Identifying Data 2020/21
Subject (*) Art and Fashion History Code 710G03001
Study programme
Grao en Xestión Industrial da Moda
Descriptors Cycle Period Year Type Credits
Graduate 1st four-month period
 First Basic training 6
Language
Spanish
Teaching method Face-to-face
Prerequisites
Department Humanidades
Coordinador
Lezcano González, Mª Elvira
 E-mail
m.lezcano@udc.es
Lecturers
Lezcano González, Mª Elvira
 E-mail
m.lezcano@udc.es
Web
General description Esta materia ten como fin introducir ao alumnado na Historia da Arte e da Moda dun xeito reflexivo, analizando cada época cos seu propios condicionantes culturais, históricos, sociais e as súas posibilidades técnicas. Ver a moda a través da historia da arte: formas, modelos e complementos, obras, estilos, evolución, materiais, técnicas e ferramentas. Os condicionantes da moda ao longo da historia. A moda nos museos e/ou exposicións. Os deseñadores-creadores: coñecer as súas porpostas no momento de achegarse ao proxecto. A aportación da Historia da Arte á moda ao longo do tempo: entender e interpretar as creacións artísticas, valoración, xestión e productividade. A Historia da Arte como fonte para o estudo da vestimenta. Os temas acompañaranse do seu correspondente material gráfico e escrito.
Contingency plan 1. Modificacións nos contidos
Non haberá modificación nos contidos en caso de confinamento.

2. Metodoloxías
*Metodoloxías docentes que se manteñen
Clase maxistral e traballos tutelados. Seminarios.

*Metodoloxías docentes que se modifican
As clases interactivas nas que se traballaba por grupos, serán sustituidas por traballo do grupo de forma virtual e atención personalizada por parte da profesora en forma de titoría grupal.

Correo electrónico: Diariamente. De uso pra facer consultas, solicitar encontros virtuais para
resolver dúbidas e facer o seguimento dos traballos tutelados.
– Moodle: Diariamente. Segundo a necesidade do alumando. Dispoñen de “foros temáticos
asociados aos módulos” da materia, para formular as consultas necesarias. Tamén hai “foros
de actividade específica” para desenvolver as “Discusións dirixidas”, a través das que se se
pon en práctica o desenvolvemento de contidos teóricos da materia.
– Teams: 1 sesión semanal en gran grupo para o avance dos contidos teóricos e dos traballos
tutelados na franxa horaria que ten asignada a materia no calendario de aulas da facultade.
De 1 a 2 sesións semanais (ou mais segundo o demande o alumnado) en pequeno grupo (ate
6 persoas), para o seguimento e apoio na realización dos “traballos tutelados”. Esta dinámica
permite facer un seguimento normalizado e axustado as necesidades da aprendizaxe do
alumando para desenvolver o traballo da materia.

3. Mecanismos de atención personalizada ao alumnado
Ademais da titoría grupal personalizada, no caso das interactivas, proporanse outras titorías personalizadas en horarios propostos pola profesora.

4. Modificacións na avaliación

Manterase o traballo grupal con parte individual, presentados de xeito virtual e a proba obxectiva, de opción múltiple, en versión on line.

Traballos tutelados (50%): En relación cos traballos tutelados valorarase:

– A adecuación metodolóxica das propostas de traballo.
- A profundidade do contido
- O dominio das aplicacións utilizadas na elaboración das propostas socioeducativas.
- O tratamento dunha linguaxe propia do contexto disciplinar.
- A utilización de fontes documentais complementarias e actuais.
- A presentación e a claridade da exposición.
Daranse pautas para a elaboracion dos traballos na plataforma Moodle e nas clases interactivas.

*Observacións de avaliación: O traballo grupal con parte individual proporase de tal xeito que sexa posible realizalo e presentalo tanto de forma presencial como on line.

