2171

F14

8:00 – 11:05am

F. Mobasheri

B107

6

2172

F16

8:00am – 12:05pm

Carol Roscheck

B107

3

2173

F18

3:00-5:05pm

Wynn Armstrong

B253

3

F87B

Independent Study

F. Mobasheri

1-3

2162

F90A

Arrange 4 hours

F. Mobasheri

1

2163

F90B

Arrange 8 hours

F. Mobasheri

2

2164

F90C

Arrange 12 hours

F. Mobasheri

3

MW R Lake

F MW S MF

120

Appendix H SLOs for Fashion Program Classes 2010-2011

121

Santa Monica College Student Learning Outcomes Date: Spring 2010 Course Name and Number:

FASH 1 Fashion Trends and Design

Student Learning Outcome(s):

1 .

Students can apply basic knowledge of design, production and material used in different level of apparel industry for various targeted customer. As assessed by:

Testing for proper demographic/psychographic/geographic knowledge; assignment identifying classic, trend, fad; identified costing up/costing details in low-mid-high markets. Exercises of costing up and costing down garments for different markets.

2 .

Identify consumer issues, and apply them to career opportunities in the apparel industry. As assessed by:

Final project identifying key trend sources (ethnicity/historical, cinema) visual pairing with current trends; costing down high-end designs for various price points; exploration of designers in niche areas, i.e., plus-size, petite, eco-awareness, fair trade products, recycling, etc.

Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply:

122

1 .

Program Outcome(s): Students will demonstrate social awareness and sensitivity to current global issues as these relate to fashion design, marketing and merchandising. As assessed by: Through specific completed projects students address the current concern of global issues within the fashion industry by reporting on eco-friendly designer; assignment addressing the pro/con issues of sustainability/pollution/animal rights. Students presented their “Green” topic in class as well as researched separate topic for final project.

2 .

Institutional Outcome(s): Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives. Students present and defend their research reports, their own cost/up and cost/design designs, and share in critiques in order to prepare for success in the real world. Students are graded on content as well as timeliness and validity in the professional world.

Students for Spring 2010 were very interested in eco topics and presented in professional and creative ways. Eco is definitely mainstreaming in all our topics and it is interesting to see the increase in their awareness. Students becoming much more savvy with researching online for visuals from ethic, historical and sociological sources. Noticed a definite progression in skills. We covered everything in this class, even though it was large and was located in a “non-creative” room – B144. Everyone worked with the physical limitations (not being able to do line sheet assignments on small lecture half-desks… they worked on them outside of class and brought in complete assignments! June 2010

123

Santa Monica College Student Learning Outcomes Instructor : Lorrie Ivas Date: Spring 2011 Course Name and Number:



1 .


Midterm and Final Test for proper demographic/psychographic/geographic knowledge; assignment identifying classic, trend, fad; identified costing up/costing details in low-mid-high markets. Exercises of costing up/costing down garments for different markets.

2 .




124

1 .

Program Outcome(s): Students will demonstrate social awareness and sensitivity to current global issues as these relate to fashion design, marketing and merchandising. As assessed by: Students address the current concern of global issues within the fashion industry by reporting on eco-friendly designers; assignment addressing the pro/con issues of sustainability/pollution/animal rights. Students presented their “Green” topic in class as well as researched separate topic for final project. Society and mass merchandising section reinforced CSR.

2 .


125

Santa Monica College Student Learning Outcomes Instructor: Lorrie Ivas Date: Fall 2011 Course Name and Number:



1 .



2 .




126

1 .


2 .


127

Santa Monica College Student Learning Outcomes Instructor: Lorrie Ivas Date: Fall 2011 Course Name and Number:



1 .



2 .




128

1 .


2 .


129

Santa Monica College Student Learning Outcomes Instructor: Robin Lake Date: Fall 2010 Course Name and Number: Fashion 2-Color Analysis

Student Learning Outcome(s): 1 .

The student will visualize and paint color modulations.

2 .

The student will use color creatively to express directed criteria. The student will use design to support color expressions.

3 .

The student will merchandise and paint two fashion collections.

4 .

*Added 2010 5 .

The student will learn and understand color theory vocabulary.

What plan will be used to assess these outcomes? Please identify the following components: 1. Frequency: During a semester, the students will be assigned weekly class projects and weekly homework assignments. In addition, the students will be assigned large mid-semester and final projects. There are also midsemester and final exams.

2. Method(s) used to assess each SLO: The assignments and projects will be graded based on timeliness, correctness, execution, and thought. Please attach a copy of measurement tools you have used or plan to use. The measurement tools are explained in methods, above, as well as answer keys to my exams. Please describe any assessment results you have obtained. The assessment results would be reflected in students’ grades. Please describe the program changes you have made as a result of your SLO assessments.

Based on student success and displayed learning from assignments, projects, and exams, I have made adjustments to the criteria for projects and assignments as well as adjusting explanations. I have also adjusted exam questions if I find the wording created any confusion.

130

Program Level Student Learning Outcomes Student Services/Enrollment Development Instructor: Robin Lake Date: January 5, 2010 Program Name: Fashion 2 Student Learning Outcomes: What can students do, think, or know as a result of receiving services from your program, center or office? Please identify at least two.

1 . 2 .

The student will visualize and paint color modulations. The student will use color creatively to express directed criteria. The student will use design to support color expressions.

3 . 4 . 5 .



What plan will be used to assess these outcomes? Please identify the following components: 1. Frequency: During a semester, the students will be assigned weekly class projects and weekly homework assignments. In addition, the students will be assigned large mid-semester and final projects. There are also mid-semester and final exams.

2. Method(s) used to assess each SLO: The assignments and projects will be graded based on timeliness, correctness, execution, and thought. Please attach a copy of measurement tools you have used or plan to use. The measurement tools are explained in methods, above, as well as answer keys to my exams. Please describe any assessment results you have obtained. The assessment results would be reflected in students’ grades. Please describe the program changes you have made as a result of your SLO assessments. Based on student success and displayed learning from assignments, projects, and exams, I have made adjustments to the criteria for projects and assignments as well as adjusting explanations. I have also adjusted exam questions if I find the wording created any confusion.

1-5-10

131

Program Level Student Learning Outcomes Student Services/Enrollment Development Instructor: Robin Lake Date: January 10, 2011 Program Name: Fashion 2

Student Learning Outcomes: What can students do, think, or know as a result of receiving services from your program, center or office? Please identify at least two.

1 . 2 .

The student will visualize and paint color modulations. The student will use color creatively to express directed criteria. The student will use design to support color expressions.

3 . 4 . 5 .




2. Method(s) used to assess each SLO: The assignments and projects will be graded based on timeliness, correctness, execution, and thought. Please attach a copy of measurement tools you have used or plan to use. The measurement tools are explained in methods, above, as well as answer keys to my exams. Please describe any assessment results you have obtained. The assessment results would be reflected in students’ grades. Please describe the program changes you have made as a result of your SLO assessments. Based on student success and displayed learning from assignments, projects, and exams, I have made adjustments to the criteria for projects and assignments as well as adjusting explanations. I have also adjusted exam questions if I find the wording created any confusion.

132

Santa Monica College Student Learning Outcomes Instructor: Robin Lake Date: Spring 2011 Course Name and Number: Fashion 2-Color Analysis Student Learning Outcome(s): 1 .

The student will visualize and paint color modulations.

2 .

The student will use color creatively to express directed criteria. The student will use design to support color expressions.

3 .


4 .

*Added 2010 5 .



2. Method(s) used to assess each SLO: The assignments and projects will be graded based on timeliness, correctness, execution, and thought. Please attach a copy of measurement tools you have used or plan to use. The measurement tools are explained in methods, above, as well as answer keys to my exams. Please describe any assessment results you have obtained. The assessment results would be reflected in students’ grades.

133

Please describe the program changes you have made as a result of your SLO assessments.

Based on student success and displayed learning from assignments, projects, and exams, I have made adjustments to the criteria for projects and assignments as well as adjusting explanations. I have also adjusted exam questions if I find the wording created any confusion.

134

SANTA MONICA COLLEGE Fashion 3 Student Learning Outcomes Spring, 2010 – Barbara Rain Objectives: What students will know and be able to do as a result of this course: 1. Basic fiber source information (synthetic and natural) and woven textile vocabulary (selvage, warp, weft, straight grain, cross grain, bias, directional and non-directional print, nap) 2. Acceptable level of comfort and competence on the Bernina home sewing machine, the Juki industrial sewing machine, and the industrial overlock machine 3. Fabric blocking, pattern layout and pinning, and fabric cutting 4. Basic apparel construction skills (hand stitches, hems, seams, seam finishes, closures and fasteners, pockets, shirring, darts, princess seams, collars, continuous plackets, cuffs, yokes, facings, and sleeves), proper order of steps in garment construction, application of fusible interfacing 5. Professional industrial pressing skills 6. Basic concepts and vocabulary associated with garment construction, such as staystitching, understitching, clipping, notching, and clean finishing Assessment Methods: Sewing Samples, Sewing Samples Notebook, Independent Sewing Projects, Mid-Term Exam and Final Exam (written and practical) Evaluation: Although the course outline is very full and rushed, I feel that these objectives were, for the most part, achieved. As in the Fall, students started work on their independent projects shortly after the mid-term, and that gave them time to complete their projects in muslin and fashion fabric more comfortably. Again, I gave students an updated list of pre-approved commercial patterns for their projects, and that saved them shopping time and eliminated mistakes and poor judgment in choosing their project. There is always that feeling that we could have used just one more week, and we lost one day of instruction because the Fashion Show was scheduled at the same time as my class. I’m not complaining, though, because I made attendance to the Show mandatory, and all the students said they enjoyed it and were inspired by the work that the designers did. For the two class sessions following the Fashion Show, I came in one hour early and stayed a half hour late in order to regain 135

the 3 hours we missed. This didn’t help everybody, but the overall quality of the projects was high. Students made good fabric choices and found creative ways to make their projects stand out. They also utilized a variety of seam finishes besides the overlock, including turned and stitched, stitched and pinked, and bias binding to give their garments “hanger appeal.” Using the above assessment methods, 89% of the class passed with a C or higher. I continued to use eCompanion to communicate with students regarding important deadlines and due dates. This cut down considerably photocopying, as I could post the handouts on the course page for students to download and print themselves. A problem area continues to be zippers, because the Bernina zipper feet are almost impossible to find and they are expensive. This limits zipper application to the Jukis, which can only serve half the class at any given time. Likewise, as the industrial button hole machine was not working all the time, button holes could only be made on the Berninas, which, again, can only be accessed by half the class at a time. Both these skills were completed and learned, but they took up a lot of class time, as the class and my teaching had to be divided. Certainly, an all-Juki lab would be ideal. Students continue to say that they would like to have more access to the machines outside of class time, such as a designated time when the lab is open for supervised student use. I used my flex-time to come in the room a half hour early each day for students to get tutoring or use the machines. As required, they all bought their own sewing machines to use at home. Many of them even brought their own machines to class, but then they didn’t feel motivated to conquer the Juki. As much as I emphasized the importance of using the industrial machine, only a handful of students really challenged themselves consistently to master it. In spite of these few setbacks, the course objectives were met. I got a high number of excellent Sewing Samples Notebooks, and the final sewing projects were, on the whole, challenging and well-sewn. My thoughts for next semester: Perhaps reconsider the invisible zipper sample because it takes up so much class time and it really doesn’t help students with their final projects. A couple of the rarely-used hand stitches could be cut as well as the thread loop, since those are not usually called for on the projects. This may help to streamline the syllabus and allow for more time on the actual projects. Collaborating with Jan Ardell, who taught the other section of Fashion 3, was extremely helpful and positive. We plan to continue this next semester.

