Day Nine

Finally, we had an uneventful (rodent free) night and everyone was well-rested to begin the workshop. We assembled in the pattern making lab and Şölen introduced the brief to the students. They were asked to work in pairs, one Indian student and one Turkish student. Several pairs had already formed before today’s workshop, and the remaining students decided to select their partners by chance from a draw. They are as follows:

Başak Cankeş – Aditi Sharma
Begüm Kapan – Abhilasha Choudhary
Yasemin Biricik – Shaivya Ruchi
Burcu Yıldız –Ruchika Gupta
Müge Elmacılar – Mayur Bhansali
Olgay Ergin – Rohan Sabharwal
Merve Sepetoğlu – Manas Ranjan
Ayşegül Göçen – Sartaj Saifi
Derya Gürbüz – Shwetank Kumar

Turkey and India are developing countries in terms of creating and communicating their global fashion brands. In both countries, contemporary designers seek international exposure through the modern exploitation of their cultural heritage, and rich traditions found in their historical textiles and costumes. Turkey is in a transitional period of developing cultural material into an international design language. In India, with the help of international fashion weeks and efficient institutions, designers are conserving the crafts related to the creation of Indian textiles, in tune with the industrial systems of production and marketing. Essentially, the integration of cultural research into design education in a pedagogical manner provides the backbone for developing a cultural identity in the contemporary fashion arena. This can be achieved by crossing the bridge between generations, recognizing the importance of cultural and historical design sources and re-interpreting their influence on contemporary design practice.
After underlining the importance of the cross-cultural dimension in contemporary design practice for both Turkish and Indian fashion, in pairs students were required to make a brain-storming session. What do they understand from Turkish culture and Indian culture? What are the components for reading a culture visually? How can they translate cultural indicators in to contemporary fashion?
In this cross-cultural workshop students are asked to explore, analyse and interpret key aspects of both cultures. From the assembled research, and with due respect to both cultures, they are asked to design a hybrid range of garments. The design interpretation must be both contemporary and wearable , and in no way related to the traditional clothing style of either culture.

Objectives

To introduce another culture while creating an awareness to their native culture.
To explore ways of understanding cultural material and to translate findings in to a contemporary design element
To create an international design language by translating cultural material in to modern looking international design solutions

Week 1 - Design Concept & Design Development

Monday - Research analysis.
Tuesday - Cultural Mapping
Wednesday - Concept Development Moodboards, Fabric experimentation
Thursday - Design development & Sketches
Friday - Final Design Illustration & Sketchbooks Presentations

Week 2 - Product Realization & Presentations

Monday - Technical Drawing & Pattern development
Tuesday - Pattern cutting & sewing
Wednesday - Finishing the garment
Thursday - Styling and photography
Friday - Final presentation and Fashion show

For the first day, the students are asked to create an A3 “Cultural Mapping” Board which explain various key aspects of both Indian and Turkish culture.

After an initial brain-storming session, each group decided to focus on specific aspects of their individual cultures and began to compare and contrast with their counterparts.

Begum and Abhilasha focused on a combination of Indian and Islamic calligraphy, including the Turkish art of calligraphy, Hat, which added a more spiritual approach to the mapping. They also contrasted the god of dance, Natraj with the Mevlana dancers from Turkey.

In their visually striking board, Yasemin and Shaivya researched the Islamic connection between Turkey and India but focused primarily on the motifs and architecture. By abstracting the imagery they were able to create a clean, graphic cultural map.

Başak and Adidi managed to collage a vibrant mapping, bursting with well-chosen imagery reflecting the colours, motifs and traditions of both cultures. One interesting reference point was differences and similarities between the facial expressions of the traditional women in both cultures which they will develop further into the communicative properties of their designs.

The result of the first days workshop was very encouraging. Each group successfully explored the idea of hybridity through the different aspects of both Turkish and Indian culture which is promising for contemporary design solutions in the following days.

Day Eight

Monday, and the first day of the workshop, but unfortunately we started the day on a very bad note. At 2:30 a.m. the students were assembled in the passage/balcony in front of their rooms, some screaming, some standing on chairs, and others crying. The cause of the panic was a tiny mouse (which Angela had previously evicted from her room) and an alledged sighting of a huge rat. After much discussion and persuasion, they finally returned to their rooms but few of them actually slept.
The following morning we made a rather late start to the workshop as most of the students were physically and mentally exhausted. Angela made a presentation on Turkish culture and afterwards we showed a promotional tourism DVD on Turkey which gave the Indian students a better insight into our culture.
The students ordered Pizza Hut which they ate with their Indian friends, and we all had an early night.

