Robert Carreon produced the drawings in this collection as part of his coursework at Parsons School of Design from 1966 until 1968, with the exception of eight drawings from his admissions portfolio and a drawing of a dress and cape that Carreon created for his sister's winter wedding while he was enrolled at Parsons.
According to Carreon, student assignments followed a structured workflow: fashion design students maintained a sketchbook (not included in the collection), which they periodically reviewed with the head of the Fashion Design Department, Ann Keagy. She would select ideas from the sketchbook for students to further develop into more formal drawings, which she would also critique. These drawings form the bulk of this collection. Some of Carreon's drawings bear her annotations. Designs that passed this second critique would become renderings that designer critics reviewed with the students. Students were encouraged to experiment with different techniques, a practice evident in Carreon's drawings. He struggled with rendering the human face, and adopted a method of drawing the human figure to compensate for this.
Drawings in the collection are typically executed in pencil and gouache, although there are some examples of drawings rendered only in ink to emphasize construction. Carreon annotated the drawings to indicate fabrics used and the collection or assignment. In many cases, manufacturers provided the fabrics and professors issued prompts based on the availability of a type of fabric or fur.
Carreon signed his work "Rob" until his third year, in which he switched to "Robert." This was used to roughly date his work when no date is inscribed on a drawing. Additionally, he dropped the hemlines of the dresses and skirts he designed during his third year in a class with critic Chester Weinberg, and this development was also used to establish rough dates for the drawings.
In addition to original drawings, the collection contains publicity materials featuring Carreon's work while he was a student.