136

SANTA MONICA COLLEGE Fashion 3 Student Learning Outcomes Fall, 2011 – Barbara Rain Objectives: What students will know and be able to do as a result of this course: 1. Basic fiber source information (synthetic and natural) and woven textile vocabulary (selvage, warp, weft, straight grain, cross grain, bias, directional and non-directional print, nap) 2. Acceptable level of comfort and competence on the Bernina home sewing machine, the Juki industrial sewing machine, the industrial button hole machine, and the industrial overlock machine 3. Fabric blocking, pattern layout and pinning, and fabric cutting 4. Basic apparel construction skills (hand stitches, hems, seams, seam finishes, closures and fasteners, pockets, shirring, darts, princess seams, collars, continuous plackets, cuffs, yokes, facings, and sleeves), proper order of steps in garment construction, application of fusible interfacing 5. Professional industrial pressing skills 6. Basic concepts and vocabulary associated with garment construction, such as staystitching, understitching, clipping, notching, and clean finishing Assessment Methods: Sewing Samples, Sewing Samples Notebook, Independent Sewing Projects, Mid-Term Exam and Final Exam (written and practical) Evaluation: I used the same syllabus that I used last semester, which required students to make a series of miniature sample garments in muslin. These samples incorporated all the required skills in the context of actual garment construction, so they made more sense to students as they could see the pieces coming together. By the time they got to their independent projects, students were truly “independent” because they had already constructed a number of actual sample garments. It was easy for them to follow the directions and proceed on their own, and the quality of the final projects was superior.

137

Fashion 3

Date: 2/15/2012 Course Name and Number: Fashion 3, Apparel Construction

Student Learning Outcomes(s): 1. Students will be able to select appropriate fabric and construct a garment by utilizing the appropriate machines and techniques. 2. Students will produce a comprehensive reference notebook containing notes, pictures, diagrams, and sewing samples utilized in garment construction projects.

138

Form 3: Student / Program / Institutional Learning Outcomes (Enter today’s date here) December 30, 2011 (Enter Discipline and Course # here) Fashion 3 – Apparel Construction Course Level Student Learning Outcomes: (Must list at least 2) 1. (Enter the SLO here) Students will able to select the appropriate fabric and construct a garment by

utilizing the appropriate machines and techniques. As assessed by: (enter your method of assessment here)

Final independent garment construction project 2. (Enter the SLO here) Students will produce a comprehensive reference notebook containing notes,

pictures, diagrams, and sewing samples utilized in garment construction project As assessed by: (enter your method of assessment here)

Weekly sewing samples, Samples Notebook

Demonstrate how this course supports/maps to at least one program learning outcome. Please include all that apply: 1. (Enter a Program Learning Outcome here) Students understand how garments are produced and marketed

in the apparel industry: market categories, design concept, illustration, fabric choice, garment construction, pattern making, fitting, grading, production, and merchandising. (Provide explanation here) Fashion 3 fulfills the garment construction link in the production chain.

Designers and merchandisers cannot do their jobs effectively if they do not understand proper garment fabrication and construction techniques. 2. (Enter a Program Learning Outcome here) Students understand the role of the apparel industry in the local

and global economies, ethical labor practices, and environmental issues. (Provide explanation here) Fashion 3 students discuss the environmental impact of producing various

fabrics, both natural and human-made as well as the use of leather and fur in the apparel industry. Through their learning about apparel production, they understand and articulate fair labor practices and the pros and cons of outsourcing in the global economy. Demonstrate how this course supports/maps to at least one of the following Institutional Learning Outcomes. Please include all that apply. Through their experiences at SMC, students will ILO #1 acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives. (Provide explanation here, if applicable) This course demands a high level of focus, attention to detail, and selfdiscipline. Good attendance and punctuality, a strong work ethic, and academic honesty are emphasized. In this regard, Fashion 3 mirrors the fast-paced, deadline-driven apparel industry and prepares them for success in any profession.

139

ILO #2 obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems.

(Provide explanation here, if applicable)

ILO#3 respect the inter-relatedness of the global human environment, engage with diverse peoples, and acknowledge the significance of their daily actions relative to broader issues and events.

(Provide explanation here, if applicable) Fashion 3 students gain a greater awareness of the role that the fashion industry plays in the global human environment so that they can make ethical business decisions in their professional lives that respect and engage with diverse people around the world. During class time, they also work and share information with other individuals from a variety of cultural backgrounds and languages.

ILO #4 take responsibility for their own impact on the earth by living a sustainable and ethical life style.

(Provide explanation here, if applicable) Students understand the toll that traditional apparel production takes on the environment and learn about new sustainable methods of growing fibers, manufacturing and dying textiles, producing apparel, and recycling and repurposing used garments and accessories.

S/ILO Committee Use Only reviewed by: (enter initials) (enter date)

140

#Form 4:

Associate Degree Course Criteria and Standards, as per Title V, Section 55002 (Enter Discipline and Course # here)

Section I – Course Criteria Items 1 through 14 below. If any criterion is not met, course credit is non-applicable toward the associate degree. Criterion Met/Criterion Not Met 1.

This course is a collegiate course meeting the needs of students eligible for admission. It will be offered as described in the course outline of record (attached). Criterion Met

2. This course is to be taught by an instructor with a masters or higher degree, or the equivalent, in an approved discipline. Criterion Met 3.

The course outline of record specifies the unit value, scope, student objectives and content in terms of a specific body of knowledge. Criterion Met

4.

The course outline of record specifies requested reading and writing assignments, and other assignments to be done outside of class (homework). Criterion Met

5.

The course outline of record specifies instructional methodology and methods of evaluation for determining whether the stated student objectives have been met. Criterion Met

6.

This course will be taught in accordance with a set of instructional objectives common to all students enrolled in the course (all sections). Criterion Met

7.

This course will provide for the measurement of student performance in terms of the stated course objectives. A formal grade based upon uniform standards of student evaluation will be issued for the permanent record of each student. Criterion Met

8.

This formal grade will be based on student ability to demonstrate proficiency in the subject matter by means of either (1) written essays, (2) problem solving exercises, or (3) student skill demonstrations. Criterion Met

9.

The number of units of credit assigned to the course is based upon the number of lecture, laboratory, and/or activity hours as specified in the course outline. Criterion Met

10. A minimum of three hours of work per week (including class time) is required for each unit of credit, prorated for short term, lab and activity courses. Criterion Met 11. Subject matter is treated with a scope and intensity which requires students to study independently outside of class time. Criterion Met 12. Learning skills and a vocabulary deemed appropriate for a college course are required. Educational materials used are judged to be college level. Criterion Met 13. Repeated enrollments are not allowed, except as permitted by provisions of Division 2, Title V, Sections 55761-55763 and 58161. Criterion Met 14. Student ability to (1) think critically and (2) understand and apply concepts at a college level is required in order to participate in the course. Criterion Met

Section II – Recommendations for Prerequisites 15. Are entrance skills and consequent prerequisites for the course required? (please indicate YES or NO) NO If yes, state the recommended prerequisites: 16. Is eligibility for enrollment in a certain level of English and/or mathematics necessary for success in this course? (please indicate YES or NO) NO If yes, state the English and/or math level necessary for success: English level recommended: Math level recommended:

141

Santa Monica College Student Learning Outcomes

Date: Fall 2010 Course Name and Number:

Fashion 6A: Pattern Analysis and Design


1 .

This course is a study of the basic pattern drafting techniques of the apparel industry and the transfer of a design to a flat pattern. Students learn to design and make their own patterns. Students learn to provide techniques of transferring design into a flat pattern. As assessed by:

Basic paper blocks and patterns, sewn block samples made out of muslin, finished patterns of garment details, garments based on styles introduced in class.

2 .

Students will use their knowledge and skills acquired from the lecture/demonstrations by the instructor. After enough practice students learn to design and make patterns for their own designs to a flat pattern. They work with basic bodice, dart manipulations, learn to cut different collars, sleeve block, variety of sleeves, skirt block, variety of skirts, a final dress made out of the components learned, trousers block.. As assessed by:

Weekly assignments of given style/details’ paper patterns and sewn garments that also are presented for mid-term and final class presentations/discussions.

3 .

Students will learn and practice concepts used in the industry and become well versed in the vocabulary associated with pattern drafting and garment construction on introductory level. They learn the importance of choosing correct textiles for their designs through their own experience of making a number of garments based on their own designs. Garment fitting problems are discussed with every garment sewn during class presentation/discussions and solutions are found and suggested. As assessed by:

Weekly pattern projects that are mostly sewn to muslin samples and the final project-the finished dress. Students use the vocabulary learned in class during the class and their presentations. They pay special attention on their choice of fabric for the final project. Students are encouraged to find fitting problems on their own and their classmates’ garments and suggest solutions to fix them.

142

Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1 .

Program Outcome(s): Acquire the self-confidence, self-discipline and professional independence to pursue their intellectual curiosities with integrity in both their personal and professional lives. As assessed by:

This course demands a high level of focus, hard work, punctuality, and self-discipline. Good attendance, a strong work ethics are essential with academic honesty emphasized. Fashion 6A is geared to prepare students for advanced classes and also for fast-paced, deadline-driven apparel industry. 2 .

Institutional Outcome(s): Obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems. As assessed by: Students in this course mostly work independently but they are encouraged to be able to interoperate images/ideas created by themselves and by their classmates. The skills and knowledge acquired in the class should help them to communicate effectively in order to be able to fix problems and be successful in their profession. Respect the inter-relatedness of the global human environment, engage with diverse peoples, and acknowledge the significance of their daily actions relative to broader issues and events.

3 .

Students gain a greater awareness of the role that the fashion industry plays in the global human environment so that they can make ethical business decisions in their professional lives that respect and engage with diverse people around the world. There are students with many different cultural backgrounds in Santa Monica City College and many of them are included in the Fashion 6A. This gives students in this class an opportunity and chance to interact, respect, learn to work and share information effectively with other individuals from a variety of cultural backgrounds and languages.

Added Comments: Students start understanding garment structure, pattern manipulation, making three dimensional structures out of two dimensional fabric/materials. Most of students finish this class successfully but they need to keep on practicing because information/skill learned in this class should be practiced in order to utilize properly. They sometimes have problems in marking (notches, punch holes, grain lines) their patterns according to production standards. I work on polishing instruction to help my students retain this important information. Also, reinforce it in the next pattern drafting class.

143


Date: Fall 2010 Course Name and Number:

Fashion 6B: Pattern Analysis and Design


1. Students learn to provide the advanced techniques of transferring design into a flat pattern. They develop understanding of a working pattern on more advanced designs-cuts and gain proficiency in drafting. Students acquire working knowledge of more advanced patternmaking and their terminology used in the Apparel Industry and make appropriate textile applications for their chosen designs. They also develop understanding of garment fitting problems and acquire skills and knowledge to fix them. As assessed by:

Paper blocks and patterns, sewn block samples made out of muslin, finished production patterns, garments based on students’ individual designs.

