FASHION PROMOTION

Bachelor of Arts (Honours) - Course Handbook 2010/11

BA (Hons) Fashion Promotion Taking fashion from the catwalk to the customer.
The BA (Hons) Fashion Promotion course at Rochester provides a creative environment to explore the world of fashion communication. The competitive nature of the global fashion industry requires graduates to be independent, creative and professional. This unique course combines expertise in all forms of communication from creative writing and fashion styling to branding and public relations. STYLING instructs those who are passionate and dedicated to fashion, helping avid followers of trend, couture and ready-to-wear to be successful. Understanding of lighting and photographic technology and expanding knowledge is essential to succeed in creating contemporary, relevant and original work. Throughout the course, basic, creative, commercial and interpretive styling techniques are taught and applied to help develop individual creative potential. WRITTEN COMMUNICATION encourages the abilities to create, plan, develop and execute creative projects whilst having keen consideration for context, market relevance and originality. The written word is as much an application as a form of communication - how you say something is just as important as what you say. In fashion and other lifestyle industries, students on this pathway can apply and develop their talents not only through journalism, but in publications, new media, project management, creative writing and beyond. P.R. AND MARKETING emphasizes the importance of generating unique strategies to promote a brand to both the press and public in an ever-changing world where information is immediately communicated. This pathway examines, compares and encourages innovation in press relations, event management, digital networking, product placement, fashion film, runway and static presentations. Marketing is an integral part of all fashion promotions pathways. It instills relevant knowledge as early as possible, from basic principles, the differences between marketing and branding, to consumer research and culture and developing niche brand strategies entirely from scratch. MEDIA helps develop skills in fashion imaging, computer aided design and desktop publishing. Students combine a strong conceptual knowledge of digital image production and art direction whilst developing versatile and practical technical ability. The use of moving image as a promotional tool is also investigated and implemented. Visual promotional material is an essential asset for the communication of ideas and concepts within the fashion industry today, and a high degree of creativity as well as strong technical capability are vital.

List of staff
Pro Vice Chancellor (FE/WP) Executive Dean (Kent) PA to Executive Dean Dean Associate Dean Registrar (Kent) Assistant Registrar (Rochester) Resource Manager (Kent) Dianne Taylor Laura Isaacs Francine Norris Colin Gearing Andrew Varley Jean Bryant Sharon Carter

Fashion Promotion Academic Team

Course Leader Sheelagh Wright (1.0) Year 1 Team Year one co-ordinator Kate Scully (0.4) Johannes Reponen (0.4) Pat Francis (sessional) Olle Borgar (0.5) Year 2 Team Year two co-ordinator Bianca Donnelly (0.6) Year 3 Team Dennis Maloney (0.4) Piers Atkinson (sessional) dmaloney.s1@ucreative.ac.uk patkinson.s1@ucreative.ac.uk Room 204B Room 204B ext 8675 ext 867 New Post bdonnelly@ucreative.ac.uk Room 204B Room 202 ext 8690 New Post kscully@ucreative.ac.uk jreponen@ucreative.ac.uk pfrancis@ucreative.ac.uk oborgar@ucreative.ac.uk Room 202 Room 202 Room 202 Room 202 Room 204B ext 8633 ext 8633 ext 8633 ext 8633 ext 8652 swright@ucreative.ac.uk Room 204B ext 8669

Marketing Lectures Sophia Plessas (0.4) Cale Wolf (0.2) splessas@ucreative.ac.uk cwolf@ucreative.ac.uk Room 204B Room 202 ext 8752 ext 8690

Cultural Studies Michelle Jones (0.5) Ann Reimers (1.0) Sarah Stacey (0.6) Sarah Lloyd (0.5) Technician Robbie Munn Faculty Officer Janice Earl Administrator Alison Quinn Fashion Subject Librarian Georgia Wyver gwyver@ucreative.ac.uk Library ext 8734 aquinn3@ucreative.ac.uk Room L401 ext 8717 jearl@ucreative.ac.uk Room L401 ext 8716 rmunn@ucreative.ac.uk Room 217 mejones@ucreative.ac.uk areimers@ucreative.ac.uk sstacey@ucreative.ac.uk slloyd.s1@ucreative.ac.uk Room L403 Ext 8665

Fashion Academics are normally contracted on 50% of their time allocated to Teaching and 50% allocated to their Academic, Research, Course Development and Administrative Duties. Most academics work fractional hours time has been indicated after each academic: 0.2 = 1 day a week, 0.4 = 2 days a week etc.) VISITING FASHION TEAM Maia Adams Lisa Wilkins Karen Millen Kim Howells Journalism. Marketing. Fashion Business. Styling. Geraldine SwaineMoving Image. Luke Lobley Art Direction. Fred Butler Prop styling. James Van Dykes Styling.