REQUISITOS PARA SUPERAR A MATERIA:
1. Asistir e participar regularmente nas actividades da clase (Mínimo 80% do tempo).
2. Obter unha puntuación do 50% do peso de cada unha das partes obxecto de avaliación

3. Entregar e expoñer os traballos tutelados na data que se indique.
4. A oportunidade de xullo estará sometida aos mesmos criterios que a de xuño.

5. Modificacións da bibliografía ou webgrafía Non se farán modificacións. Se lle ofrecerán ao alumnado referencias on line para o estudo e desenvolvemento dos seus traballos.

Study programme competencies
Code Study programme competences
A1 To acquire basic knowledge of the management of a textile/fashion firm at a strategic, operational and functional level
A2 To know the aspects of the environment that shape the evolution of the fashion industry and its firms, with particular focus on the impact of economic and legal trends
A4 To master the fundamentals of design in general and fashion design in particular, and to frame them in their historical context, both specific and general
A5 To develop the necessary skills to generate creative and innovative ideas
A7 To know the reality and social conditions that influence fashion, with a perspective of its historical development
A8 To be able to design and implement efficient marketing strategies from knowledge of the social environment, with a focus on communication and distribution: messages, media, channels, customer relationships, etc…
A13 To know the impact of technology on the different processes of the textile industry
A18 To know the plastic and visual languages in the realm of fashion industry design, in order to understand and interpret the artistic creations of fashion garments
A19 To acquire the capacity to collect, select and analyse information flows; their integration in the information systems and processes of the firm; and their application to strategic and operational decision-making; always from an ethical perspective
B1 That students demonstrate that they acquired and understood knowledge in a study area that originates from general secondary education and that can be found at a level that, though usually supported by advanced textbooks, also includes aspects implying knowledge from the avantgarde of its field of study
B2 That students know how to apply their knowledge to their job or vocation in a professional form, and have the competencies that are usually demonstrated through elaboration and advocacy of arguments and problem resolution within their field of study
B3 That students have the capacity to collect and interpret relevant data (normally within their field of study) in order to issue judgements that include a reflection upon relevant topics in the social, scientific or ethical realm
B4 That students may convey information, ideas, problems and solution to the public, both specialized and not
B5 That students develop those learning skills that are needed to undertake ulterior studies with a high degree of autonomy
B6 Capacity for cooperation, team-work and collaborative learning in interdisciplinary settings
B7 Capacity to analyse trends (critical thinking)
B8 Capacity to plan, organize and manage resources and operations
B9 Capacity to analyse, diagnose and take decisions
B10 Capacity to understand the social and historical-artistic dimension of fashion design and industry, as vehicle for creativity and the quest for new and effective solutions
C3 Using ICT in working contexts and lifelong learning.
C7 Developing the ability to work in interdisciplinary or transdisciplinary teams in order to offer proposals that can contribute to a sustainable environmental, economic, political and social development.
C8 Valuing the importance of research, innovation and technological development for the socioeconomic and cultural progress of society.
C9 Ability to manage times and resources: developing plans, prioritizing activities, identifying critical points, establishing goals and accomplishing them.

Learning aims
Learning outcomes Study programme competences
Learn about the evolution of art history and fashion from the first civilizations to the beginning of the 21st century. A2
A4
A7
A18
 B1
B3
B5
B6
B7
B10
 C7
C8
Understand the development and evolution of fashion in the different stages or historical moments through the artistic styles that followed from Antiquity to the present day, as well as its influence. A2
A4
A7
A18
 B1
B2
B3
B10
 C7
C8
To be able to value the main currents of the design of the current fashion and throughout the History of the Art. A2
A4
A5
A7
A18
A19
 B1
B3
B5
B7
B10
 C7
C8
Relate and identify images - works and designs (epoch, period, artistic movement, etc.), to acquire a basic conceptual background to reflect on proposals, projects or creations of their own. To value, in addition, their possible influences within other trends or arts, to be able to work for themselves or as members of diverse and multidisciplinary teams A2
A4
A5
A7
A18
A19
 B1
B2
B3
B4
B6
B7
B10
 C3
C7
C8
To develop and apply the concepts presented in the class to different practical works -individual and as a team: objects, costumes, dresses, or other elements related to fashion. A1
A2
A4
A5
A7
A13
A18
A19
 B1
B2
B3
B4
B5
B6
B7
B8
B9
B10
 C3
C7
C8
Develop and exhibit team work related to the topics explained, applying the previous knowledge given for its realization. A2
A4
A5
A8
A18
A19
 B1
B2
B3
B5
B6
B7
B8
B9
B10
 C7
C8
C9