2. Students will use their knowledge and skills acquired in previous pattern drafting to develop more advanced garment pattern construction where they learn to transfer their own garment designs to a flat pattern. They develop torso block, Classic and Armhole Princess block, contour guide lines, dresses based on these blocks and techniques, pleated pants with all components of such garments, Kimono block and loose hood, Jacket block with two-piece sleeve, Notch collar jacket with a lining. Some advanced sewing techniques are also covered to help students to successfully construct their garments As assessed by:

Weekly assignments of given style’s paper patterns and sewn garments that also are presented for mid-term and final class presentations/discussions. Students will master advanced concepts used in the industry and become well versed in the vocabulary associated with pattern drafting and garment construction. They learn the importance of choosing correct textiles for their designs through their own experience of making a number of garments based on their own designs. Basic fiber and textile information (synthetic, natural, selvage, warp, weft, straight grain, cross grain, bias, directional and nondirectional print, nap) discussed with students individually for every sewn project, to help them to further understand the importance of choosing the appropriate fabrics for their garments/collections. Garment fitting problems are discussed with every garment sewn during class presentation/discussions and solutions are found and suggested.

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As assessed by: Weekly pattern projects that are mostly sewn to muslin samples and ready garments. Students use the vocabulary learned in class during the class and their presentations. They pay special attention on their choice of fabric. Students are encouraged to find fitting problems on their own and their classmates’ garments and suggest solutions to fix them. Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1 .

Program Outcome(s): Acquire the self-confidence, self-discipline and professional independence to pursue their intellectual curiosities with integrity in both their personal and professional lives. As assessed by: This course demands a high level of concentration, hard work, punctuality, and self-discipline. Good attendance, a strong work ethics are essential with academic honesty are emphasized. Fashion 6B prepares students fast-paced, deadline-driven apparel industry and prepares them to be successful in holding almost any job in the Fashion industry.

2 .

Institutional Outcome(s): Obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems. Students in this course mostly work independently but they are encouraged to be able to interoperate images/ideas created by themselves and by their classmates. The skills and knowledge acquired in the class should help them to communicate effectively in order to be able to fix problems and be successful in their profession.

Students gain a greater awareness of the role that the fashion industry plays in the global human environment so that they can make ethical business decisions in their professional lives that respect and engage with diverse people around the world. There are students with many different cultural backgrounds in Santa Monica City College and many of them are included in the Fashion 6B. This gives students in this class an opportunity to interact, respect, learn to work and share information effectively with other individuals from a variety of cultural backgrounds and languages.

Added Comments: Students learn more advanced techniques and develop independence in garment construction. Practice and reinforce knowledge/skill acquired in this class is very important. The information is vast and requires hard work and patient I try to make classes engaging the interesting. I am looking new ways of making my classes more entertaining and engaging.

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Program Level Student Learning Outcomes Student Services/Enrollment Development Instructor: Robin Lake Date: January 5, 2010 Program Name: Fashion 7 Student Learning Outcomes: What can students do, think, or know as a result of receiving

services from your program, center or office? Please identify at least two.

1

The student will recognize, in multiple contexts, fabric construction, coloring method, and finish.

2

The student will be able to properly select and use textiles.

3

The student will design and execute a printed and/or dyed and finished 3.3 yard piece of fabric. The fabric will be useable to cut and sew for fashion.

What plan will be used to assess these outcomes? Please identify the following components: 1. Frequency: During a semester, the students will be assigned frequent class projects and exercises, and frequent homework assignments. In addition, the students will be assigned a mid-semester project and a large final project. There is also a final exam.

2. Method(s) used to assess each SLO: The assignments, exercises, and projects will be graded based on timeliness, correctness, execution, and thought.

Please attach a copy of measurement tools you have used or plan to use. The measurement tools are explained in methods, above, as well as answer key to my exam. Please describe any assessment results you have obtained. The assessment results would be reflected in students’ grades. Please describe the program changes you have made as a result of your SLO assessments. Based on student success and displayed learning from assignments, projects, and exams, I have made adjustments to the criteria for projects and assignments as well as adjusting explanations. I have also adjusted exam questions if I find the wording created any confusion.

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Santa Monica College Student Learning Outcomes Instructor: Robin Lake Date: Spring 2010 Course Name and Number:

Fashion 7 Fabrics for Fashion Design and Merchandising

Student Learning Outcome(s): 1

The student will recognize, in multiple contexts, fabric construction, coloring method, and finish.

2

The student will be able to properly select and use textiles.

3

The student will design and execute a printed and/or dyed and finished 3.3 yard piece of fabric. The fabric will be useable to cut and sew for fashion.

*Added 2010 What plan will be used to assess these outcomes? Please identify the following components:

1. Frequency: During a semester, the students will be assigned frequent class projects and exercises, and frequent homework assignments. In addition, the students will be assigned a mid-semester project and a large final project. There is also a final exam.

2. Method(s) used to assess each SLO: The assignments, exercises, and projects will be graded based on timeliness, correctness, execution, and thought.

Please attach a copy of measurement tools you have used or plan to use. The measurement tools are explained in methods, above, as well as in answer key to my exam. Please describe any assessment results you have obtained. The assessment results would be reflected in students’ grades. Please describe the program changes you have made as a result of your SLO assessments. Based on student success and displayed learning from assignments, projects, and exams, I have made adjustments to the criteria for projects and assignments as well as adjusting explanations. I have changed 147

the weighting of the graded work to optimize the balance of recognition for hard work and talent. I have adjusted the exam questions if I find the wording created any confusion.

Santa Monica College Student Learning Outcomes Instructor: F. Mobasheri Date: Fall 2011 Course Name and Number:

FASH 8 History of Fashion Design


1. Students can employ the acquired knowledge of past fashion history to have an understanding of factors that influences fashion, observe recurring cycles of fashion and use the past fashion as a source of inspiration. As assessed by: Students develop a notebook which includes many pictures of a typical male and female costume of each period with labels for all clothing articles and accessories worn in each country at different period in the history.

2.

Identify function of clothes in relation to available materials, variation of cuts influence by climate, technology and its impact on clothes, function of clothes in social context which includes gender difference, status, identification of group membership, politics and its role in fashion (war and conflict as style setters), economies (trade textile and apparel), technology, communication, cultural authentication (exchange of ideas) As assessed by: tow projects. 1. Project with a detailed exploration of the evolution of a specific garment or accessories in a specific culture or historic period. 2. Project of historical and cultural design influences (selecting a fashionable garment worn today and tracing its historical and cultural origins with garment worn in the past history of cloths). Relating to the function of it in relation social context, resources, cuts, climate, technology, politics economies communication and cultural authentication.

Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1.

Program Outcome(s): Students will examine the relationship between costume of particular era and developments in the current fashion, demonstrate social awareness and sensitivity to current global issues as these relate to fashion design, marketing and merchandising.

As assessed by: 148

Students address the current concern of global issues within the fashion industry by reporting on ecofriendly designers; assignment addressing the pro/con issues of sustainability/pollution/animal rights. Students presented their “Green” topic in class as well as researched separate topic for final project. Society and mass merchandising section reinforced CSR.

2.

Institutional Outcome(s): Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives.  

Students present and defend their research projects, their notebooks and share in critiques in order to prepare for success in the real world. Students are graded on content as well as timeliness and validity in the professional world.

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Santa Monica College Student Learning Outcomes Instructor: Jemi Armstrong Date: Spring 2011 Course Name and Number:

FASH 9A FASHION ILLUSTRATION & ADVERTISING


1

Students can use the drawing skills to communicate fashion design concepts effectively. As assessed by: Completion of a series projects, assignments and final project

2

Students will be able to execute professional presentations that include technical specs and representational fashion figures. As assessed by:

Completion of a series projects, assignments and final project


Program Outcome(s): Students will demonstrate social awareness and sensitivity to current global issues as these relate to fashion design, marketing and merchandising.

As assessed by: Communicating effectively through presentation skills acquired their design ideas both in the classroom and later in the fashion global environment. 2.

Institutional Outcome(s): Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives.

As assessed by: 150

Communicating effectively through presentation skills acquired their design ideas both in the classroom and later in the fashion global environment.

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Santa Monica College Student Learning Outcomes Prepared by: Jemi Armstrong Date: Spring 2011 Course Name and Number: FASH 9B ADVANCED FASHION ILLUSTRATION AND ADVERTISING


1

Students can apply different methods of rendering techniques, using markers for their illustrations. As assessed by: Projects, weekly assignments, class critiques and a final project

2

Students can used learned rendering techniques to communicate their design ideas effectively. As assessed by: Projects, weekly assignments, class critiques and a final project

Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1

Program Outcome(s): Students will demonstrate social awareness and sensitivity to current global issues as these relate to fashion design, marketing and merchandising. As assessed by: The ability to render a variety of cultural and ethnically diverse figure types and design appropriate clothing for these diverse populations.

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Santa Monica College Student Learning Outcomes Instructor: F. Mobasheri Date:

Fall 2011

Course Name and Number:

Advanced Design and Construction FASH 10


1. Ability to project and transfer the fashion trends for each market in newly created design

2. 3.

4.

Assessed by Weekly sewing samples, notebook, and reports of current fashion for each market (market segmentation. Cost sheets to support their projected sale for the chosen market. Ability to create suitable pattern for each market Assessed by: appropriateness of the fabric selection for the given market

To create four complete outfits for a given market, by designing, making pattern, selecting appropriate fabric and constructing it. Complete a cost sheet to evaluate the marketability of their design for the given market. Assessed by: Completion of four outfits for a various market with cost sheet and illustration. The choice of design, Students will use their knowledge and skills acquired in previous pattern drafting and draping to develop more advanced garment pattern construction where they learn how to develop their pattern by draping or flat pattern or combination of both for their own garment designs. They will learn advanced sewing techniques to successfully construct their garments Assessed by: The four project’s appropriateness of the design for the targeted market, pattern and fit, choice of fabric and construction, cost sheet and Illustration

Students will evaluate each projects independently and also through Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1.

Program Outcome(s): Students will learn how the garments are designed and produced in each market categories based on the design, choice of fabric, fiber content, construction and the timing of merchandising to the targeted market. Students will increase awareness to current global issues as these relate to fashion design, marketing and merchandising. Students will learn how to evaluate through class discussion and evaluation. Students will gain 153

confidence to find fitting problems on their own and their classmates’

2.

Institutional Outcome(s): Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives.  

Students present and evaluate their research projects, their notebooks and projects in class discussion and critiques in order to prepare for success in the real world. Students are graded on content as well as timeliness and validity in the professional world.