Course Structure
COURSE UNIT CODE UNIT TITLE CREDIT BA (Hons) FASHION PROMOTION STAGE 1 SEMESTER 1 RFPR1001 RFAS1001 RFPR RFAS1002 RFPR1004 RFPR1005 RFAS1003 RFPR1006 RFPR1007 STAGE 2 SEMESTER 1

FASHION AWARENESS FASHION HISTORIES STYLE: PAST PRESENT & FUTURE FASHION THEORIES NICHE BRANDS PROMOTION COMPANY ID AND PR PLACEMENT PUBLICATIONS PUBLICATIONS WITH INTERNATIONAL STUDIES

15 15 30 15 15 15 15 15 15

SEMESTER 2

RFPR2001 TBC RFPR2002 RFPR2003 RFPR2004

CREATIVE STYLING MODERNISM AND POSTMODERNISM CREATIVE THINKING (OPTION 1) CREATIVE THINKING WITH INTERNATIONAL STUDIES (OPTION 2) PLACEMENT (OPTION 3) PR, MARKETING AND BRANDING FASHION PROMOTION REFLECTION I (OPTION 1) RESEARCH METHODOLOGIES INTERNATIONAL EXCHANGE (OPTION 2) INTERNATIONAL PLACEMENT (OPTION 3) LIFESTYLE COMMUNICATION DISSERTATION FASHION PROMOTION FASHION PROMOTION REFLECTION II

30 15 15

15 30 15 15 60 60 30 30 45 15

SEMESTER 2

RFPR2006 RFPR2007 TBC RFPR2008 RFPR2009

STAGE 3 SEMESTER 1

RFPR3012 RINS3002

SEMESTER 2

RFPR3003 RFPR3004

Course Philosophy, Aims and Outcomes

Philosophy of the Course This course aims to provide a focused learning environment where students are able to foster an intellectual individual and innovative approach allied to skill based developments with craft and technological influences. The course is designed to develop the individuals skills, building personal confidence and maturity in their subject area of fashion/style promotion, managing the critical path of innovative promotional activities from the initial design concept through to practical production outcome. Team building, interpersonal skills and the relationship between each role within the industry demonstrate to the student an understanding of the practicalities for future employment. The study programme is designed for creators of promotional concepts which support and promote the visual identity of a brand through the creation of strategies and activities which enhance the coherence and commercial, success of the overall brand image. The cultural and literary underpinning required to create such strategies is combined with analysis and research into trend, market, product adjacencies, global economy, ethical considerations and lifestyle demographics. The balance of creativity, technical innovation and financial practicalities is also addressed within the mastering of all the elements inherent to developing promotional strategies; original intellectual concept, research, design, colour, surface, form, technical specifications, market position and visual merchandising. A variety of studio practices underscore concepts; and craft based skills working alongside technology and CAD. The combination of all these techniques, ideas, concepts and technological innovations will communicate the spirit of a designers concept. The International Studies option gives students the opportunity to combine their specialist Fashion Promotion studies with an international focus - increasing students potential to work in multilingual environments. There is no doubt that it is becoming increasingly important to conduct business matters in languages other than our own and consequently students are encouraged to experience second language working practice whilst completing an International Exchange in semester four with one of our International Partners. Students have the opportunity to take a work placement option in year one and a further work placement option in year two which can be abroad. These placement study options give students the opportunity to work in a live industrial environment. The team have fostered a wide-ranging network of professional industrial links ensuring that the syllabus is constantly updated to support the development of graduates who are able to function professionally in multi-skilled environments. Emphasis is placed on preparing students for work. Students progress to careers in promotional roles on many market levels from Discount/Price Point, through Volume, High Street, Niche, Designer Level to Independent Label. Careers also cover a diverse range of promotional areas in style from the fashion business through to the world of music. Students can also progress as qualified specialists in fashion-related fields and a small number of students go on to start up their own companies. Students interested in teaching can progress onto a PGCHE teaching course to become qualified to teach at schools or colleges. The course offers study opportunities for students from widening participation, ethnic groups and mature students, welcoming applicants from diverse backgrounds and responding to an increasing demand for flexibility within the culture of lifelong learning. The course team offers specialist experience in supporting students with diverse entry profiles of different ages, contrasting educational and working backgrounds, different nationalities and cultures.