Contents
Topic Sub-topic

LESSON 1. Introduction.

 1.1. Relationship between the History of Art and Fashion: art as an inspiring and testimony of clothing and fashion. Fashion as art.
1.2. Artistic and fashion-related terminology.

LESSON 2. Introduction to research in the fields of art and fashion
 2.1. Sources for study: bibliographic, documentary, iconographic, material
2.2. How to make academic citations
LESSON 3. Representation and signification of Dress in Prehistory and the Ancient Age


3.1. Prehistory
3.2. Ancient civilizations: Egypt and Mesopotamia
3.3. Classical Art: Greece and Rome
LESSON 4. Artistic manifestations and dress in the Middle Ages


 4.1. High Middle Ages
4.2. Low Middle Ages


LESSON 5. Art and the representation of dress in the Modern Age
 5.1. Renaissance and Mannerism
5.2. Baroque and Rococo
LESSON 6. Artistic Manifestations and Clothing in the Contemporary Age



 6.1. Neoclassicism
6.2. 19th and 20th centuries


LESSON 7. Heritage Interpretation as a tool for communication
7.1. Fundamental principles, interpretative means


LESSON 8. History of Art as inspiration in fashion.

 8.1. History of Art by the hand of fashion design

8.2. Collaborations Artists-Designers

Planning
Methodologies / tests Competencies Ordinary class hours Student’s personal work hours Total hours
Objective test A2 A4 A7 B1 B2 B3 B7 C3 C8 2 6 8
Supervised projects A2 A4 A5 A7 A8 A18 A19 B1 B2 B3 B5 B6 B8 B9 B10 C7 C8 6 21 27
Field trip A2 A4 A5 A7 A8 A13 B1 B2 B6 B7 C7 C8 2 8 10
Oral presentation A5 A8 A18 B2 B4 B7 B10 C7 C8 C9 1 3 4
Seminar A4 A5 A13 A18 B1 B2 B3 B5 B7 B10 C7 C8 4 8 12
Guest lecture / keynote speech A1 A2 A7 A18 B1 B2 B3 B5 B6 B7 B10 C3 C7 29 0 29
 
Personalized attention 60 0 60
 
(*)The information in the planning table is for guidance only and does not take into account the heterogeneity of the students.

Methodologies
Methodologies Description
Objective test Written learning progress test, characterised by pre-determined answers. Well-designed tests offer objectively quantifiable results in relation to student knowledge, capacities, skills, performance, aptitudes, attitude, intelligence, etc. Used for diagnostic, formative and summative assessment. May consist of all or any of the following types of questions: multiple choice, ordering and sequencing, short answer, binary, completion, multiple matching
Supervised projects Supervised learning process aimed at helping students to work independently in a range of contexts (academic and professional). Focused primarily on learning ‘how to do things’ and on encouraging students to become responsible for their own learning.
Field trip Activities associated with particular area of study which take place away from university or academic environment (businesses, institutions, organisations, historical sites, etc.), aimed at developing research capacities, including direct, systematic observation, information gathering and product development (project outline, plan, etc.)
Oral presentation Core component of teaching-learning process involving coordinated oral interaction between student and teacher, including proposition, explanation and dynamic exposition of facts, topics, tasks, ideas and principles.
Seminar Group work technique aimed at in-depth exploration of given topic, consisting of group discussion, individual engagement, preparation of texts and collective conclusions
Guest lecture / keynote speech Oral presentation (using audiovisual material and student interaction) designed to transmit knowledge and encourage learning. Presentations of this type are variously referred to as ‘expository method’, ‘guest lectures’ or ‘keynote speeches’. (The term ‘keynote’ refers only to a type of speech delivered on special occasions, for which the lecture sets the tone or establishes the underlying theme; it is characterised by its distinctive content, structure and purpose, and relies almost exclusively on the spoken word to communicate its ideas.)