Day Five

Today was the second of our field trips and we were accompanied by the Indian students. Our first stop was a shop called Kalanjali in which we were able to find the most exclusive examples of Indian crafts. It is a gift store selling a variety of products, produced using a different traditional craft techniques, including furniture, sculptures depicting Hindu gods and goddesses, small ornaments, textiles, fashion and home accessories. Next door was also a clothing shop were we where once again able to find traditional Indian clothing and textiles.
We were all fascinated by everything we had seen and also were able to see a loose connection with particular aspects of our own culture.
After a hard morning sightseeing, a visit to McDonalds in Hyderabads biggest shopping centre was essential. To work of the Big Mac calories, the Indian hosts insisted on a visit to the amusement area in the shopping centre where we all got lost in the “Hall of Mirrors” and the “Fear Tunnel” and also experimented with a form of “Karaoke Dance”.
Next, we visited a Hindu temple, Birla Mandir in which we experienced almost all the rituals of Hindu religion. We purchased a coconut which we presented to a specific god, an old man at the temple accepted it on our behalf, he broke it in two realeasing the coconut milk and finally we were returned to empty husk, which we ate.
After leaving, shoes and other possessions (cameras, phones etc. sorry no pictures) at the entrance we climbed many steep steps, passing a variety of gods which we had to worship on our ritualistic tour of the temple. There are 3 main gods in Hindu culture, Brahma the creator, Vishnu the sustainer and Shiva the destroyer,all the other gods and goddesses are the reincarnation in different forms and rolls of these three. At the top we were treated to a spectacular panoramic view of the city. The biggest god was half muslim, half hindu, called Sai Baba, he was very ornate and colourful and each visitor was offered a spoonful of a sacred liquid substance which they drank and also used to dampen their hair. At the altar of each god, different coloured dyes were available to apply as a “Tikka” (similar to the “Bindi” spot applied in the middle of the forehead). For us, the most interesting experience of the temple visit was sitting down cross-legged and meditating in front on one particular god, until we were warned by a police man and asked to move on.
After the temple, we proceeded to Lake Hussain Sagar where we took a boat trip to see a huge monument of Buddha, here we took some rather interesting staged photographs.
On returning to the city, we had invites to a classical Hindu dance performance by Radha-Raja Reddy in a weekly dance festival, it was a further interesting insight into another aspect of Indian culture. The performance was very dramatic and expressive, it was based on Indian mythology.
A mexican restaurant was our choice for the evening, based purely on the hygenic outward appearance, several students even experimented with the Indian dishes on offer. On returning to campus, the students were very shocked to see that Angela had finally arrived.

Day Four

Today we made the first trip out of Hyderabad, accompanied by Sri, to Pochampally, were they specialise in Ikat textiles. We were fortunate to visit an enormous textile plant, were we have seen every single process of production from spinning of the yarn, to dying and then the weaving of the fabric. What appeared to be at first sight a highly industrial mass-manufactured product, was infact completely hand-made. Naturally, we purchased a variety of products at reasonable prices and the students invested in some hand-made Ikat which they intend to use in their design work.
After the visit to the factory, we returned to the village and visited a family home which were producing similar fabrics, using exactly the same methods but on a smaller scale. Throughout the trip, we were accompanied by the local press, at this particular visit they were delighted to photograph Sölen and Burcu dressed in traditional Indian saris. The novelty of seeing a sari on a women with pale skin and blonde hair was particular exciting for the journalists.
We purchased some additional textiles in a local store specialising in all types of traditional textiles but in particular Ikat.
On our return trip to the city, we were all starving and realised that there was no chance of making it back to an American restaurant chain. We stopped at a local indian restaurant where on close inspection, the students refused to eat but Şölen braved the local cuisine and afterwards commented that it was the best food she had eaten on the trip (non-spicy of course). We made another stop to sample coconut milk from one of the many street sellers.
When we reached to city centre, the students again dined at McDonalds, their preferred Indian cuisine.

