2. T A B L E O F C O N T E N T S
| FEATURES |
2
4SECTION I
| ABOUT ME|
| IMMEADIATE CAREER OBJECTIVES |
| LONG TERM CAREER GOALS |
| RESUME |
| PERSONAL SKILLS AND ABILITIES |
8SECTION II
| SPECIAL PROJECTS |
10SECTION I
| STUDENT LEARNING OUTCOMES |
3. 3
At the beginning of the Spring Semester, I was presented with the chal-
lenge of finding a creative way of putting all my work throughout the last four
years into a portfolio. I had the option of simply printing everything out and
putting it into a binder, but I wanted to do something that would set me apart
from the rest. It did not take long for me to realize that a magazine would be the
best way to present my work.
My love for magazines probably began in high school when I was a
yearbook editor. In my yearbook class I learned everything from how to make
layouts visually appealing to how to write copy. Ever since then, I have had a pull
towards magazines. It has always been a dream of mine to work for a magazine
in their marketing or advertising department.
As with everything else in life, making this magazine was a learning
process. I have worked with Adobe Photoshop since I was in high school but
InDesign was something completely new to me. Although much simpler than
Photoshop (in my opinion) I still had to learn the basics of the program before
attempting to start this portfolio. In the end, I hope this magazine represents my
work throughout these last four years at UH Manoa as well as my skills in Photo-
shop and InDesign.
I also hope that this magazine shows just a small glimpse of all the good
times and memories that I have made throughout my college career. I have met
some of the most amazing people here at UHM. I have created friendships and
memories to last a lifetime. I also learned so much about myself as well as the
world around me, especially through my year abroad. I would like to take the
time to thank my family and friends for supporting me throughout. Without
them, I would not be sitting here today putting the final touches on this portfo-
lio.
With Aloha,
Kiana
4. S E C T I O N I
| ABOUT ME|
| IMMEADIATE CAREER OBJECTIVES |
| LONG TERM CAREER GOALS |
| RESUME |
| PERSONAL SKILLS AND ABILITIES |
5. About Me
Ambitious
When I was a little girl
my parents always used to say to
me that I could be anything that
I wanted to be when I grew up. I
remember thinking of all the pos-
sibilities and every month or so I
would choose a new career that I
envisioned myself having. At some
point though, one of those careers
stuck, and that was fashion. I loved
everything about clothing and as
I grew up I also began to build an
appreciation for the business and
marketing side of fashion.
I grew up in a small town
on the Big Island of Hawai’i called
Kea’au. My childhood was nothing
special and I spent most of my time
outside with my brother and my
best friend. By the time I was in
middle school I knew that I needed
to go get off the island and it pret-
ty much became a countdown till
I left for college. In high school I
decided on the University of Hawaii
at Manoa as my top pick for schools
where I would study Fashion Mer-
chandising and Business Adminis-
tration.
When I first moved to Oahu
I remember being so overwhelmed.
To me Oahu was like “the big city”
full of new faces and new ideas. I
was always so shocked every time
I met someone who didn’t have
the same small town mindset that
I had and in reality I had still not
truly broken out of my comfort
zone. In my junior year I decided
that I wanted to venture even far-
ther from school and spent my fall
semester at the University of Rhode
Island at Kingston. It was the first
time in my life that I did something
all by myself it was both terrifying
and invigorating at the same time.
After Rhode Island, I trav-
eled even farther east and spent a
semester in Seville, Spain. My time
in Spain was probably the most
rewarding time that I have ever had
in my entire life. While in Spain
I took advantage of the location
and traveled Europe for a month
after the semester ended. By the
time that I finally went home, I had
traveled to 12 different countries
and countless different cities. The
experience of going to new places
and putting myself in new situa-
tions truly made me realize that
there is so much more to life than
what I was grown up with.
