Moving from project-based ways of working in the 1st and 2nd year, the 3rd year is the first continuous collection-based project from the beginning till the end of each school year. Each collection will consist of 5 (five) silhouettes, varying in complexities and detailing depending on the abilities and available resources of each student. The 3rd year is in many ways a preparatory year for the 4th year, so this is an organic number of silhouettes fitting perfectly between the required amount of silhouettes in the 2nd and 4th year. The students are free to be inspired by personal concepts developed individually and they are supplemented by academic requirements provided to enhance the learning experience and to ensure a more thorough understanding of their own connection to fashion.

The first academic requirement, relating specifically to the development of their own concept, is the addition of extensive research of a given topic within the realm of a historical costumes. Each student will be assigned a costume or designer and their task is to make in-depth explorations into the designer, history, pattern, construction, materials, the person, artist and era of their costume. This will form a crucial base for the collection; providing valuable inspiration for their own personal development of textiles, patterns, fashion history and drawing. To ensure that the research is being physically materialised into their own work, the research will result in the development of one specific contemporary outer layer within the collection. The piece will be carefully designed and constructed with the costume in mind, but in a new and cohesive manner within the context of the concept of each individual collection. Emphasis will be put on the development of patterns and construction to ensure a better understanding of the importance of construction and pattern making as a fashion designer. In addition to that, students are encouraged to further incorporate the costume within the collection through other garments, detailing, proportions and textiles. This happens organically throughout the process, but the requirement is to produce 1 (one) garment that reflects the costume in a context.

The second academic requirement is the addition of two visual artists, one historical and one contemporary, to supplement their personal concepts. This provides a more in-depth understanding of the deep rooted connection between fashion and art, and it provides a base for the development of textiles, colours and fabrics. Textile manipulations are crucial in the 3rd year, as it is no longer a standalone class, but integral to the development of the collection. It is important that their textiles reflect the collections in the best ways possible, so textiles go hand-in-hand with the design process of each student. A silhouette is based upon the proportions, construction, layering, colours and textiles, and it is crucial that each part is developed in cohesively.

The third academic requirement is the inclusion of experimental drawing exercises. Proven to be a very interesting and helpful exercise for the students to express themselves without subconscious control, the experimental drawings let the students explore designing without fear of overthinking. Based on the removal of our senses and how they affect our ability to transmit inspiration onto paper, the students have to try to express themselves without the ability to see, hear or even smell. The year starts with a session on the first day of school - first with blindfolds, then with the addition of ear plugs and finally the cancellation of smell. What happens when the brain and our hand is all we have left of our creative expression? With quick intervals of 30 seconds, the students will utilise a broad spectrum of available material in all kinds of colours, textures and contrasts. After the exercise is finished, an analysis of each drawing will be done individually with each student and we will move on to interpretative drawings at home as an exercise for the following lesson.

Focusing on a more integral design process, the year proceeds in an organic and natural way from the experimental drawings and onto the analysis of shapes, forms, proportions and details. From the 2nd lesson, the students will start the creation of a sustainable sculpture made entirely of waste, which will be a conscious step towards a better awareness of what design is about and what kind of shapes and forms are setting the tone of the collection. With the use of the analysis of the experimental drawings, interpretative drawings, inspirations from the workbook and the costume research, the students will be guided towards a more tactical understanding of what their experiments could result in shape-wise. This will be an important exercise in mixed mediums and it is a crucial step towards the development of sketching out silhouettes and collages for the proposed silhouettes.
After this project, there will be another round of analysis and deeper discussions on what works and what doesn't work individually. The sculpture will be developed further and finalised at home for the classes the day after, in addition to a few quick sketches of what inspires them when they look at it at home in their own environment.

The next step in the process is to start designing the collection. A process which continues towards the end of January, where one (1) silhouette will be chosen for the 1st jury.. After enough materials are produced to experiment in full-scale 3D, the students will start with explorative 3D draping studies of details and proportions, organically evolving all our experiments towards prototyping.

The requirement for the 1st jury is one (1) finalised prototype of the chosen silhouette, full colourised lineup of the collection including the costume inspired outerwear, textile manipulations, 3D sculpture and a workbook.

The 2nd semester will be dedicated to the development of the remaining prototypes and the realisation of the finalised collection for the 2nd jury, including a photoshoot, lookbook, colourised lineup and all textile manipulations.