Course Aims The course aims describe the intentions of the course. Through continual practice, it prepares its students for careers in fashion and the related industries, developing a broad range of skills and specialist experience resulting in personal and professional development to degree standard. Aims relate to the stage learning outcome and assessment criteria and reflect the National Qualification Framework and Benchmark Statement for Art and Design (NFHEQ). Aims form part of the integral mapping of the student learning experience; all units have been revised to reflect Knowledge, Understanding, Attributes and Skills. This approach is posited on the belief that learning outcomes should explicitly describe what a student will know, understand and be able to do on successful completion of a unit, and provide evidence that a student has met the aims of the unit. Learning outcomes must also be achievable, observable and measurable in relationship to the intended assessment criteria. These have been meshed to generic level descriptors (SEEC - Southern England Consortium for Credit Accumulation and Transfer), originally produced in 2002. This continues to be inherent and integral to the philosophy and subject of fashion at Rochester. These have been revised and updated in the light of review. The validated aims, objectives and assessment criteria of the course have been delivered and achieved. Whilst they remain relevant to the period since last review, they have been revised with appropriate additions made in order to prepare students for professional and creative practice and life long learning Course Learning Outcomes Learning Outcomes describe the characteristics and context of learning against which specific assessment criteria can be delivered. They are aligned in order to develop units of study and assign credit for achievement of learning at an appropriate level. The learning outcomes echo the revisions to the aims, align them more effectively, and articulate the knowledge, understanding attributes and skills that those on an honours degree course should be able to demonstrate.

Stage 1 FASHION PROMOTION UNITS

STAGE ONE DESCRIPTION (CERTIFICATE) Fashion Promotion The first year provides an opportunity to explore, experiment and evaluate a range of promotional activities. Projects in Styling, Journalism, PR, Branding & Marketing, Music, Art Direction, Event Management and optional Work Placement are each covered in the first year. Work at this level will enable students to have a sound broad knowledge base of the underlying concepts and principles associated with fashion promotions. Course Structure There are five 15 credits and one 30 credit main study units in stage one (refer to Stage One Diagram Overview) which are all project based. Each project aims to develop an ability to conduct basic investigation, evaluate, organise and present creative ideas and solutions, in both practical and theoretical areas. Cultural Studies Cultural Studies (CS) introduces students to the historical and research aspect of promotions and increases your awareness of how promotional activities plunder the past and the recent past for inspiration, style and methodology. The cultural studies units overlap components within promotional ideas such as Cultural Icons where students investigate and analyse icons further expanding your understanding of cultural iconography and imagery within promotion. The theory units support the student in exploring practical methodologies and theoretical processes through lectures and seminars. The two 15 credit historical and cultural studies units run alongside the main fashion promotion study units, throughout the first year. Research Visits International field trips are organised to take place in the first year these normally are: New York, Paris and Barcelona. Fashion trails to London take place throughout the course to support market knowledge in volume, niche and designer levels. The fashion trails provides an understanding of fashion retail, concept stores and visual merchandising. Current museum exhibitions will also be incorporated into the fashion trails. The personal development planning PDP programme is integrated into all stage one units through the PDP aims and learning outcomes (see Stage One Unit Descriptors).

STAGE ONE DIAGRAM

ST STA AG GE EO ON NE E D Dia ia gra gra m mO Ov ve ervi rvie ew w

BA BA ((H HO ON NSS)) FA FASSH HIO ION N P PRO ROM MO OT TIO ION N

S SE EM ME ES ST TER ER 1 1

S SE EM M ES EST T ER ER 2 2

ST STA AG GE E1 1 7 7U Un ni its ts 6 6xx 1 15 5C Cre red di ittss 1 1xx 3 30 0C Cre red di ittss Sta Stagge e1 1= =1 12 20 0 cre cred di its ts

C CO OR RE E O OP PT TIIO ON NSS

Stage 1 Unit Descriptors

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Fashion Awareness FPR1001 All BA (Hons) Fashion courses Rochester Level 1, 15 credits Semester 1 Weeks 1-5 5 weeks 150

Content This unit is core to all courses and forms the induction elements to the fashion school. This first introductory unit will focus on two areas. The first is to work using a learning journal as a means of documenting your learning journey, your role within the team and developing your initial research ideas into solutions for a professional power point presentation. The second is the process that is completed as a group task and its success relies on effective management and communication skills. This first unit begins the process of investigation and analysis into areas of style; trends, moods and concepts, which are the development of the past and present to initiate the future themes. Student groups will be given a selected fashion & lifestyle Icon to research and present