Now that I’m back in Ha-
wai’i, I have a huge appreciation for
the world around me as well as my-
self. Being from such a small town
kind of set me up for a certain way
of life. Most kids my age end up
staying on Big Island and working
the same old jobs that their parents
had. After traveling around for a
year a realized that I can break free
from these restraints and make my
own path in life.
After I graduate from
college in May I will move to Los
Angeles to get a job in the fashion
industry. As of right now my top
career pick is to work marketing
for a fashion based company. This
of course is not set in stone and my
only true goal is get into the LA
fashion industry and make a name
for myself. I have big goals that not
a lot of other people my age have,
but I know that with hard work and
effort I can make turn them into
reality. I know that I can do what-
ever I want in life as long as I have
a little ambition and a lot of hard
work.
SHORT TERM GOALS
After graduation in May 2015, I
plan on working throughout the
summer until I move to Los Ange-
les in August. My immediate career
objective is to obtain an internship
position with the Kathy Muller
Modeling Agency. I hope to learn
the skills and responsibilities that
are necessary to run a modeling
agency. Furthermore, I hope to
gain contacts both in Hawai’i and
Los Angeles through this intern-
ship.
LONG TERM GOALS
After moving to LA in August of
2015, I hope to be hired on as part
of a marketing team for a fash-
ion related company. My two top
picks for companies right now
are Smashbox Studios and Nylon
Magazine. My job responsibilities
would include everything from ad-
vertising, to social media, to event
planning and so on. Eventually,
I plan on making my way up the
chain of command to the head of
marketing and public relations.
7. Personal
Skills
and
Abilities
Kiana
Ebeling
I
have
studied,
prepared
class
projects,
and/or
passed
university
examinations
in
each
of
the
following
areas.
In
addition,
I
have
had
on-‐the-‐job
training
in
areas
marked
with
an
asterisk
(*).
Computer
Skills:
Microsoft
PowerPoint
(presentation
software)
*
Microsoft
Word
(word
processing)
*
Adobe
Photoshop
(image
editing)
Adobe
InDesign
(publishing
software)
Merchandising
Skills:
Read
and
interpret
profit
and
loss
statements
*
Understand
inventory
control
systems
Create
in-‐store
merchandise
displays
*
Assist
customers
on
the
sales
floor
*
Handle
customer
returns
*
Handle
merchandise
returns
to
vendor
*
Conduct
physical
inventory
*
Product
Design
and
Textiles-‐related
Skills:
Conduct
fabric,
color,
and
style
trend
research
Interpret
trend
data
in
terms
of
specific
market
segments
Identify
fabric
content
and
fabrication
methods
of
textile
products
Select
appropriate
fabrics
for
end
uses
Analyze
intrinsic
and
extrinsic
factors
judging
apparel
quality
Understand
and
apply
basic
methods
of
apparel
construction
Conduct
ASTM
and
AATCC
testing
methods
Leadership
and
Presentation
Skills:
Make
professional
oral
presentations
using
computer
technology
Work
successfully
as
a
team
member
*
Lead
and
manage
team
members
*
Produce
fashion
related
events
*
Identify
issues
in
leadership
and
resource
management
9. HAWAI’I FASHION MONTH
INTERNSHIP
One of the FDM graduation requirements
is to complete a 200 hour internship alongside
the FDM internship course. In the Fall of 2014,
I completed my internship with Hawaii Fashion
Month under the direct mentorship of Amanda
Stevens.
The main objective behind Hawaii Fash-
ion Month is to promote Hawai’i’s fashion indus-
try both locally and globally. The month kicked
off with the first annual Honolulu Fashion Week,
which is where I got most of my hours and expe-
rience. Honolulu Fashion Week was held at the
Hawai’i Convention Center from November 6th,
2015 to November 7th, 2015. Under the direc-
tion of my mentor as well as professionals such
as Lynne O’neill (fashion show producer), Don
Sumada (fashion show stylist), Roman Young
(casting director), and Maile Koga (retail buy-
er), I helped to produce six fashion shows. This
experience was so important to me because I got
to work with industry professionals who produce
fashion shows for a living. The amount of knowl-
edge and experience that I gained from HFW was
priceless.