Personalized attention
Methodologies
Objective test
Supervised projects
Field trip
Description
Seeking to promote learning by students and critical spirit. During the course there will be interactive classes in which personalized attention will be given in small groups and, if necessary, in individual tutoring or email. The work will be done progressively, so this attention and the participation of students will be important.

Assessment
Methodologies Competencies Description Qualification
Seminar A4 A5 A13 A18 B1 B2 B3 B5 B7 B10 C7 C8 Asistencia a Seminarios, Obradoiros, Encontros, Conferencias especializadas. 10%
10
Objective test A2 A4 A7 B1 B2 B3 B7 C3 C8 Consistirá nun exame final no que se desenvolverá un tema ou capítulo do programa e/ou preguntas curtas, tipo test ou comentario de imaxes. Ata un 40%. 40
Supervised projects A2 A4 A5 A7 A8 A18 A19 B1 B2 B3 B5 B6 B8 B9 B10 C7 C8 Valorarase o traballo en grupo e individual realizado, en función do continente e o contido do mesmo. Ata un 50%.

O traballo tutelado divídese en dúas partes: grupal e individual. Cada unha delas será valoirada nun 25% da calificación final. 		50
 
Assessment comments

-All parts have to be passed by at least 50% in order to do the final computation. Students who fail the exam will be listed with the grade obtained in the exam.

- Attendance is compulsory. In order to apply for the percentages system, pupils must attend at least 80 per cent of classes. Those who do not reach this percentage or avail themselves of the dispensation system will have to take a written test valued at 100%, but they will also have to hand over the individual works proposed and pass them, although they will not score in the final grade.

- Individual papers and oral presentations will be directly related to group work. The detailed instructions will be explained by the teacher in class and displayed on the Moodle platform for consultation. The group work will score 25% and the individual another 25%.

The above evaluation criteria shall apply both in the first and the second opportunity.



Students who release part of the subject through a partial test will only be valid for the current course. If a student who has a part released fails to pass the subject as a whole in June or July, his final grade will be suspended, and he will have to repeat all the subject in the following academic years.

It is forbidden to access the classroom in which the different tests are conducted with any device that allows communication with the outside and/or storage of information.

Sources of information
Basic

AMBROSE, Gavin; HARRIS, Paul. Diccionario visual de la moda. Barcelona, 2008. Editorial: Gustavo Gili.

ARGAN G. C., El Arte moderno. Del Iluminismo a los movimientos contemporaneos. Madrid. Akal, 1991. (1ª ed.: El arte Moderno 1770-1970. 2 v.).

ABERCROMBIE, S.: George Nelson: The design of modern design. Cambridge. MA.1995.

BOEHN, Max von. La moda: historia del traje en Europa: desde los orígenes del cristianismo hasta nuestros días. Con un estudio preliminar por el Marqués de Lozoya. 3ª ed. v. I, 1945 1ª Ed. Salvat. (son doce tomos)

BONET CORREA, Antonio (coord.). Historia de las Artes aplicadas e industriales en España. Madrid. Manuales Arte Cátedra, 1994, 3ª edic.

BOZAL, V., El arte del siglo XX. La construcción de la vanguardia. Edicusa. Madrid, 1978.