Also, included within this first unit, all students will be inducted into the use of the computer as a tool for presentation.
Aims 1. To develop awareness of the changing nature of fashion and specific social, economic, technical or environmental changes that will affect the trend direction, colour, fabric and styling. 2. To introduce the students to creative innovation in relation to layout, graphics and imagery combined with the use of computer technology. 3. To develop communication and management skills. PDP Aims General PDP aim: To identify and complete personal, educational and career development plans (PDP). 1. To develop personal skills by understanding own learning style. Learning Outcomes Students who complete this unit should demonstrate: 1. An understanding of the importance of colour, texture and shape in fashion and an ability to review changes in fashion trend & styling through applications of various research methods. 2. An understanding of the importance of professional presentation. 3. An ability to work within a team. PDP Learning Outcomes

1. An ability to analyse own learning style. Teaching and Learning Methods Project briefing, lectures and demonstrations followed by part-directed and self-directed use of workshops. Tutorial support throughout, critique and critique de-briefing. Assessment Requirement Learning Journal (Individual 50%) Professional Presentation (Group work 50%) Assessment Criteria Creativity & Innovation Critical Analysis & Evaluation Interpersonal & Social Skills Critical Analysis & Evaluation PDP LO LO1, LO2 & LO3 Reference Material
T Shirt Book: Charlotte Brunel Assouline 391. 09 BRU th Leather Jackets 20 Century Style: Hamlyn 391.09 BAM Black Leather Jacket Mick Ferren 391.09 FER Motorcycle Jackets: 391.TAN The Blue Jean: Alice Harris 391.09HAR Jeans: James Sullivan 391.09 SUL The Jeans Book: Ruven Feder & J M Glasman 391.09 FED Denim: Iain Finlayson 301.09 FIN Print in Fashion: Marnie Fogg 391.09 FOG The Scarf: Andrew Baseman 391.41BAS Shawls, Stoles and Scarves: Alice Mackell 391.041MAC The Trench Book: Nick Foulkes 391.09FOU The True Story Of The Little Black Dress & Nine Other Favourites:391.SMI Chanel Collections: 391.092CHA Chanel & Her World: 391.092 CHA The Corset: Valerie Steel 391.42 STE Corsets: A Visual History: RL Shep 391. 42SHE Bound to Please: Summers 391.42 SUM Support and Seduction: Beatrice Fontanel 391.42 FON Bag a Lexicon of Style: Valerie Steele 391.441 STE Handbag Chic: Smith 391.441 SMI Bags: 391.441 BAG Carried Away: 391.441 Shoes: Colin McDowell 391.413MCD Roger Vivier: 391.413VIV Manolo Blahnik: Colin McDowell 391.413BLA Art of the Shoe: 391.413BOS Dr Martens: Martin Roache 391.413ROA The Sneaker Book: 391.413 VAN The Story of Nike: 391.413FRI Modern Menswear: Hywel Davies 391.1 DAV The New English Dandy: Alice Cicolini 391.1CIC Gentleman: 391.1ROE Sex and Suits: Anne Hollander 391.09HOL MINI: The Design Icon Of A Generation: 629.2222SET Mobile Phone In Action: 303.4833KOS Mobile and Wireless Communication 621.38456GOW Magic in the Air: Mobile Communication: 302.235KAT

BRANNON, E.L. FREEMAN, H.

Fashion forecasting 2 ed Fairchild 687.0112 BRA The meaning of Viking 391 FRE sunglasses MULLER, F. 2008 Fashion game book: a Assouline 391.0904 MUL world history of 20th century fashion SEIVEWRIGHT, S. 2007 Research and design AVA Academia 687 SEI WADDELL, G. 2004 How fashion works Blackwell Science 687 WAD PERIODICALS Bloom, Collezioni Trends, Drapers, Dressing, International Textiles, Provider, Textile Report, Textile View, Viewpoint, Wear Global TREND BOOKS Trend Union, Promostyl, Pantone View Colour Planner ...

2005 2008

nd

2003

BELL, A. COTTRELL, S. FRANCIS, P. HIND, D.