Over the course of the month, I also
helped to produce two other shows. My main
focus was helping out with volunteer manage-
ment and event planning. However, I also helped
to style the Royal Hawaiian Center Roots fashion
show held in Waikiki. Overall, my experience
with Hawaii Fashion Month was so amazing. I
was fortunate enough to work with such great
people and in the process I learned all that it
takes to create a fashion show from start to finish.
10. 10
S E C T I O N III
| STUDENT LEARNING OUTCOMES |
11. OUTCOME ONE
The student can integrate knowledge
of industry operations, theories of con-
sumer behavior and quantitative skills to
prepare comprehensive research-based
manufacturing and merchandising plans
that include creative design components
and typical industry documents based on
quantitative data.
OUTCOME SIX
The student can conduct systematic as-
sessments of the use and significance of
design elements and other aesthetic fac-
tors in fashion related products and per-
sonal appearances, and in industry pro-
motion and image-related materials.
F D M 3 0 1 : F A S H I O N F O R E C A S T I N G
F A L L 2 0 1 4
FDM 301: Fashion Forecasting focuses on the
principles and practices in fashion trend forecast-
ing and their role in apparel company marketing
strategies. It also covers the analysis of aesthetics
as it related to apparel and marketing. For my
final project, I created a forecasting book, which
predicted the trends for the Spring 2018 season.
My first collection was entitled Wanderlust and
focused on Indonesia as a new hot spot for trav-
el. The garments in this collection were bright
and colorful and were printed using tradition-
al Indonesian batik methods. The main focus,
however, was the use of Komodo dragon skin as
a textile. My next collection was entitled decay
and focused on our organic obsession with decay
and death. The inspiration behind this collec-
tion came from rusted and oxidized metal, worn
out wood, and the exoskeletons of flowers and
leaves. This collection distanced itself from the
clean-cut lines and silhouettes that are popular
today. This project allowed me to go through the
entire process of fashion forecasting from colors,
to fabrications, to silhouettes and so on. I gained
a better understanding of what it takes to make a
informed prediction of up and coming trends.
16. There is no other piece of clothing more recognizable
in Hawai’i than the Aloha shirt. The final project for the FDM
Basic Apparel Construction class was to make one of these
garments.
I began the construction of my Aloha shirt by altering
a pattern from a premade one. The shirt was intended for my
father who is 6’2”, so I needed to make it longer and slightly
wider than the large pattern than was provided. The pattern
was drawn onto a large piece of pattern paper and the appro-
priate alternations and seam allowances were made before
being cut out. The next step in this process was to pin all of
the pieces onto my fabric and cut them out.
The next step of the process was the sewing aspect.
I began by connecting the yoke and the back panel and then
sewing the two front panels to the yoke. Next I attached the
collar, which had already been reinforced with interfacing.
After the collar was attached, I was able to sew in the rest
of the yoke. Next, attached the sleeves to the arm holes and
then matched all the seams before sewing the side seams
down. To finish my shirt, I sewed facings on the centerfolds
of the garment and attached buttons and buttonholes. I also
hemmed or surged any exposed seams. The final step of the
sewing process was to attach the shirts pocket on the upper
left breast of the garment.
The fabric that my Aloha shirt was made out of was a cotton/
polyester blend. I let my father pick out the fabric since he
would be the wearer of the garment. He chose the fabric be-
cause he liked the colors as well as the simple Hawaiian print
17. motif. The fabric was medium weight and fairly rigid which
made it easy to work with.
Garments like the Aloha shirt are easily marketable
since they appeal to all age groups and market segments.
Aloha shirts are often the go to garment for businessmen
throughout the Hawaiian Islands. In particular, Aloha shirts
and Hawaiian print garments are typically seen on Fridays or
“Aloha Fridays” as they are call in the islands.