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Form 3: Student / Program / Institutional Learning Outcomes Prepared by: B. Torda January 1, 2012 Fashion 11 - Tailoring

Course Level Student Learning Outcomes: (Must list at least 2) 1. (Enter the SLO) Students will be knowledgeable and proficient in the selection of tailored garment components; determinants of fabric quality, components of tailored garment (fashion fabrics, supporting fabrics, notions) As assessed by: (Enter your method of assessment) independent field trips to CALMART, fabric stores, boutiques, fine specialty shops, department stores, specialty stores, discount stores, and low end stores. Review research findings/board assignments and write two-page research papers in reference to design in terms of color, texture, shapes, and fabrication. Board Presentation and Critique 2. (Enter SLO) Students will be knowledgeable and proficient in industrial form measurements, pattern making of a classic or contemporary jacket, coat, suits; close or easy fitting incorporated required elements, and will construct a muslim sample. As assessed by: (Enter your method of assessment) Weekly patternmaking sewing of construction techniques and evaluation based in form measurements, pattern accuracy and information, muslim fit and quality of construction of slashed pockets (single/bound welt, stand up welt) flap, apply lined patch pockets, notch collar (open seam method/sandwich method) sleeve vent and kick pleat. 3. (Enter the SLO): Students will design and develop patterns of a classic or contemporary jacket, coat, suit; close or easy fitting incorporated required elements, and will sew coordinated 3-piece suit, tailored skirt or pants, jacket, coat, and tops. As assessed by: (Enter your method of assessment) Evaluation based on pattern accuracy and information, muslin fit, and quality of construction.

Overall appearance Individuality - has fashion quality and interest. Becomingness - well fitted and satisfactory in color and line. Professional effect – high-quality workmanship, pressing, and neatness. Trimming – interesting, harmonizes with garment; pleasing texture and color. Execution Grain - cut and stitched with the grain. Thread - matches color of fabric; correct size and type. Machine stitching - alike on both sides, proper stitching length for fabric; even, accurate; tension adjusted to fabric. Staystitching - correctly placed in relation to seam; stitched in direction of grain; used where needed. Darts - evenly and gradually tapered; well-placed threads tied. Gathers - evenly distributed; fine. Seams - correctly placed, even, smooth, flat, neatly stitched and pressed. Interfacing - proper application of fusible, correct dart treatment, taping of breakline. Pockets - even in size, welts even and straight, patch pocket lined and position correctly. Undercollar - proper application of fusible interfacing, breakline established, attached correctly 155

to garment neck line. Upper collar and facing - upper collar and facing properly joined to undercollar and garment collar points identical, seams graded. Sleeves – grain perfect, ease properly controlled, length in good proportion, lower edge finished with interfacing. Hems - width even, interfacing correctly attached, pressing well done, correct hem stitch. Lining - fabric well chosen, seam and darts accurately stitched, fits smoothly, ease pleat allowance adequate, hem properly done. Machine buttonholes – buttonholes on grain, stitches even, thread matching, correct size for button. Demonstrate how this corse supports/maps to at least one program learning outcome. Please include all that apply: 1. (Enter a program learning outcome) tailoring students are knowledgeable, proficient, skillful, and are able to visualize the features of a well-constructed garment. The garment design lines are defined; and the garments are giving a permanent shape and structure of its own. Tailoring demands exactness and special techniques to produced crisp details, durability, and smooth lines that are characteristics of a well-tailored garment. Students are required the basics of fashion design and market research of lined suits or skeleton lined jackets in high price, better price, moderate price, and budget price linked to the production of the apparel industries: design concept, illustration, fabrication, pattern drafting/pattern making, unit method of garment construction, sample making, fitting, grading, production market categories, and marketing. (Provide explanation) Fashion 11 Tailoring prepares students to work in the men’s wear industries and related technologies and through their experiences at SMC, students will be highly accepted as an intern in men’s wear studios and manufacturing facilities as: men’s wear designers, men’s wear fashion illustrators, men’s wear pattern makers, tailors for custom made and contemporary tailoring techniques (hard and soft tailored garments), graders, cutters, sample makers, quality control and production managers, and men’s wear merchandisers. The apparel industries are in great demand of men’s wear designers and men’s pattern makers (classic, contemporary, or spectator sportswear). The apparel news are always advertising and targeting men’s wear pattern makers, sample makers, graders, line production workers, and production specialists with their latest technical knowledge and training as offered in SMC Fashion Design and Merchandising program. Men's wear designers and pattern makers are actually now in global high demand.

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Instructor: F. Mobasheri Date:

Spring 2012

Course Name and Number:

Fashion Show production Fashion12


1. Students will apply necessary steps to plan and organize a successful event producing an actual fashion show such as poster design, producing power point presentation of all students participants, producing ticket sale, fund raising, writing letters to guests and sponsors, taking picture of clothes, Model selection, categories for the show, numbering each garment, preparing board for runway show, model and garment line up, publicity, back stage activities, hair and makeup selection, music and stage planning

2. 3.

Assessed by Weekly assignment and activities done by each student Student will learn how to create a collection by using skills acquired in pattern drafting, draping, construction classes with combination of new skills learned in the class Assessed by: appropriateness of the category and fabric selection for the given market To create four complete outfits for a given market, by designing, making pattern, selecting appropriate fabric and constructing it. Complete a cost sheet to evaluate the marketability of their design for the given market. Assessed by:  Completion of four outfits for a given category and market with cost sheet and illustration.  Appropriateness of the fabric, pattern and fit, choice of fabric, construction, cost sheet and illustration.  Students will evaluate each project independently and also critique by the instructor to prepare them for the actual working situation


1.

Program Outcome(s): Students will learn how to use all the skills learned in all fashion 157

design and fashion merchandising classes to create a collection from concept to production 2.

Institutional Outcome(s): Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives.

  

The show provides a chance for Students from diverse background and nationality to join together for a successful event. Class discussion and critiques in order to prepare for success in the real world. Students are graded on content as well as timeliness and validity in the professional world.

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Santa Monica College Student Learning Outcomes Instructor: Sofi khachmanyan Date: Fall 2011 Course Name and Number:

Fashion 13: Draping I


1.

This course covers the principles of draping and the ability to develop a pattern in three – dimensional form by using basic draping techniques, opening new ways of designing, creating, and recognizing the qualities of a well - designed garment. As assessed by: Students use muslin for draping as a means of pattern making. They use the technique learned for a particular project and develop three dimensional fabric patterns which is pinned properly and placed on the dress form to be discussed and graded.

2.

Students will use their knowledge and skills acquired on how to transfer the muslin pattern on to the paper pattern, and how to use the new pattern in developing the design out of muslin to test for final evaluation. This give students possibilities to develop more advanced garment pattern construction where they learn to transfer their three dimensional design to a flat pattern. They develop Basic bodice with two darts block, Basic skirt block, Basic sleeve block, Basic bodice with variety of darts, Classic Princess with flared skirt and Mandarin collar, Empire style dress with Peter Pan collar, Cowl neck design dress, Asymmetric design dress with bias cut skirt, Hip Yoke skirt with circle bottom, Peg skirt. As assessed by: Notebook consists of weekly assignments with paper patterns, sewn muslin samples and finished garments. Mid-term and final projects are discussed during class presentations where garment fitting problems, fabric choices are mentioned and specified.

3.

Using learned basic draping techniques, opening new ways of designing, creating, and recognizing the qualities of a well - designed garment. Students learning and start seeing more clearly how the design sketch can become a three dimensional shape which is a very important step in their development as a future designer or a pattern maker. Students also will master advanced concepts used in the industry and become well versed in the vocabulary associated with pattern drafting and garment construction. As assessed by: Weekly homework: Draping and transferring each project onto the paper pattern for each project that is mostly sewn to muslin samples and ready garments. Students use the vocabulary learned in class during the class and their presentations. They pay special attention on their choice of fabric. Students are encouraged to find fitting problems on their own and their classmates’ garments and suggest solutions to fix them 159


Program Outcome(s): Acquire the self-confidence, self-discipline and professional independence to pursue their intellectual curiosities with integrity in both their personal and professional lives. As assessed by: Class evaluation. This course demands a high level of concentration, devotion to their chosen future profession, hard work, punctuality, and self-discipline. Good attendance, a strong work ethics are essential. A class missed will have a negative impact on a student. The importance of academic honesty is emphasized. Fashion 13 prepares students for the advanced draping class, refined their pattern making skills and also makes them ready for fast-paced, deadline-driven apparel industry.

2.

Obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems. 



Students in this course mostly work independently but they are encouraged to be able to interoperate images/ideas created by themselves and by their classmates. They also are encouraged to help their fellow students, since explaining for someone is a powerful tool to learn. The skills and knowledge acquired in the class should help them to communicate effectively in order to be able to fix problems and be successful in their profession. Students gain a greater awareness of the role that the fashion industry plays in the global human environment so that they can make ethical business decisions in their professional lives that respect and engage with diverse people around the world. There are students with many different cultural backgrounds in Santa Monica City College and many of them are included in the Fashion 13. This gives students in this class an opportunity to interact, respect, learn to work and share information effectively with other individuals from a variety of cultural backgrounds and languages.

Added Comments: Most of students like this class because of being able to see the shape of the pattern that they apply on the dress form by themselves. The challenge is to be able to apply pattern drafting and sewing skills properly to be able to deliver a good quality project/garment. The challenge for students in this class is to remember and acquire using the steps of draping properly.

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Form 3: Student / Program / Institutional Learning Outcomes Prepared by F. Mobasheri (Enter today’s date here) Spring, 2012 (Enter Discipline and Course # here) Fashion 13: Draping I Course Level Student Learning Outcomes: (Must list at least 2) 1. (Enter the SLO here) Students apply draping techniques for designing and developing a pattern out of

muslin, transferring the muslin on paper, cut and construct it out of suitable fabric.

As assessed by: (enter your method of assessment here)

 

Students use muslin for draping as a means of pattern making. They use the technique learned for a particular project and develop three dimensional patterns with fabric on dress form which are evaluated each session in the class. Every homework assignment is placed in a notebook with draped muslin, pattern paper(transfer of muslin on dotted paper) and construction of each projects out of muslin.

2. (Enter the SLO here) Students use transferring method to make the cutting pattern.

Students use transferring method to make the cutting pattern. As assessed by: (enter your method of assessment here)

Notebooks are checked each week with assignments of given style’s paper patterns, sewn muslin samples. Critiques of each assignment are done individually and also with every students comments. Each assignment is graded with students individually. Mid-term and final projects are discussed during class presentations where garment fitting problems, fabric choices are mentioned and specified. 3. (Enter the SLO here) Using learned basic draping techniques, opening new ways of designing, creating, and recognizing the qualities of a well - designed garment. Students learning and start seeing more clearly how the design sketch can become a three dimensional shape which is a very important step in their development as a future designer or a pattern maker. Students also will master advanced concepts used in the industry and become

well versed in the vocabulary associated with pattern drafting and garment construction. As assessed by: (enter your method of assessment here)

Weekly refined drape/pattern projects that are mostly sewn to muslin samples and ready garments. Students use the vocabulary learned in class during the class and their presentations. They pay special attention on their choice of fabric. Students are encouraged to find fitting problems on their own and their classmates’ garments and suggest solutions to fix them. Demonstrate how this course supports/maps to at least one program learning outcome. Please include all that apply: 1. (Enter a Program Learning Outcome here) Students learn and understand how garments are produced

and marketed in the apparel industry: market categories, design concept, illustration, technical designing: 161

flat sketching, garment specification, fabric choice, garment construction, fitting, production, costing and merchandising. (Provide explanation here) Fashion 13- Draping I is an important class to prepare students for the

Advanced Draping class and for the apparel industry. Any designer in production should know how to drape in order to be more qualified to do the job. During fashion history a lot of designers designed their collections by draping the desired shape by draping a piece of cloth on half size dress form. A merchandiser should also understand draping/pattern drafting and development otherwise they would not be able to fully utilize their skills, abilities and knowledge in the production due to their not enough understanding of garment structure and construction. One has to understand garment construction in order to design, cost and market their collections properly. 2. (Enter a Program Learning Outcome here) Students understand the role of the apparel industry in the

local and global economies, ethical labor practices, and environmental issues. (Provide explanation here) Fashion 13 students discuss the environmental impact of textile and apparel

production, both natural and human-made as well as the use of leather and fur in the apparel industry. Through their learning about apparel production, they understand and articulate fair labor practices. Demonstrate how this course supports/maps to at least one of the following Institutional Learning Outcomes. Please include all that apply. Through their experiences at SMC, students will ILO #1 acquire the self-confidence, self-discipline and professional independence to pursue their intellectual curiosities with integrity in both their personal and professional lives. (Provide explanation here, if applicable) This course demands a high level of concentration, devotion to their chosen future profession, hard work, punctuality, and self-discipline. Good attendance, a strong work ethics are essential. A class missed will have a negative impact on a student. The importance of academic honesty is emphasized. Fashion 13 prepares students for the advanced draping class, refined their pattern making skills and also makes them ready for fast-paced, deadline-driven apparel industry.