Day Three

In the morning, Dr Şölen Kipoz made a presentation on “Contemporary Turkish Fashion Design”. Lunch was spent in a local Chinese style restaurant were the Turkish students were delighted to find some non-spicy dietary options. We returned to the campus in the afternoon and the students listened to a seminar on “Design Process” by Professor Lakshmi Reddy, the head of the accessory design deparment. Sri Pattur summed up the proceedings with a very animated and motivating speech relating to the possible research and design possibilities of such a workshop.
In the afternoon, some retail theraphy was much needed and we visited a contemporary Indian fashion outlet, selling ethical products at moderate prices. The products ranged from traditional Indian clothing such as saris and shalwar tunics, to more street-wear interpretations in more traditional Indian textiles.
McDonalds provided yet another safe option for our delicate stomachs in the evening.

Day Two

In the morning, we had the official inauguration of the workshop, where we were introduced to the director of the school, Dr Pratap Kumar, and the head of the fashion department, Professor Malini. D. The Indian staff thanked us enormously for our part in what they have described as an important international collaboration between the two universities. The ceremony was well attended and most of the Indian national press were present, and covered the story in the following days papers. After the speeches, an opening ceremony for the project was perfomed, this entailed the lighting of candles surrounding a peacock sculpture, a symbol of initation and the royalty of India. The ceremony symbolises the opening of a new chapter between the two universities, offering the possibility of an exchange of knowledge and future collaborations.
For lunch we ventured to Domino’s pizza, the American chain which offered an Indian interpreatation on Italian cuisine.
Professor Malini D. made a presentation on “Traditional Indian Textiles”, and in the afternoon, Mr Chiranjeevi Reddy from the accessory design department presented an overview on “Indian Crafts and Industry”.
The local students have been fantastic hosts from the first day, taking care of our every need and acting as tour guides when necessary. In the evening, they took us to Shilparamam, a traditional bazaar run by the Arts, Crafts and Cultural Society of Hyderabad. It is actually a park were local crafts people come to present their hand-made produce (textiles, papercraft, clothing, etc). This was our first shopping experience, and we were pleasantly surprised at how willing the local salespeople were prepared to bartar with us but we were extremely fortunate to have our Indian student guide, Abhilasha, helping us. We were slighted perturbed by the street chilren who were constantly harrassing us for money, in the end we had the return to campus by taxi.

Day One

After a rather long but comfortable trip on Air Emirates, via Istanbul and Dubai, we finally arrived in Hyderabad at 9:00am. Şölen Kipoz, accompanied, Begüm Kapan, Olgay Ergin, Burcu Yıldız, Yasemin Biricik, Başak Cankeş, Ayşegül Göçen, Müge Elmacılar, Derya Gürbüz, and Merve Sepetoğlu. Angela Burns did not make it as her visa did not arrive on time. We were welcomed by Sri Pattur and 3 technicians from NIFT who presented us with roses at arrivals. On reaching the campus, we were introduced with the 10 Indian students who will participate in the workshop. We shared a dinner in the well-known sandwich chain, Subway (the safest option on first day).

IEU Fashion Design Department

Our aim is to prepare future industry professionals who will bring the Turkish fashion, textile and ready-to-wear industry to the top of the global market.
The concern of our program is for students to understand the process of creating and marketing global brands related to Fashion Design, Textile Design and the Fashion Business.
The teaching structure has been formed to respond to the necessities of the business world. Many of the teaching staff have been chosen from the industry and are also currently active with prominent companies in Aegean region.
Through the path of building an international vision; consultancy given by the professional staff of Istituto Europeo di Design in Italy, Western Michigan University in U.S.A and Middlesex University in United Kingdom is supporting the main staff. This vision is empowered by English as the core language of instruction in addition to courses in second foreign language.
The core academic staff consists of six full time professors and three assistants. In addition to this, visiting professors from other universities and professionals who specialize in the business of fashion and design.Fashion Design Department structures its scientific content thru a balance between cultural, technical and design areas. Within this structure, it has been aimed not only being the leader as a school, but also a center of attraction for both professionals and amateurs of the fashion world. Faculty and industry professionals are also involved with the organization of a fashion council and a trend forecasting project.
The students study common core courses in the first year of the education. During the second year, they will specialize in one of the following options: Fashion Design, Textile Design or Fashion Business.