As a marketer, I believe the most important way to
sell an Aloha shirt is to have variety in print, color, and style.
Because of their popularity, wearers of Aloha shirts want to
still hold their individuality. Producers and distributors of
these garments often have large varieties in print since the
styles and cuts are generally very similar. This particular
shirt is one of a kind, which might make it more desirable in
the eyes of the consumer. Additionally, hand made shirts such
as this one are often of better quality than shirts made on the
assembly line or in mass quantities.
In conclusion, I believe that this Aloha shirt is a prop-
er representation of all the skills that I learned throughout
the semester taking Basic Apparel Construction. The basic
fabric choice and the classic cut made the garment feel very
traditional to the Hawaiian style. I worked very hard and
spent extra time on this shirt because I knew it was going to
someone very special to me. Therefore, the garment has very
little mistakes or defects and is almost aesthetically perfect.
OUTCOME TWO
The student can conduct evaluations of
apparel product quality using industry
standards, regulatory agency criteria, and
appropriate industry terminology.
F D M 2 0 5 : B A S I C A P P A R E L
C O N S T R U C T I O N
S P R I N G 2 0 1 2
FDM 205: Basic Apparel Construction, focused
on the principles, concepts, and procedures for
quality construction and custom fitting of cloth-
ing. My final project was an Aloha shirt. I began
the project by picking out the fabric, along with
my father who the shirt was for. Next, I cut the
drafted my pattern and finalized it before cutting
out the peices of fabric. Finally, I assembled the
shirt together.
18. 18
OUTCOME THREE
The student can conduct professional ASTM
or AATCC industry tests for textile pefor-
mance.
F D M 3 2 1 : T E X T I L E S II
S P R I N G 2 0 1 5
FDM321: Textiles Quality Assurance examines the
chemical nature and structure of fibers and fabrics,
their properties and finishes. The class was taken
along side the FDM321 Lab. Over the course of the
semester, I completed 20 different industry stan-
dard tests. For the purpose of this portfolio, I have
chosen four labs to represent my work throughout
the semester (2 from the American Association
of Textile Chemists and Colorists and 2 from the
American Society of Testing and Materials). The
first lab is AATCC 125 and it determines the ef-
fect of the combination of perspiration solution
and light exposure on the colorfastness of colored
textile. This lab taught me how different types of
fabrics reacted towards sweat and sunlight. It is
important in the industry for product developers,
especially those who work with athletic apparel
since these garments are more likely to be exposed
to perspiration and sunlight.
The second lab is AATCC 128 and it determines
the textile appearance after induced wrinkling.
This lab is also important to product developers
who work with clothing that is likely to wrinkle a
lot. The third lab is ASTM D 737, which tested the
rate of airflow passing perpendicularly through a
known area under a prescribed air pressure dif-
ferential between the two surfaces of textile fab-
rics. This lab is prevalent to the industry because
it can help determine which fabrics have good
breathability and which fabrics do not. Garments
worn in cold conditions should not allow too much
air to passGarments worn in cold conditions should
not allow too much air to pass through while gar-
ments worn in warm weather should have more
breathability. The fourth and final lab is ASTM D
5034, which determines the breaking strength and
elongation of most textile fabrics. This test is im-
portant to the field because it shows us how fabrics
react when put under pressure. This is relevant
because clothing often faces a large amount of
pressure from the natural movements of the human
body. AATCC125, AATCC 128, ASTM D 737,
20. OUTCOME FOUR
The student can discuss current issues and
concerns in the textile and apparel indus-
tries, including global issues regarding labor
conditions, social responsibility and env-
iornmental impacts, and can evaluate the
social and ethical consequences of these.