ILO #2 obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems.

(Provide explanation here, if applicable) Students in this course mostly work independently but they are encouraged to be able to interoperate images/ideas created by themselves and by their classmates. They also are encouraged to help their fellow students, since explaining for someone is a powerful tool to learn. The skills and knowledge acquired in the class should help them to communicate effectively in order to be able to fix problems and be successful in their profession. ILO#3 respect the inter-relatedness of the global human environment, engage with diverse peoples, and acknowledge the significance of their daily actions relative to broader issues and events. (Provide explanation here, if applicable) Students gain a greater awareness of the role that the fashion industry plays in the global human environment so that they can make ethical business decisions in their professional lives that respect and engage with diverse people around the world. There are students with many different cultural backgrounds in Santa Monica City College and many of them are included in the Fashion 13. This gives students in

162

this class an opportunity to interact, respect, learn to work and share information effectively with other individuals from a variety of cultural backgrounds and languages.

ILO #4 take responsibility for their impact on the earth by living a sustainable and ethical life style. (Provide explanation here, if applicable) Students understand the roll that traditional apparel production takes on the environment and learn about new sustainable methods of growing fibers, manufacturing and dying textiles, producing apparel, and recycling and repurposing used garments and accessories.

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Santa Monica College Student Learning Outcomes Prepared by: F. Mobasheri Date: Spring 2012 Course Name and Number:

FASHION 14 Advanced Draping (draping II)

Student Learning Outcome(s): 1. Apply skills learned to drape more complex design with speed and accuracy and sense of proportion to drape and construct a well balanced garment for various market and age group. Assessed by more complex design project with various fabrics to drape on the dress form. With accurate and professional production of draped garments. 2. Interpret current design with more creativity to drape the pattern, transfer to paper cut and construct from different fabrics. New and more complex current designs are encouraged. Assessed by designing, draping, appropriate fabric selection, construction of four projects. Each project is aimed at a given apparel categories, specific consumer, certain age, for a given occasion. Each project is turned in with cost sheet and illustration. Students are evaluated based on design selection, draping skills, fabric selection, transferring the draped projects onto paper, cutting and sewing each project on muslin, evaluation and correction of final pattern, transferring onto final tag board, cutting the fashion fabric, and construction. Students will participate in project evaluation to recognize the fitting or fabric problems in order to learn from their own or their class mates. Students gain knowledge and understanding the creation of cost sheet for each project and the importance of it in the production Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1. Program Outcome(s): Acquire self-confidence and professional independence to pursue their intellectual curiosities with integrity in both their personal and professional lives As assessed by: Class discussion and evaluation, critiques and share knowledge in the class room environment is encouraged to prepare students for their professional lives. Self-discipline to be punctual is emphasized to make them more professional in the apparel industry. Obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems Assessed by since this class is the continuation of F13 that enables students to refine their pattern making skills through draping and allowing them to be fast and quick to compete in this fast-paced, industry. 164

Santa Monica College

Student Learning Outcomes Prepared by: F. Mobasheri Date: Spring 2012 Course Name and Number:

FASHION 15 Ethnic Fashion

Student Learning Outcome(s): 1.

Interpret the purpose of clothing based on cultural influences. Assessed by projects and research. Students will research different cultures and collect pictures of Their costumes to show the evidence of their purpose in clothing; protection, aesthetics, heath, cold, insects, modesty

2.

Apply design inspiration from different cultures in newly developed designs for current fashion. Assessed by: students will gain knowledge through lectures, pictures, and information of other cultures, famous designers their use of ethnic fashion. They will apply learned information as a source of inspiration in their newly developed design based on influence by fabric, color, detail, cut or ornamentation of the outfit for future fashion. These inspirations are based on current fashion

3.

Define and Evaluate the environmental influence on clothing of different culture 

Assessed by: acquired information is used for interpreting the influence of current environment on our fashion today.  Assessed by: evaluating student’s projects and research to show diverse influence of cultures in our in our fashion today. Students are encourage to participate in the evaluation process to learn more about other cultures and acknowledge the impact of environment on clothing in various cultures. Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply:

165

1.

Program Outcome(s): Acquire self-confidence and professional independence to pursue their intellectual curiosities with integrity in both their personal and professional lives As assessed by: Class discussion and evaluation, of students projects and assignments with information on each cultures and their evidence of clothing

2.

Institutional Outcome(s): Acquire knowledge and understanding other cultures and the environmental influences on the costumes. ILO #1 Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives. Through practice and class critiques students learn and gain self-confidence to experiment with ideas and creativities to peruse their intellectual curiosities in their professional lives. ILO #2 Obtain the knowledge and academic skills necessary to access, evaluate, and interpret ideas, images, and information critically in order to communicate effectively, reach conclusions, and solve problems. ILO#3 Respect the inter-relatedness of the global human environment, engage with diverse peoples, and acknowledge the significance of their daily actions relative to broader issues and events. ILO #4 Take responsibility for their impact on earth by living a sustainable and ethical life style.

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Form 3: Student / Program / Institutional Learning Outcomes Prepared by: Carol Roscheck (Enter today’s date here) anuary 7, 2012 (Enter Discipline and Course # here) Fashion 16 – Pattern Grading Course Level Student Learning Outcomes: (Must list at least 2) 1. (Enter the SLO here) Students will produce garments with a better fit for a greater variety of customers in various size

ranges. As assessed by: (enter your method of assessment here)

Weekly pattern projects graded on the Dario grading machine in various sizes and using various grade methods. Midterm and final exams. 2. (Enter the SLO here) Students will acquire knowledge of different types of grading and their importance in order to develop successful patterns by increasing or decreasing the production pieces of patterns in each design without losing the original lines and styles. As assessed by: (enter your method of assessment here)

Weekly demonstrations and discussions of grading various designs into a variety of size ranges. Students will cut out each size and graded on their ability to use the machine and cutting, marking, notching patterns. 3. (Enter the SLO here) Students will understand computer grading and marker-making. As assessed by: (enter your method of assessment here)

Mid-term and Final exams. Demonstrate how this course supports/maps to at least one program learning outcome. Please include all that apply: 1. (Enter a Program Learning Outcome here) Students understand how garments are produced and marketed in the apparel

industry: market categories, design concept, fabric choice, garment construction, pattern making, fitting, grading, production, and merchandising. (Provide explanation here) Fashion 16 fulfills the garment grading link in the production chain. Designers and

merchandisers cannot do their jobs effectively if they do not understand proper garment sizing, construction techniques. 2. (Enter a Program Learning Outcome here) Students understand the role of the apparel industry in the local and global

economies, ethical labor practices, and environmental issues. (Provide explanation here) Fashion 16 students discuss the sizing impact of producing various sizes, and how sizing is

used in the global market. Demonstrate how this course supports/maps to at least one of the following Institutional Learning Outcomes. Please include all that apply. Through their experiences at SMC, students will ILO #1 Acquire the self-confidence and self-discipline to pursue their intellectual curiosities with integrity in both their personal and professional lives. (Provide explanation here, if applicable) This course demands a high level of focus, attention to detail, and self-discipline. Good attendance and punctuality, a strong work ethic, and academic honesty are emphasized. In this regard, Fashion 16 mirrors the fastpaced, deadline-driven apparel industry and prepares them for success in any profession. S/ILO Committee Use Only reviewed by: (enter initials) (enter date)

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Form 3: Student / Program / Institutional Learning Outcomes January 2, 2012ashion 17 – Apparel Production Manufacturing TechniquesCourse Level Student

Learning Outcomes: (Must list at least 2) 1. (Enter the SLO) Students will be knowledgeable and understand the functions of major departments in apparel industry. As assessed by: (Enter your method of assessment) Independent field trips by the students to the clothing manufacturing firms. I need to acknowledge Ms. Mobasheri Fereshteh for supervising the field trips of fashion and merchandising students; and required students to submit a research paper of the apparel manufacturing in reference to major departments and contractors (inside/outside shop and foreign production). The sources of the inspiration are fashion catalogs, local/international, television, special events, nature, historical buildings, and landscapes. Sketches and flats should represent the front, the back view, and details of the garment and swatches. the major industries are the design department, the production department, and the sales department. The design department is headed by the designer and is responsible for producing between four and six collections of garments per year for fall, winter, and holidays. The production department is responsible for mass-producing the line in various sizes, colors, and filling orders placed by retailers; the sales department markets the line produced by the design department and acts as intermediary between buyers and the designer. MANUFACTURING A–READY-TO-WEAR GARMENT (DAY DRESS): PLAN CUTTING AND PRODUCTION: Production Person - Findings Buyer – Cutting Ticket. STOCK YARDAGE ORDERING AND RECEIVING: Production Person - Quality Controller. PATTERN WORK: First Pattern Maker - Production Pattern Maker – Grader – Marker Maker – Cutter – Spreader. BUNDLING: Bundling Worker. SPECIAL TRIMS: Contractor Specializing in Trims CONSTRUCTION OPERATIONS: First Sample Maker – Production Sample Maker – Assembly Line Operators – Single Needle Lockstitch industrial Sewing Machine – Over-lock Machine (3 thread/4thread/5 thread or sew overlock machine) – Blind Stitch Machine (supervised by a floor supervisor) – Special Buttonhole – Cover Stitch Machine – Zigzag Machine. TIME AND MOTION INGINEER: Piecework Ticket – Hand Finisher – Presser – Quality Controller. SHIPPING: Head Shipper – Packer – Billing Department – Pulling the Orders. DEPARTMENTS NOT DIRECTLY INVOLVED WITH CONSTRUCTION AND SHIPPING: Showroom – Head Salespeople – Showroom Staff - Stylist – Model – Clerical People. ADVERTISING AND PROMOTING DEPARTMENT: Advertising Manager – Copyrighter – Artist – Photographer – Fashion Coordinator. ACCOUNTING DEPARTMENT: Accountant – Book Keeper – Clerical People. FINANCE DEPARTEMENT: Investment Counselor (Tax Adviser) – Factor.