Qualification for the third year of studies: Knowledge of the field of fashion; the ability to analyze, materialise and execute contemporary phenomena within the field of art and popular culture

The ability to construct a highly personalised concept; the ability to incorporate given tasks into individual concepts without compromise; the ability to perform independent in-depth research relating to the given tasks; the ability to materialise personal artistic expressions; the ability to utilise specific workshops to execute the materialisation; the ability to develop individual specialised techniques and methods to enhance craftsmanship; finalisation of 5 (five) total look outfits, referred to as ‘silhouettes’; public presentation of the finalised work during 1st and 2nd semester juries

Assessment of individual and highly personalised work in harmony with concept and inspiration; assessment of the level of skill, execution, craftsmanship and knowledge; assessment of the student’s ability to work with shapes and layers to create contemporary silhouettes; assessment of the ability to transform and manipulate materials and to work with prints and colours; assessment of the process and evolution of each student; the assessment the assessment of the evaluation of the presentation of their own work according to the scale of grades placed in the Study Regulations of the Fine Arts Academy in Warsaw

Realizacja założeń programowych poprzez ćwiczenia, które prowadzą studenta od badań do projektów końcowych sylwetek tworzących jedną kolekcję ubrań. Ćwiczenie ma wykazać, że student jest zdolny do:
prowadzenia niezależnych badań oraz do ich wykorzystania w rozwoju projektu;
pracy z kolorami;
pracy z materiałami, opartej na ich znajomości;
Ćwiczenie 1 – semestr zimowy
Elementy projektowanego ubioru są wyborem studenta, opartym na doświadczeniu z I i II roku studiów.
Pierwszy etap ćwiczenia to badania i szkice. Głównym celem jest zachęcenie studenta do dalszego odkrywania własnego stylu w kreowaniu współczesnej kolekcji. Studenci mogą czerpać inspirację z dowolnych źródeł (preferowane są źródła inne niż kolekcje znanych projektantów współczesnych). Badania powinny doprowadzić do powstania księgi sylwetek, które będą ilustrowały osobiste motywy i czynniki mające wpływ na zawarty materiał. Studenci powinni opracować przynajmniej 50 szkiców sylwetek w oparciu o wyniki badań. Studenci rozpoczynają też pracę nad prototypami wybranych sylwetek. Kolejny etap badań poświęcony jest materiałom i wykończeniu. Powinien powstać rysunek przynajmniej 1 sylwetki w formacie A3 (we współpracy z pedagogiem prowadzącym rysunek). W trakcie całego procesu projektowego student jest prowadzony w kierunku osiągnięcia najlepszego możliwego rezultatu projektowego.
Ćwiczenie 2 – semestr letni
Projekt i realizacja do 6 sylwetek stanowiących zalążek zamkniętej kolekcji mody. Na etapie badań i szkiców student jest zachęcany do dalszego odkrywania własnego stylu w kreowaniu współczesnej kolekcji. Studenci mogą czerpać inspirację z dowolnych źródeł (preferowane są źródła inne niż kolekcje znanych projektantów współczesnych). Badania powinny doprowadzić do powstania księgi sylwetek, które będą ilustrowały osobiste motywy i czynniki mające wpływ na zawarty materiał. Studenci powinni opracować przynajmniej 70 szkiców sylwetek w oparciu o wyniki badań. Dla 6 najlepszych sylwetek stworzone zostaną prototypy. Kolejny etap badań poświęcony jest materiałom i wykończeniu. Kolekcja zostanie zaprezentowana w księdze (portfolio) oraz przy pomocy innych mediów (fotografia, film) przy współpracy z innymi pedagogami. Studenci powinni mieć mocno zarysowaną wizję (na bazie pomysłów oraz badań) dotyczącą stylizacji, make-up’u oraz historii kryjącej się w prezentacji.
W trakcie całego procesu projektowego student jest prowadzony w kierunku osiągnięcia najlepszego możliwego rezultatu projektowego.
Portfolio i prezentacja (przy współpracy z innymi pedagogami)
Na koniec VI semestru student przygotowuje księgę kolekcji (portfolio) i prezentację. Elementy wszystkich ćwiczeń powinny znaleźć się w księdze i ukazać proces budowania kolekcji. Portfolio stanowi bezpośredni dowód na to, że student jest zdolny i przygotowany do tworzenia własnej kolekcji dyplomowej. W księdze kolekcji student powinien skoncentrować się na:
Zestawieniach kolorystycznych
Wyborze materiałów oraz prezentacji własnych materiałów
Atmosferze, personalnym podejściu
Stylizacji
Prezentacji
Rysunku technicznym
Szkicach

Zbudowanie kreatywności i oryginalności studentów, przygotowanie do stworzenia własnej kolekcji ubrań. Studenci powinni móc pracować jako niezależni projektanci, umieć przełożyć swoje pomysły na konkretną kolekcję. Na końcu VI semestru studenci powinni umieć w sposób kreatywny i indywidualny (za pomocą wszelkich możliwych, wybranych mediów) zaprezentować swoją kolekcję.


There is no compulsory literature required in the 3rd year, but it rather depends on each student’s individual concept. Literature, art and movies will be recommended during the research phase and it is the result of individual conversations with the teacher. Overall, the 3rd year teacher encourages every student to keep themselves informed by reading books and art and fashion magazines, and to attend exhibitions and movie screenings throughout the year.

studio projektowe wyposażone w podstawowe narzędzia krawieckie;
biblioteka specjalistyczna;
pracownia komputerowa z dostępem do Internetu;
sala wyposażona w rzutnik multimedialny;
sprzęt multimedialny;