B U S 3 1 1 : I N F O R M A T I O N S Y S T E M S
F O R G L O B A L B U S I N E S S
E N V I O R N M E N T
F A L L 2 0 1 4
BUS 311: Information Systems for a Global Busi-
ness Environment focuses on the skills and strate-
gies needed for using information resources ap-
plied to local and global business issues. Students
gain advanced skills in computer-based analytical
techniques and information management and learn
about the impact of information technology on
business operations and business strategies. One
of the final projects for the class was to research
an ethical issue dealing with technology. I decided
to do my project on 3D printing in fashion and the
issue over intellectual property rights and design
patents. The paper discussed the current trends
in 3D fashion design as well as the rise of 3D print-
er technology. I further predicted problems that
might arise from the use of 3D printers to remake
a designer’s original product or garment. Since
3D printing is such a new technology and has just
been introduced to the fashion world, there are no
copyright laws, which would protect a design. This
project furthered my knowledge of global ethical
issues in the fashion world. My project is included
here.
3D PRINTING AND FASHION: INTELLEC-
TUAL PROPERTY RIGHTS AND DESIGN
PATENTS
Although 3D printing has been in around for more
than 20 years, many speculations point towards
the fact that we are on the brink of a 3D revolution.
Recent patent expirations have made 3D printers
more widely available to the general public as they
are both cheaper and better in quality than ever
before (Howells & Anderson, 2014). As 3D printing
evolves, it has found uses on almost all markets,
however, for the purpose of this paper I will be
talking about 3D printing in fashion.
Technology
There are several 3D printers out on the
market today and they range from industrial or
commercial grade for mass production to printers
that can be used in the home office. Commercial
printers can produce anything from iPhone cases
and toy figurines to artificial joints and automo-
bile parts. Most often, a layering technique is used
where a molten stream of the desired material is
layered to create a solid object (Howells). New ad-
vancements in technology have made it so different
materials can be used simultaneously to create ob-
jects with different textures. Some printers differ
in that they use lasers to melt or solder away from
a certain material (Rehovot, 2013).
Those that can be used in the home office
are similar in appearance to a traditional inkjet
printer and print on the XYZ axis instead of the XY
axis. The printer uses molten plastic to create a sol-
id object. Computer Aided Design or CAD is used
to transfer information to the printer in a string of
coordinates (Howells, 2014).
3D Printing and Fashion
3D printing and fashion have only been
introduced within the last two years. In 2013, de-
signer Iris van Herpen debuted her haute couture
collection, which featured two 3D printed dresses.
The collection was also styled with various wedges
and heels that were made using a 3D printer. The
dresses are considered to be the first
21. 3D printed garments in the fashion industry and
have caused a commotion amongst fashion design-
ers and consumers alike who are all trying to find
the next big trend. Since her debut, van Herpen has
released more garments made using the 3D print-
ing technique (Rehovot, 2013). Through the trickle
down theory, 3D printed objects and garments will
make their way to ready-to-wear collections, high-
end boutiques, and eventually to department stores
and fast-fashion retailers.
Intellectual Property Infringement and
Design Patents
Firstly, it must be established that 3D print-
ing and fashion are very new partners, therefore,
there are little to no cases regarding the issue of
intellectual property infringement. However, this
is the time to be thinking about all of this. As 3D
printing penetrates the fashion industry, garments
and pieces will become easier to copy (Rosen,
2013). 3D printing can be compared to the music
and movie industries in that the distribution of
3D files will most likely go down the same line as
digital music files. Eventually, anyone with Internet
and 3D printer access will be able to download files
off of the Internet, either legally or illegally, and
make anything that they please (Howells, 2014).
Although copyright laws have already been
created for some objects created by 3D printers,
there is a fine line drawn for the fashion industry
pieces. In the fashion world, the copying of anoth-
er’s design is only natural according to legal schol-
ars Kal Raustiala and Christopher Sprigman. It is
not uncommon for designers to release pieces that
resemble garments from other collections, past
or present. This has to do with the ever-changing
trends in color, fabric, and silhouette. The one
aspect of the fashion design that cannot be copied
is prints, but at this point in time 3D printing is
limited to solid colors only. Additionally, copyright
laws are not applicable to items that provide utili-
tarian aspects such as an article of clothing (Rosen,
2013).