-- Arte del siglo XX en España. Madrid. Espasa Calpe, 1993, 2 vols.

-- Modernos y postmodernos. Madrid, Historia 16, 1993.

--Historia de las ideas estéticas. Madrid. Historia 16, 1997.

BOUCHER, F. Historia de la moda en Occidente de la Antigüedad a nuestros días. Paris, 1965.

CASTRO, C. Historia de la vestimenta a través del arte. Ed. Niebla, Huelva, 2015.

CASTELO ÁLVAREZ, Bernardo: Las Primeras Vanguardias Históricas del siglo XX. Santiago de Compostela, Tórculo Edición. 1986.

CENDÁN, Susana: La moda (no ) son siempre los demás. Interrelaciones entre moda, arte y diseño. Aldine editorial. Ferrol, 2009. ISBN: 978-84-9916-211-9

COAD, E. D.: Javier Mariscal: Designing the New Spain. Londres. 1991.

CONRAN. T.: Diseño. Barcelona. 1997.

COSGRAVE, Bronwyn: Historia de la moda. Desde Egipto hasta nuestros días. Gustavo Gili, Barcelona, 2005. 978-84-2522064-7

CHARLOTE & PETER FIELL,: Diseño del siglo XX. Nueva York. Taschen, 2005.

DESCALZO, Amalia y LEIRA, Amelia "España en sus vestidos, 1840-2000". En: FUENTES SANTOS, Mónica y GÓMEZ COCA, Amaia (coord) España Contemporánea: fotografía, pintura y moda. Catálogo de la exposición en Fundación MAPFRE. 2013, pp. 47-71. ISBN 978-84-9844-447

DESLANDRES, Y. El traje imagen del hombre. Barcelona, 1985. Editorial Tusquets

DÍAZ SÁNCHEZ, Julián (coord.): “Arte, diseño y moda; Confluencia en el sistema artístico”, en: Colección estudios. Universidad Castilla La Mancha, 2015. ISBN: 978-84-9044031-5

DORMER, P.: Diseñadores de siglo XX. Las figuras claves del Diseño y las Artes Aplicadas. Barcelona. 1993.

GOMBRICH, E.H. Historia del Arte. Madrid, 1997. Editorial: Phaidon

HAJTE, U. Historia de los Estilos Artísticos. Vol. I y II. Madrid, 2001. Editorial: Itsmo

IRELAND, Patrick John. Enciclopedia de acabados y detalles de moda. Barcelona, 2008. Ed. Parramón.

IRELAND, Patrick John Figurines para el dibujo de moda. En español. ISBN: 978-84-34232624

LAVER, J. Historia del arte y de la moda. Ed. Cátedra, Madrid, 1988. 

LAYUNO ROSAS, M.A.: Los nuevos museos en España, Madrid, Edilupa, 2002.

MANIERI ELIA, Mario,: William Morris y la ideología de la arquitectura moderna. Barcelona. Gustavo de Gili, 1977.

MASCHKE, Th, HEINEMANN. Th.: Diseño. Los clásicos del futuro. Madrid 1999.

--Mobilier Japanais. Tokio, 1985. Catálogo de Exposición.

MONROE C. BEARDSLEY y John HOSPERS: Estética, historia y fundamentos. Madrid. Cátedra, 1976, 1988.

MONTANER, J.M.: Museos para el nuevo siglo, Barcelona, G. Gili, 1995.

MONTAÑA, Jordi y MOLL, Isa,: Diseño: rentabilidad social y rentabilidad económica. Madrid. Ministerio de Ciencia y Tecnología, Fundación BCD, 2000

MOORE, K. (ed.): La gestión del museo, Gijón, Trea, 1998.

--Nouvelles Tendances : les avant-gardes de la fin du XXme siècle. París. 1986. Catálogo de Exposición.