2. (Enter SLO) Students will analyze and evaluate targeted customers to plan and produce a line

of clothing that suits the wants and needs of the selected market. As assessed by: (Enter your method of assessment) Students are required to make a market survey research

by going through fashion reports in class, they need to identify their targeted customers and know their expectations to develop a line from their original idea to a specific market. Students should develop a design board with inspiration. First patterns with all the elements, pattern chart, pattern layout (marker) to estimate the yardage needed 168

(45 inches wide) for a day dress, test for fit and possibility of elimination of unnecessary lines to lower the cost of production without changing the design, cut and sew the first sample to be critique by the designer, first pattern maker, and production pattern maker. Commence production.

Major requirements: Design board with inspirational sketches/flats and five swatches. Targeted customers moderate price market for department stores, specialty shops (day dress), blocks size 8/10 with required measurements, design and pattern analysis, pattern development, pattern chart, cut muslin, and construct sample for fitting and test. 3. (Enter the SLO): Students will develop a first patterns, production patterns, and the required elements, pattern charts, specification sheets, cost sheets, and source fabrication. Students should work with the industrial sewing machines for various stitches to make a production sample applying the unit method of construction; at the end, each student will complete their specs sheet by adding the labor cost. As assessed by: (Enter your method of assessment) Submit first patterns, production patterns, and assembles the garment with industrial sewing machines, critique, and presentation of the final project. Demonstrate how this course supports/maps to at least one program learning outcome. Please include all that apply: 1. (Enter a program learning outcome) Students understand the major departments in the apparel firm and the technical information in manufacturing garments. The average apparel firm is divided into three major departments: design, production, and sales provide the major steps in manufacturing a

garment: 1-The design starts as an idea. 2-Designer sketches the design. 3-Designer fabricates garment and decides on trims, etc. 4-Makes a first pattern, corrects fit, produces a sample. 5-Sample is approved for the line and costed. 6-Duplicate fabric ordered and duplicate lines made. 7-Duplicates sent to showrooms and sales people. 8Buyer selects garments and indicates color wanted. 9-Manufacturer buys stock fabric and trimmings. 10-Production pattern made from fist pattern, tested and fitted. 11-Pattern is graded. 12-Marker is made for all sizes. 13-As sales build, a cutting ticket is written. 14-Fabric is received and checked for damages. 15-Fabric is spread and garments cut. 16-Sewing tickets made for each garment. 17-Garments are bundled, may be sent to contractor for sewing or special trims. 18-Garments given to sewers and are constructed. 19-Garments are under-pressed. 20-Garments are hemmed, buttonholes and buttons. 21-Final or “top” pressing. 22-Quality control checks, trims and tags. 23-Hung in shipping room, pulled and boxed for shipment. 24-Sent to stores. 25-Billed to stores. 26-Received in store and tagged with prices – sent to selling floor. 27-Hopefully –the final sale!

Demonstrate how this course supports/maps to at least one of the following Institutional Learning Outcomes. Please include all that apply: 1. (Enter a program learning outcome) through their experience at SMC students will:

1. (Enter the ILO): Students will acquire self-confidence by knowing the technical aspects in manufacturing in both their personal and professional lives. (Provide explanation) This course demands a high level of technical information, application, and skills to be successful in apparel manufacturing; attendance, punctuality, academic honesty, and strong work ethic are always emphasized in Apparel Production and Manufacturing Techniques. Precise pattern making, understanding of the concepts and guide lines of the pattern making principles, and the unit method of construction prepares them for the real world. The prerequisites courses prepare students to be Knowledgeable and skillful in SMC Fashion 17 – Apparel Production Manufacturing Techniques.

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Santa Monica College Student Learning Outcomes Prepared by Wynn Armstrong Date: Spring 2011 Course Name and Number: FASH 18 Computer-Assisted Fashion Illustration and Design Student Learning Outcome(s):

1.

Students will identify the strengths and capabilities of digital applications and how to integrate the applications in fashion design and merchandising projects As assessed by: Completion of a series of projects and final exam

2.

Students will exhibit effective CAD image manipulation. As assessed by: Projects include scanning, painting, retouching, colorizing and combining images using Adobe Photoshop tools, palettes and menus.


1.

Program Outcome(s): Students will understand the role of the computer in the apparel industry. As assessed by: Various fashion-oriented projects on the computer.

2.

Institutional Outcome(s): Acquire the self-confidence and self-discipline to pursue their intellectualcuriosities with integrity in both their personal and professional lives.

As assessed by: Utilizing current technology to communicate and effectively present their design/marketing ideas in the classroom and later in the fashion global environment .

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Form 3: Student / Program / Institutional Learning Outcomes January 2, 2012 Fashion 19 – Fashion Marketing Course Level Student Learning Outcomes: (Must list at least 2) 1. (Enter the SLO here) Identify key principles of the marketing activities of planning, buying, and selling. As assessed by: (enter your method of assessment here) Weekly class participation, mid-term and final project. 2. (Enter the SLO here) Recognize consumer issues, such as changes in purchasing behavior. As assessed by: (enter your method of assessment here) Weekly class participation, homework, mid-term and final project. 3. (Enter the SLO here) Gain understanding of and sensitivity to foreign and domestic markets and examine the role of marketing strategies in these markets. As assessed by: (enter your method of assessment here) Weekly class participation, homework, mid-term and final project. 4. (Enter the SLO here) Utilize learned skills for supporting activities: (marketing/financing, marketing risk bearing/obtaining and analyzing marketing information). As assessed by: (enter your method of assessment here) Weekly class participation, homework, mid-term and final project. 5. (Enter the SLO here) Understand principles related to global marketing, knowing the customers and their ethnic background. As assessed by: (enter your method of assessment here) Weekly class participation, homework, mid-term and final project. Demonstrate how this course supports/maps to at least one program learning outcome. Please include all that apply: 1. (Enter a Program Learning Outcome here) Students understand the fundamental principles of marketing – the role it plays in today’s apparel industry in creating demand and building brands: from viral marketing to product placement – the critical steps involved in starting a brand and the marketing choices needed to succeed. (Provide explanation here) Fashion 19 provides future apparel marketers with the fundamentals necessary to do their jobs effectively in a rapidly changing world of social media and 24 hour news. 2. (Enter a Program Learning Outcome here) Students understand the role of the marketing department in the apparel industry. (Provide explanation here) Fashion 19 students will create and present their own marketing plan – from crafting a brand statement to demographics and ad campaigns – through this process they will be equipped to analyze a brand’s market strengths and weaknesses and create a strategy to address both.

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Demonstrate how this course supports/maps to at least one of the following Institutional Learning Outcomes. Please include all that apply. Through their experiences at SMC, Fashion 19 students will ILO #1 Gain confidence in their communication skills and the ability to multi-task in both their work and home life. (Provide explanation here, if applicable) This course requires consistent focus, dedication and strong communication. No quarry is given for bad presentation habits, typos, slang or poor grammar – Fashion 19 looks to reinforce positive work habits now, so students will be ready to enter the fast-paced, deadline-driven marketing area of the apparel industry. ILO #2 Listen and learn when meeting potential mentors, always be professional and look to make a strong first impression.

(Provide explanation here, if applicable) Fashion 19 students will visit numerous corporate headquarters and meet senior level management – they will see firsthand the impact strong personal communication skills will benefit them in the workplace.

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Date: October 1, 2012 Course Name and Number:

Fashion 20 - Window Display for Fashion

Student Learning Outcome(s): 1 .

SLO: Complete a survey of window displays for at least 36 stores, identifying major design principles and analyzing and critiquing the effectiveness of each display. As assessed by: Survey project involving photographing, analyzing and critiquing window displays.

2 .

SLO: Comparison and analysis of the aesthetics and ecophilosophies of traditional and modern forms of window display.  As assessed by: Biographic report of one past, ground-breaking window display artist and comparison/contrast with a current window display artist.

3

SLO: Quantifiable skills will be used to create portfolio through completed projects which address the current concerns of global issues within the fashion industry. As assessed by: Creating a successful window display for a given place, time and product using learned skills

Demonstrate how this course supports/maps to at least one program and one institutional learning outcome. Please include all that apply: 1 .

Program Outcome(s): Students will demonstrate knowledge and process of fashion design from original idea to finished product including color, textile, and fashion design, history of costume, ethnic fashion, and production, to communication to the consumer.

2 .

Institutional Outcome(s): Students will demonstrate social awareness and sensitivity to current global issues as these relate to fashion design, marketing and merchandising. This relates to the Applied Social Knowledge and Values Institutional Outcome.

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Appendix I Margin of Excellence Award

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Dear Margin of Excellence Grant Applicant, This is to confirm that the SMC Foundation has received your grant application. You will be notified in late August if your grant was awarded.

Good luck!

Ciza Tahan

SMC Foundation (310) 434-4211 Direct . (310) 434-4215 Main . (310) 434-3649 Fax . Website: http://foundation.smc.edu

NEW STREET ADDRESS: 1516 Pico Blvd., Santa Monica, CA 90405

Mailing Address: 1900 Pico Blvd. Santa Monica, CA 90405

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Margin of Excellence Grant Application Name of Applicant: Fereshteh Mobasheri Campus Department: Fashion Amount Requested: $4999

Phone: (310) 434-4621

How will this money be used? This money will be used to replace and upgrade some of the old sewing machines in the Fashion Lab, Room B-107. Currently, the room contains a combination of power industrial and old home-model sewing machines. The fashion lab lacks three important machines: the cover stitch (for sewing knitwear), a merrowing machine (for finishing edges on light-weight fabrics and knits), and an industrial blind hemmer. In addition, our old industrial buttonhole machine has been non-functional for the past five semesters, and has a history of breaking down after short periods of use. This money will be used to purchase these four crucial industry standard machines. Why is this “need” not covered by traditional avenue of public funding, e.g. district budget? Over the past 5 years, the demand for fashion instruction has grown, yet our resources have become more and more limited. Our department, like all others, has been warned not to expect any new funding for the next few years. Therefore, we need to seek other sources of financial support in order to maintain instructional excellence. How will this grant benefit the students of Santa Monica College? As the cost of post-secondary education soars, more students look to community college for career preparation. This proposed upgrade will benefit students by giving them access to the highest level of machines equal to those used in the design rooms of the high quality apparel manufacturing companies. How will this grant enhance your professional goals? The primary goal of the Fashion Department’s degree program is to prepare students for work in the Apparel Industry. By training students on state-of-the-art equipment, they will gain a clear competitive edge in achieving their career goals in the areas of design, merchandising, retailing, or production. Other comments? The fact that there is a high demand for the classes in the Fashion Department as well as the great success of the Department’s “L.A. Mode 2011” Fashion Show is proof positive of the strength of our program. Because of the ongoing budget crisis and drastic reduction in course offerings, the need to retool our lab to match the high standards of the Fashion Industry is more urgent than ever Applicant’s Signature

Date

Department Chair’s Signature Mail or e-mail to Chip Potts at [email protected] by July 1.