Nevertheless, the fashion industry and its
designers are fighting back. The Council of Fashion
Designers of America, which holds a huge presence
in the fashion world, recently lobbied congress to
amend the copyright act in order to protect fashion
designers and their fashion designs. The Innova-
tive Design Protection and Piracy Prevention act
(ID3PA) and the Innovative Design Protection Act
of 2012 (IDPA) were both introduced at the 112th
congress but neither were voted in (Rosen, 2013).
One reason for this is because copyright laws can-
not protect items deemed as “useful articles”, which
clothing is since it protects the body. In order for
the copyright laws to be into place Congress will
have to change (Rosen, 2013). Still, these lobbies
show that fashion designers are willing to fight for
what they believe is right.
3D printed garments in everyday fashion is
far down the line, however, it will get here eventual-
ly. At that time, basically anyone can take a design
and make their own. Just as music artists and mov-
ie producers loose billions of dollars through illegal
downloading of their media, fashion designers
have the potential to loose the same. For example,
dresses from Iris van Herpen’s voltage collection
are currently retailing at upwards of $5,000 USD
(Rehovot, 2013). If just one person got their hands
on that 3D file, the whole world could potentially
have access to that dress. Another factor that has
to be taken into consideration is 3D scanning which
allows a user to take a scan of a physical object and
make an exact duplicate using a 3D printer. In this
case the designers original 3D file would not need
to be present. 3D printing, in a sense, will allow
consumers to be their own manufacturers in a
sense (Howells, 2014).
Works Cited
Howells, Jeppe Andersen John. “The Intellectual Property
Right Implications of Consumer 3D Printing.” (2014).
Rehovot, Israel. “Iris Van Herpen Debuts Wearable 3D Printed
Pieces at Paris Fashion Week.” Materialise. 21 Jan. 2013. Web.
24 Nov. 2014. <http://www.materialise.com/cases/iris-van-
herpen-debuts-wearable-3d-printed-pieces-at-paris-fashion-
week>.
Rosen, Jessica. “Inability of Intellectual Property to Protect the
New Fashion Designer: Why the ID3PA Should be Adopted,
The.” (2013).
22. OUTCOME FIVE
The student can conduct, interpret, and
present the results of research that inte-
grates historic and sociocultural data with
knowledge of the role of dress in human
behavior.
F D M 4 1 6 : C O S T U M E S / C U L T U R E S O F
S O U T H & S O U T H E A S T A S I A
S P R I N G 2 0 1 2
FDM 418: Costumes and Cultures of South and
Southeast Asia focuses on the development of tra-
ditional dress as visual manifestation of culture
in South and Southeast Asia. One of the projects
assigned for the semester was a museum visit
to the Honolulu Museum of Art. Students were
expected to go on their own time and visit the
Southeast Asia room that was currently on ex-
hibit. My paper focused on the items that caught
my eye and how I could connect them to the
traditions and ways of life that I had been learn-
ing about through the course. Although no real
research was conducted for this paper, I was still
able to learn by connecting the teachings from
class to the real life objects and garments made
by ancient South and Southeast Asian peoples.
Figurines of
Buddha and other
meditating deities
were very popular
in this exhibit.
This Indonesian
necklace was
made out of glass
beads and gold.
23. From the moment that I walked up the
stairs at the Honolulu Museum of Art I felt that I
was in a different world. All the hustle and bustle
of the big city life was left behind me and I was in
a peaceful Eden. As I walked towards my destina-
tion I passed through a couple of beautiful court-
yards each dedicated to their own respective area
of the word.