Fashion Design Specialization Area
The aim of the Fashion Design Option is to prepare the students to be professionals in the ready-to-wear industry, to carry out research in that field and to manage projects in collaboration with the industry.The method of instruction is structured upon the idea of developing international brand images by original and market oriented designs. This is accomplished through the practical collection courses and stages in the companies. By utilizing this approach, cultural knowledge is gained through the history of art and fashion, sociology, aesthetics, semiology and marketing courses. Technical knowledge is gained through material technology, pattern and dress making techniques, color and presentation techniques, computer applications and laboratory courses. This technical knowledge is then reflected by the students thru design pojects related to various sectors such as womens’ wear, mens’ wear, childrens’ wear, sportswear, knitwear, leather garments and accessories.

Fashion Business Specialization Area
The goal of the Fashion Business Option is to prepare students for professional careers in the Fashion Industry, both in Turkey and abroad. Technological advances in the Business of Fashion just in the past few years include Computer Aided Design (CAD), Computer Body Scanning, Electronic Data Interchange (EDI), Electronic Inventory Systems, Just In Time manufacturing capability, Quick Response, Mass Customization and countless advances in the production of fibers and garment manufacturing. The marketing and advertising of fashion products has developed into an industry of its own. All of the corporations, from the smallest button manufacturer in India to the largest design and production firms in New York City are in need of educated and well-informed individuals. Our goal is to respond to the demands of the Industry for skilled, informed, and highly motivated individuals. The environment of the Fashion Industry is one of constant innovation. Our students will be equipped to meet, and exceed, these challenges in an organized and professional manner. The ability to solve problems and adapt quickly to new situations in the business environment is one of the most important lessons the students will become competent at. The Fashion Business curriculum is continuously accentuated by lectures and seminars by Industry leaders and visits to Fashion related facilities. Students are given unique access to the professionals who are currently leading the Fashion and Textile Industry in Turkey and abroad. These are opportunities for the students to see and hear exactly what challenges they will be faced with in their careers and important contacts for them as they start to look for employment after graduation. The Business of Fashion Option will emphasize the international importance of the Fashion and Textile Industries, especially to Turkey. Our intention is to prepare students to be the future leaders of this vital sector of Turkeys economy. As graduates of the Izmir University of Economics they will be ready to establish the next generation of global Turkish brands.

Angela Burns

Angela Burns has been teaching at the Fashion Design Department of Izmir University of Economics for 2 years and is responsible for a variety of courses in Design and Fashion Illustration.

Asst. Prof. Dr. Şölen KİPÖZ

Şölen Kipoz is Head of the Department of Fashion Design at Izmir University of Economics where she teaches a variety of courses from Trend Analysis and Forecasting, to Fashion Design Studio. She is widely published on her analysis of fashion trends and regularly presents papers on fashion theory and design history at international conferences.

Cross-cultural Fashion Practices

Turkey and India are developing countries in terms of creating and communicating their global fashion brands. In both countries, contemporary designers seek international exposure through the modern exploitation of their cultural heritage, and rich traditions found in their historical textiles and costumes. Turkey is in a transitional period of developing cultural material into an international design language. In India, with the help of international fashion weeks and efficient institutions, designers are conserving the crafts related to the creation of Indian textiles, in tune with the industrial systems of production and marketing. Essentially, the integration of cultural research into design education in a pedagogical manner provides the backbone for developing a cultural identity in the contemporary fashion arena. This can be achieved by crossing the bridge between generations, recognizing the importance of cultural and historical design sources and re-interpreting their influence on contemporary design practice. In addition, recognition of another culture and the integration of this culture with the native way of life can add a cross-cultural dimension to contemporary design practice.


In this 3 weeks workshop( 13 weekdays) the students from IEU and NIFT, will work together in groups sharing their cultural experiences, understanding each others lifestyles, analysing contemporary design and fashion in order to create a capsule collection related to clothing and accessories.

The aim of this workshop is:

To introduce the students to another culture while creating an awareness to their native culture.
To explore ways of understanding cultural material and to translate findings in to a contemporary design element
To create an international design language by translating cultural material in to modern looking international design solutions

Process and Expectations

Lecture and Presentation on Turkish culture, and Survey of Turkish Fashion Sector
Field Trip-excursion on Indian culture: 3 days
Concept Development (Research analysis, Moodboards): 2 days
Design Development (Sketchbook) 3 days
Prototype (One outfit + accessories) 3 days
Styling and Presentations (Jury + fashion show + exhibition + press meeting) 2 days