Date

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Margin of Excellence Grant Application Proposed Budget -- Fashion Department Number

Item*

$ Price**

1

Juki Industrial Coverstitch Machine

1,000.00

1

Juki Industrial Merrow Edge Machine

899.00

1

U.S. Blind Stitch Industrial Hemmer

900.00

1

Juki Industrial Buttonhole Machine

2,200.00 TOTAL:

*Items are used, in excellent condition (floor models)

**Prices quoted from Fashion Supplies, Inc., Los Angeles, include 1 year warrantee on parts & labor

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4,999.00

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Appendix J Syllabus for Fashion Program courses as of 2011

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Appendix K Advisory Board Members as of February 2012

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Emil Rutenberg

Owner and CEO of Emil Rutenberg manufacturing company. Emil Rutenberg designs are updated, classic clothes, where the success rests upon the choice of fabrics and the traditional approach. The distribution for the collection is nationwide and includes specialty stores. Uri Harkham

Uri Harkham founded Harkham Industries in Los Angeles, California in 1975. Today, Harkham Industries is recognized world wide, as an apparel industry leader, in the design and manufacturing of sportswear, dresses, and shoes for the young contemporary, junior, missy, and girls markets. From his 125,000 square foot, Los Angeles based corporate headquarters, Uri Harkham employs over 400 people, who work in conjunction with his offices worldwide, to create and produce his firm's apparel product: Jonathan Martin - junior/young contemporary sportswear, dresses and outerwear; Jonathan Martin (girls 183

4-16) - sportswear, dresses and outerwear; Studio - missy career/casual sportswear and dresses; and Hype - a young designer collection of sportswear, dresses and shoes.

Kurt Kreiser

Evy of California, Inc., is a leading manufacturer of dresses and sports-wear for girls ages newborn through 12 years old. Evy distributes its products to major discount retailers throughout the U.S., including private label products for Wal-Mart, Kmart, JC Penney, Target, Sears and Kohl's Additionally, Evy sells under its own labels, including Evy, LA Touch, Venice Blvd., Brooke Lindsey and First In-First Out. Ram Sareen Founder/Owner TukaTech Inc.

India-born citizen of the world who has built his Commerce-based TukaTech into a significant player in the CAD/CAM hardware and software sectors over past three years. Combines engineering background with apparel experience to accentuate the analytical skills that his "TukaTeam" brings to production floor as complement to product line and service. Aggressive gains have been fueled by sales support that highlights "no service contracts, free training and turnkey commitment" on fully loaded systems. Former exec with Tolland, Conn.-based Gerber Technology, grew up in the trade, first in India, then Canada, before coming to California in the mid-1970s. Also counts stints at London Fog and several other sizable players on his resume. TukaTech expected to close in on $40 million in revenue for 2000 and plans to roll out as many as 250 TukaCenters over next 18 months. TukaCenters aim to provide training and data interchange services with open architecture-- essentially able to translate all operating systems. The idea is to put designers and manufacturers in closer touch with their cutting rooms, contractors and other service providers. Several TukaCenters already up and running; wider roll out could mean new options for different segments of the industry and regions of the globe where technology lags, providing bridge to comfort one and working demonstration of new efficiencies. Recent growth has some in industry circles buzzing that Sareen is considering the possibility of acquiring a significant stake in former employer 184

Gerber, which is publicly traded. Sareen neither confirms nor denies the notion, but presence of finance whiz Roger Williams on TukaTech board lends weight to the possibility. The Tuka in TukaTech comes from Hindi childhood nickname for wife Iva, a prominent attorney who's a bar member in three countries- India, Canada and U.S.-- and who recently handled the settlement of a mass tort case on behalf of 10,000 South Bay residents related to explosion of a Texaco refinery in Wilmington, Calif. Iva more recently joined TukaTech amid sharp growth curve to oversee administration. CHARLOTTE TARANTOLA

www.charlottetarantola.com

Charlotte Tarantola is head designer and president of CHARLOTTE TARANTOLA. She launched the company fourteen years ago in her Santa Monica living room, after creating a series of innovative tee-shirts. Within six months, Charlotte recruited her sister, Christina, to come on board as her partner in charge of finance and operations. Now located in Los Angeles, CHARLOTTE TARANTOLA offers a wide selection of contemporary women's knitwear including tees, sweaters, dresses, skirts and woven coordinates. Charlotte's vision is to design and manufacture garments of the highest quality, which are unique, comfortable and flattering. Embellishments often include rhinestones, printing, embroidery and beading. Although most designs are casual enough for weekends or evenings out, many can cross over into the office. The CHARLOTTE TARANTOLA customer is generally 25 to 45 years old, but more importantly, she is a woman who has her own sense of style. CHARLOTTE TARANTOLA can be found across the United States and in selected spots around the world. Here at home, the company has built loyal customers through major retailers including Nordstrom, Anthropologie, Macy's West and Bloomingdale's. 185

Peter Jacobson Creative Concept Show Room

Joe Vecchiarelli Joseph my background is a very different from the standard person in the garment industry. I grew up following my dad at five years old as he made way through the garment manufactures sharpening their scissors. I always found this kind of work to be very intriguing. As I made my way through college I maintained my work in sharpening scissors for the apparel businesses. This was a great source of income for college students, as opposed to working for small salary elsewhere. I attended the University of Southern California and graduated in the business program in 1084. After graduating I saw an opportunity in the apparel business with no end. I continued to source information about the apparel business for ten years. We went from a single business doing very well at sixty thousand annual to four companies doing thirty eight million in annual sales. I presently seat on the board of trustees at Los Angeles Trade Tech College as well as on the advisory board for fourteen different colleges around the country. I find that helping students gives me more pleasure in seeing their accomplishments and growing to be business people in the apparel business.

Joe Rodriguez

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(Joe) Rodriguez was raised in New York City and attended its public schools grades 1 through 12. He won a full scholarship to Columbia College of Columbia University where he majored in Spanish. He has been part of the Los Angeles garment industry for over 40 years. He has a perspective from both the manufacturing and contracting sides. For over 23 years he was Vice President of Human Resources for Tobias Kotzin Company, a vertical domestic garment manufacturer of men's pants and sportswear that had 1600 employees in Los Angeles. He managed numerous training and benefit programs. He is and has been for the past 17 years Executive Director of Garment Contractors Association of Southern California, a nonprofit educational trade organization that consists of contractors, manufacturers and service providers. GCA, as his organization is popularly known, has a very widely used resource for domestic production sourcing with its website, found at http://www.garmentcontractors.org. It is free to the public and no username or password is required. While favoring less regulation for what he believes is an overregulated industry, he is faithful to his human resources background by preaching full compliance with all existing labor and safety laws.

Ilse Metchek

California Fashion Association

President Ilse Metchek, the President of the California Fashion association (CFA), created the organization in 1994, with assistance from the major financial and manufacturing participants of the region’s apparel industry. The CFA provides leaders of the Southern California’s manufacturing and textile community with the opportunity to share information about the business of conducting business in the current global economy. Prior to the formation of the CFA, Mrs. Metchek was Executive Director of the California Market Center (then called the California Mart), and before that, she was President of White Stag Inc., a division of Warnaco Industries. As a manufacturer, Metchek was Owner and President of Ilse M. Inc., which she 187

purchased from the Anjac Corporation in 1984. Her career at Anjac began as the company’s designer in 1967; and seventeen years later, she owned the company! Ms. Metchek was appointed to the U.S. Department of Commerce Exporters’ Textile Advisory Committee (ETAC) in 1998, and still serves in that capacity. Her public service includes participation on the Executive Board of the California Fashion Foundation, the Advisory Council of UCLA Extension, Board member of the Los Angeles Economic Development Corporation and the Vernon Chamber of Commerce. Lynn Girard

Lynn Girard, a Los Angeles native, moved to Paris after graduating with a degree in Graphic Design and French from UCLA. Lynn had worked for Chacock then Cacharel, in Paris; both of which were better priced clothing companies. Cacharel asked her to transfer to the Los Angeles Showroom to oversee sales of their children’s line. Later she became responsible for Women’s and Children’s until they closed the showroom upon a licensing agreement with Federated Dept. Stores. At that time Lynn took over the showroom where she continued to represent Cacharel as well as other better sportswear lines. After a few years she expanded to also open a Dallas showroom. Today Lynn represents six lines from her showrooms in the California Market Center and Dallas Market Center and sells to Nordstrom, Dillards and approximately 450 specialty stores across the country.

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Appendix L

Minutes of the Advisory Board Meetings

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Fashion Department Advisory Board Meeting July 15, 2010 6:45pm – 8:45pm Attending: Fereshteh Mobasheri, Emil Rutenberg, Joe Vecharelli, Ram Sareen, Lorrie Ivas Fereshteh opened meeting with request to plan future Fashion Advisory Board meetings every six months; tentative dates decided by group were Thursday, Nov. 11, 2010 and April 28, 2011. All advisory board members encouraged to recruit other fashion industry professionals to join advisory board. Fereshteh discussed our C.A.D. setup (one station) with no computer… Ram mentioned the 32 stations with 3 students to each station at LATTC and the need to bring jobs back to California (i.e., American Apparel) … Ram said the students need to understand patternmaking, the balance of the garment and the construction … then learn the computerized pattern. Technical expertise is vital! Problem is the student access to the program in order to practice outside of the actual C.A.D. class. Mention of Helen Armstrong’s 5th edition of pattern drafting… and also of Carol Sapos, wonderful C.A.D. instructor at LATTC and now at SMC. Discussion of renting the software at $25 a month for students vs. the $200 industry price per month; if students have their own laptop, they can load software on their own computer and work/practice outside of classroom. Ram offered the “Learning Edition” where students get the $25 rate a full six months after graduation Fereshteh asked Emil about patternmaking skills of students ... He said that all students need to know HOW to draft a pattern manually … as well as the benefit of digitized patterns; original pattern by hand is a must. Fereshteh asked if he sees a need for students to be trained to create digitized patterns … and Emil responded strongly – yes! Ram mentioned that a link is built into the software with Kinko’s … when students make something, they can have it printed at Kinko’s or send it electronically. Ram mentioned that today, Ann Taylor, Michael Kors and others are contracting in Sri Lanka… and 400 brands today do not make samples … just digitized samples. To best test the integrity of flat patterns, you must make sample and fit on fit model to check motion/movement and fabric flow. Fit is everything. Ram’s son has started StyKu where personal body scan sizing is done. Avatars are created to ensure proper sizing. Discussion back to basic skills in pattern drafting, grading and marking. 191

Fereshteh brought up the next topic: Student Internships. When they do internships, they must register for the one or two unit internship class credits. Students balk at paying, especially the international students whose fees are much higher per credit. Emil commented that students need certain skills to bring a certain “real value” to the internship location. If there is question of whether students should be paid, there has to be a measurable value. If student were to be paid $1,000 for internship, they should be doing 15-20 patterns. Ram mentioned associations where internships are involved such as IAF – International Apparel Federation and others … Fereshteh raised next question: How to improve program at SMC so students can get jobs and rise to the top? Emil mentioned that students lack the actual experience in the design room The first thing Emil looks at on a resume is their “added value,” translated as what practical experience they have had already. He, along with group, feels that internships should be a part of the curriculum! Ram mentioned that the National Institute of Fashion Technologies in India has 3 months of industry work … interns do actual projects. All the students work in industry so after graduation, they are already seasoned. Ram also brought up IAM – Institute of Apparel Manufacturers and AOD – Academy of Design in Sri Lanka … his Tuka Academy also trains pattern makers. Business owners all look to the value of EXPERIENCE… and the way to get experience is through INTERNSHIPS. Thoughts on “Projects” for students to complete were discussed … some level of structure for mutual benefit, but resounding agreement on mandatory internships…and the best scenario would be MULTIPLE internship. The VALUE of education is meeting our objective: students acquiring skills to successfully work in industry. oe V. asked if jobs are coming back to California … Ram replied that American Apparel hires 6,000 …ALL over California… from Chatsworth to Orange County to San Diego. Design and production business is not a craft business but a crafted business! Meeting adjourned at 8:45pm. Agreement to meet in November … WONDERFUL meeting! Minutes prepared by Lorrie Ivas