The Southeast Asia exhibit was located at
the back end of the museum. When I first walked
in, I noticed how quiet the room was. There were
just a couple of other people in the room with
me and all that I could hear was their footsteps. I
started my round of the room with some rather
large statues and carvings; I believe one of them
was a woman and another was of some sort of
dragon on a boat. These were carved out of wood
and they looked as though they had been touched
thousands of times by many different people.
As I continued my way through the rooms,
there were a couple of things that really caught
my eye. I know this may seem strange but some
of the larger statues and carvings actually scared
me a little bit. Buddha and other figures were
depicted a lot and they had very realistic looking
faces and bodies. When I looked at them it was if
I was looking into the eyes of the artist that craft-
ed them. They put so much of their own time
into making the carving just what they imagined
and it felt that their spirits were still embodied in
their work. It was eerie to think that somebodies
legacy could still be embodied in something that
is so old.
Another thing that stuck out to me was the
handcrafted jewelry. There were several necklac-
es on display that were made in Thailand. They
were made of colorful glass and stone beads.
These simple necklaces really had a strong influ-
ence on me because I had to think about all of the
work that was put into making them. The beads
were so tiny and I couldn’t fathom how somebody
had the patience to sit there and pound the holes
into such tiny pieces. They had to use hand made
tools and all of the materials and resources used
had to have come from the land. I couldn’t tell ex-
actly but it looked as though their were hundreds
of beads in each necklace.
Another garment that caught my eye was
some sort of skirt or wrap that was used in Thai-
land. It was green in color but had different col-
ored stitching in intricate patterns. While look-
ing at this piece I was brought back to the video
about the Tiboli people. This skirt was probably
made through the same weaving techniques that
the Filipino people used. So much time and effort
was put into simply making the cloth, and on top
of that it had to be stitched. The patterns were
so beautiful and in today’s market, hand stitched
garments such as this one would go for thou-
sands of dollars.
In conclusion, my trip to the Southeast Asia
exhibit really made me think about the ways in
which the native peoples had to make things.
Actually seeing the items up close helped me
to see all of the detail that was put into a piece.
The artists did not have the technology or tools
that we have today that might aid us in our art.
I also had to think about the reasons why these
artists put so much of their life into these pieces.
Throughout the course one of the things that I
have learned is how connected people are to their
land. I think that some of the carvings or figures
such as the Buddhas or the mystical creatures
were made to show respect for the land. The
pieces that could be worn showed me how much
the people respected their traditions. Garments
such as the skirt or the necklaces along with the
skills that were required to make them were
probably passed down through the generations.
Seeing the entire collection of artifacts from the
Southeast Asia exhibit truly showed me the ded-
ication and commitment that the people of the
past had to their land and their traditions.
24.
25. OUTCOME EIGHT
The student can discuss current issues and
concerns in the textile and apparel indus-
tries, including global issues regarding labor
conditions, social responsibility and env-
iornmental impacts, and can evaluate the
social and ethical consequences of these.
F D M : 4 9 2 I N T E R N S H I P
F A L L 2 0 1 4
My FDM492 journal entries fulfill the outcome 8
requirements. Over the course of the Fall 2014
semester I was required to write daily journals for
every day that I worked at my internship. At the
beginning of the semester, my entries were very
short winded since I was not working a lot. Howev-
er, as November quickly approached, my journals
began to get longer and longer as I was working
more often. My journal entries during Honolulu
Fashion Week were the longest because there was
so much happening each day that I felt I needed to
write about. This project helped me to express any
concerns that I had with the internship and allowed
me to evaluate the project as a whole. I was able to
take my observations and turn them into praises as
well as critiques.
OUTCOME NINE
The student can employ critical thinking,
creativity, and technical skill mastery to pre-
pare a substantive pre-employment port-
folio appropriate for an emerging industry
professional.
This magazine is my pre-employment portfolio. The
project allowed me to look back over the past four
years of my college career as well as evaluate my
career motives and future plans.