OLIVÉ, Elisabet. Y yo, ¿qué me pongo?. Barcelona, 2010. España: Ed. Libros cúpula

PLAZA ORELLANA, Rocío. Historia de la moda en España. Córdoba, 2009. España: Ed. Almuzara

PÉREZ DE LA PEÑA, Gorka (Idea y proyecto científico. Exposición). Arquitectura religiosa contemporanea 1875-1975. Bilbao, 2004.

RAMÍREZ, J. A. (coord.) Historia del arte (vol. I). La Edad Antigua. Madrid,1997. Alianza Editorial.

RAMÍREZ, J. A. (coord.) Historia del arte (vol. II). La Edad Media. Madrid, 1996. Alianza Editorial.

RAMÍREZ, J. A. (coord.) Historia del arte (vol. III). La Edad Moderna. Madrid, 1997. Alianza Editorial.

RAMÍREZ, J. A. (Coord.) Historia del arte (vol. IV). La Edad Contemporánea. Madrid, 1997. Alianza Editorial.

RAMIREZ, Juan Antonio: Las vanguardias históricas: del Cubismo al Surrealismo. Alianza Editorial, Madrid, 2003.

REIFF ANAWALT, Patricia. Historia del vestido. Barcelona, 2008. España: Ed. Blume. ISBN 978-84- 9801299-6

SEBASTIÁN, Santiago. Mensaje del arte medieval. Córdoba, 1991. Editorial EL Almendro.

VILASECA, Estel. Desfiles de moda. Diseño, organización y desarrollo. Barcelona, 2010. Editorial: Promopress.

VVAA. Elena Rosera Caicedo (coord.) Los servicios de información y documentación en el marco de la cultura y el arte contemporáneo. Edicciones Trea. 2008.

VV.AA. Fuentes y documentos para la Historia del Arte. Arte Antiguo. Arte Medieval I y Arte Medieval II. Barcelona, 1982. Editorial Gustavo Gili.

VV.AA. Moda. Historia y estilos. Ed. Dorling Kinderlsley. London, 2015.


WEBGRAFÍA (The presentation for each theme includes numerous references that are easy to locate on the Internet)

Museo del traje http://museodeltraje.mcu.es/

Victorian & Albert Museum. http://www.vam.ac.uk/

Museo Reina Sofía http://www.museoreinasofia.es/index.html

Museo Pompidou http://www.centrepompidou.fr/

MOMA http://www.moma.org/

Tate Gallery. http://www.tate.org.uk/modern/

Museo del Prado. http://www.museodelprado.es/

https://offmagazine.es/2017/01/31/los-siete-museos-de-la-moda-que-no-te-puedes-perder/


Catálogos de bibliotecas

Catálogo Biblioteca Nacional: www.bne.es/es/Catalogos/

Catálogo Biblioteca Museo del Prado: http://www.museodelprado.es/investigacion/biblioteca/acceso-al-catalogo/

Catálogo biblioteca Museo Reina Sofía: http://www.mcu.es/comun/bases/spa/brso/BRSO.html

Catálogo biblioteca do Patín. UDC.

BIBLIOGRAFÍA COMPLEMENTARIA. It will be complemented by specific literature for each lesson, in the presentations offered by the teacher, which will be accessible to students on the Moodle platform.
Complementary

BIBLIOGRAFÍA COMPLEMENTARIA: It will be complemented by specific literature for each lesson, in the presentations offered by the teacher, which will be accessible to students on the Moodle platform.

Recommendations
Subjects that it is recommended to have taken before

Subjects that are recommended to be taken simultaneously

Subjects that continue the syllabus

Other comments

It would be advisable to have studied Art History. Knowledge of Art History. Sensitivity to artistic and aesthetic manifestations, fundamental aspects to understand the world of fashion design.


(*)The teaching guide is the document in which the URV publishes the information about all its courses. It is a public document and cannot be modified. Only in exceptional cases can it be revised by the competent agent or duly revised so that it is in line with current legislation.