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Fall Fashion Advisory Board Meeting Date: Thursday, November 18, 2010 Time: 6:30pm-9:30pm Location: Il Fornaio /Ocean & Colorado, Santa Monica Advisory Board Members Joe Veccharelli – Owner, Veccharelli Brothers Ilse Metchek – President, California Fashion Association Emil Rutenberg – Owner/Designer, Emil Rutenberg Joe Rodriguez – President, Garment Contractors Association Fereshteh Mobasheri – Director / Fashion Faculty Lorrie Ivas – Fashion Faculty Fereshteh led meeting with greetings and introductions; immediately the state of Los Angeles’ and California’s fashion industry was discussed with all members commenting: The issue with problem of accessing cotton in US for at least 12 months future is the cotton blend: cotton/polyester; cotton/silk all cotton committed/sold to China discussion of contracts being broken if buyer won’t accept increase in fabric cost haven’t spun cotton in CA in 20 years environmental issues in CA begun in 1970s regarding cotton production cotton growers are subsidized Discussion of investment money available for fashion industry there is money available for companies who are successful and desire capital for growth these are difficult times for new designers/companies to be formed discussion of the term “product development” brought up, to be discussed later in meeting number of students who go into their own design business extremely low; they need to work for others to gain experience Design Piracy discussed since Ilse mentioned Express claiming Forever 21 copied their designs; it was thrown out, favoring Forever 21. Fereshteh then presented the agenda topic: “How are students going to graduate and attain successful entry-level employment in the fashion industry?” How can the SLO (Student Learning Outcomes be enforced as well as further developed in order to place students? Ilse, Joe V., Emil and Joe R. all commented on their knowledge of various fashion programs in the local region… and now some might be closing (Cal Poly); discussed the difference of what 193

each college’s goal was in providing practical education/practical skills Trade Tech very focused on pattern drafting; computer technology – practical skills to get jobs Otis is very art-oriented/illustration-oriented but not practical industry production Mt. Sac is fashion marketing-oriented rather than production-driven Ilse M. commented that the key is specialization in one particular area where the marketable skills developed can be translated right into the industry process – translation: jobs! Photoshop and illustrator are necessary skills, as well as knowledge of accounting, marketing – knowing the customer’s demographic and psychographic profile, etc. Ilse mentioned that not just Photoshop/Illustrator, but EDI, AIM, CAD … all needed plus the student’s understanding of the entire business process Today all designers have to “go back to school” – they all must know how to make a spec sheet in millimeters; companies are “crying for talent” … the talent with the technical knowledge “What tasks will students be faced with in the real working world?” Workshops on specific skills sets were suggested – “how to do a tech pack;” TukaTech is user-friendly Student knowledge in accounting, international trade (why can or can’t we export this textile, etc.?) Ilse M. mentioned that jobs today are not defined as “entry level.” Emil R. pointed out that there is a gap between the practical application of what they learn in class and how they can adapt to the design room; the learning curve is costly, time wise. Ilse M. added that, in order to be a good intern, students need technical knowledge that can be directly used in office. Emil R. then said he would have a problem sourcing a “design room coordinator or assistant coordinator” from student pool. Ilse M. suggested merging with an internship retailer sponsor such as Macy’s/Bloomingdales in regards to planning a 6-month of Saturdays plan where the internship would bring the business environment to the student. Students need to develop a taste level and sensibility of various price points. Discussion of the 19 fashion schools in the region … with perhaps 1% of the students actually becoming designers; there are so many other options in the fashion industry. Group discussed the need for retail math as well as thinking like a “retailer” … “watch who comes out of store without a bag.” Alan Questrom (great retailer) wanted to know why consumers weren’t buying… Emil R. said the internship scenario should be sent in phases – where a student would register for a 1-unit internship per semester, with each step or semester building on a technical skill – so end result there will be “value” to the student’s learning experience. Emil stated that a “good sense of logic and business sense” is definitely needed. Joe R., coming from garment construction/contracting, mentioned the importance of students’ knowledge of textiles – vital to design and production. Also the broad skill of “merchandiser” as 194

opposed to narrowed skills. Ilse M. brought up the idea of “specializing” in a skill set, such as Mt. Sac’s 2-year program in marketing. Success of a program is where its focus lies. The term “product development” is now used; this was discussed as an all-encompassing term, not alienating those who hear the term “fashion design.” Brands such as Skull Candy and projects such as Art Center’s incorporating a fashion project show that design is all-inclusive. Fereshteh asked all advisory board members to please review the Fashion Curriculum online and comment on class offerings/descriptions; encouraging comments or additions. Fashion Show – La Mode 2011 – was introduced, with options of May 12 and May 19th, 2011. Advisory Board members were encouraged to suggest possible location options. Fereshteh brought up possibility of California Market Center. Others suggested a Santa Monica venue as well. The Miramar/Fairmount was brought up since they were generous with a charitable venue; Joe V. suggested that whatever venue used, time frame would be important since proms and other related events happen in May. Thursday, May 12 or 19th were originally mentioned, but depending on the venue, perhaps a Wednesday would be also considered if more economically feasible. Skirball Center may be another consideration. Emil R. mentioned that in prior years, when he judged the show, there were some beautifully finished garments as well as not-so-well sewn ones, but the actual designs were solid; Ilse mentioned that when she judged Otis, the unfinished garments were shown in an April jury before the show. Comments abounded regarding sewing skills and actual design concepts; mention of designers who can’t sew, etc., etc.; since we are discussing an educational facility where students need to learn all aspects, the show needs to showcase all skills involved. Joe V., Ilse and all discussed ideas of various segments, including “wearable art,” recycled/repurposed, etc., etc. in order to add spice to the traditional “after 5/cocktail,” “sportswear,” etc. TALA competition is in February 2011; SMC will be active in this event. Meeting concluded with Fereshteh asking board members to comment on the fashion department’s curriculum. Meeting adjourned at 9:30pm. … An outstanding discussion of the state of the fashion industry as well as the state of fashion education with a wonderful group of professionals from all facets of the industry! Minutes taken by Lorrie Ivas November 18, 2010

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2011Fall Fashion Advisory Board Meeting Date:

Thursday, November 3, 2011

Time:

6:30pm-8:45pm

Location: Hillstone /Ocean & Second St., Santa Monica Advisory Board Members Kurt Kreiser - CEO Evy Inc. Ilse Metchek – President, California Fashion Association Emil Rutenberg – Owner/Designer, Emil Rutenberg Fereshteh Mobasheri – Director / Fashion Faculty Lorrie Ivas – Fashion Faculty Not present: Ram Sareen – Founder, TukaTech Joe Veccharelli- Owner, Fashion Supplies Company Joe Rodriguez – Executive Director, Garment Contractors Association Barbara Lesser - Owner/President of Barbara Lesser Manufacturing Charlotte Tarantola Owner and Designer of Charlotte Tarantola Manufacturing Company Uri Harkham- Owner/President of Jonathan Martin Manufacturing Peter Jacobson - Creative Concept Show room Fereshteh opened with greetings and introductions; immediately set the goals for meeting: The program outcomes are to be evaluated, and asked for feedback from advisory board as to their feeling of the direction of Los Angeles/US/global fashion industry in the next two to five years. Ilse commented by stating the issues facing the manufacturing arena in LA – the problem with losing skilled sewers, technicians due to illegal status. Issues of training the unemployed citizens to fill jobs lost. Kurt asked: What percentage of students is from outside the state and outside the country. Response was about 30%+. Discussed SMC students who take several fashion classes, Those who stay for the certificate or AA degree, those who transfer out to 4-year schools. Fereshteh asked all - “What is your mindset when you grant internships to students? Do you feel they lack certain skills?” “What is your expectation level?” Kurt responded that he feels it is important to pair the student with a competent professional in the area where the student wants to explore in the industry. He feels it is a gift – and really for the benefit of the student to see what the industry really is. Emil stated the lack of certain business/manufacturing knowledge some students hold (speaking not of SMC student, but of a recent occurrence where no line sheet or data information was sent with sample overseas). Ilse responded that she agrees – there is not enough “real world” business process information taught at all schools. She suggested every semester there is a “case study” or focus of an apparel issues currently 196

affecting LA fashion - be it in designing, manufacturing, merchandising, etc. SMC students do get that information focused in each class; she feels it should be department-wide project in unison. Lorrie suggested workshops to learn tech pack/production info and logistics topics. Group discussed importance of networking. Community colleges usually don’t have an alumni situation as many 4-year schools have. Some students think they want to start their own business right after school which, in reality, doesn’t happen. Networking could show them the realistic steps that need to be taken. Discussion of the various focuses of regional fashion departments: Trade Tech very focused on pattern drafting; computer technology – practical skills to get manufacturing jobs - not design jobs. Otis is very art-oriented/illustration-oriented but not practical in the business/ industry production. CSUN is generalized. Fereshteh put in place what last year’s advisory board meeting discussed – specifically Emil’s suggestion of putting the internship registration in phases – where a student would register for a 1-unit internship per semester, with each step or semester building on a technical skill – so end result there will be “value” to the student’s learning experience. Kurt suggested the group devise an action plan for next meeting. Asked what the goal of department was, in general. Fereshteh stated she wanted students to feel confident and happy in their industry position, no matter what area. Often students think they want to go into one area of the industry and find so many other avenues. Lorrie added that students be educated and sophisticated in knowing the big picture – the reality - and ready themselves to research and navigate in the industry at entry level with practical expectations. Fereshteh announced important dates: Fashion Show – La Mode 2012 – Thursday, May 24th as set date, with the California Market Center as the location. Follow-up meeting with complete Advisory Board scheduled for 6:30pm on March 29th, hosted by Kurt Keiser at The Beach Club 201 Palisades Beach Road, Santa Monica, CA 90402. Meeting adjourned at 9:30pm. … A truly interested advisory board committed to improve the SMC fashion students’ experience prior to entering the working world.” Minutes taken by Lorrie Ivas

November 3, 2011

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Appendix M Name of the Fashion Students Scholarship Award Winners

199

Andrein a

Vasquez

4043 Wade St. #3

Los Angeles, CA 90066

C

THE SIMON TRUST SCHOLARSHIP

$500.00

FASHION DESIGN

James

Warner

842 Palm Ave. Apt. 8

West Hollywood, CA 90069

C


$500.00

FASHION DESIGN

Britanny a

Williams

112 Judge John Aiso St. Apt. 219

Los Angeles, CA 90012

C


$500.00

FASHION DESIGN

200