2003 2008 2009 2005

Working in the arts: communication and time management Learning team skills The study skills handbook Inspiring writing in art and design Employability skills

BBC2

VIDEO 2166

Prentice Hall Palgrave Macmillan Intellect Business Education

658.402 BEL 371.425 COT 808.042 FRA 331.114 HIN

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours
CONTENT

Style: Past Present & Future BA (Hons) Fashion Promotion Rochester Level 1, 30 credits Semester 1 Weeks 6-15 10 weeks 300 hours

The relationship between fashion and music underpins much of the visual reference library which any stylist or journalist will access for communication or inspiration. The background music to the last fifty years scores have provided visuals and events. Style tribes from Goth to glam and artists from Prince to Madonna understand the strength and power of visual presentation versus any vocal talent they may or may not possess. This unit is designed to research music and style images, to analyse why some have lasted as iconic references, to note the power of the styling within these images and also to reflect on the power of the titles, lyrics and descriptive words surrounding music. Creating images within a short time span, introducing the written word into the visual presentation and researching into music genres, which may be new to the student will open up a more professional attitude, which is informed about all things and uses whatever is pertinent to the promotional activity, regardless of personal preferences. This unit will also aim to introduce fashion trends to encourage creativity in generating innovative ideas, which is further supported by an understanding of marketing. The creative side of promotional activity is exciting and stimulating, however without knowledge and in depth understanding of the company, client and product; there will be no valid reason to either increase business or even work on a concept. The trends will relate directly to the product and market both as style trends and as business trends; for instance, lifestyle, market research, demographics and socio economic, ethical and environmental trends. Research will play a crucial role in developing both analytical skills and the creative reading of trends, as well as raising individual perceptions involved in visual communication. The combination of research needed for this project offers the opportunity to investigate how creativity and understanding of the fashion market research and brand awareness can add up to a strong, successful outcome.

TASK A Reflective Research

Fashion Promotion in any skill area is underpinned by research and knowledge. There is no short cut to the understanding of the iconography of style and there is no substitute for thorough investigation of the task at hand in relation to both the past and the present. This unit enables students to understand the relationship between promotional visuals and words as tools and benchmarks across the creative worlds of style and music. Style & music research that will include primary and secondary visual and written material such as photography and observations plus found imagery and information relating to the music icon. The influence on street styles will be examined through tribes and cults and the trickle up or down effects on designer or high street fashion.

The Reflective learning journal will document the learning journey through the project and record the process, development and management of the styling shoot and presentation. A reflective summary will be essential element to the unit.

TASK B Promotional Launch

The research will be interpreted and developed into an outcome that might include: music based fashion feature or music advertisement, or music/fashion event promo. The ppromotional material covering visuals and text should include creative and appropriate graphic solutions as well as relevant written material. This is preparation for a styled shoot using appropriate media for a printed or digital publication. A marketing plan will be produced which will cover marketing positioning and consumer analysis. Research will inform how the market is evolving; where the trends will lead products during the coming months and years e.g. Consumer Profile (Who is it aimed at?) Market Positioning (Who are competitors and why?) Marketing Strategy (How is it going to be marketed?) Cultural analysis will inform future positioning. Trends will be iinvestigated across the board through the analysis of the cultural zeitgeist.

Aims
1. 2. 3. 4. 5. 6. To investigate, analyse and utilise research To learn to contextualize and annotate research. To develop an understanding of the specific market levels. To develop an understanding of the relationship of promotional visuals and words. To generate creative ideas through synthesizing acquired knowledge. To understand the construction of a contemporary visual interpretation of contextualized research. 7. To develop a range of time management skills, to be able to manage own workloads and meet deadlines

Learning outcomes
Students who successfully complete this component should be able to demonstrate 1. Ability to research past and present, collecting ideas and information from a range of sources in order to project ideas for future development. 2. An ability to define the context of style and music in a research book. 3. An ability to research and analyze style and marketing trends in relation to a specific market level. 4. An ability to use visuals to communicate effectively in appropriate format. 5. An ability to apply relevant knowledge and information by selecting, synthesizing and evaluating in order to generate creative ideas. 6. An ability to interpret appropriate historical and cultural music genre into a contemporary context. 7. An ability to study independently, set goals, manages own workloads and meet deadlines.

Teaching and Learning Methods The culture of music and style will be demonstrated through presentations and lectures. In conjunction with open discussion forums explaining styling and the use of words in fashion promotions. These will be followed by one to one tutorials. Formative reviews will support the time management of the learning process.

Assessment Requirement Reflective Research 50% =15 credits Promotional Launch 50% =15 credits (Task A) (Task B)

Reflective journal

Promotional material covering visuals and text

Summary Analysing personal methods of working, learning and time management

Research
Thorough analysis of style icon, musical genre and appropriate communication. Linking research to the final outcome.

Marketing plan covering marketing positioning, consumer analysis Styled shoot for appropriate media and music genre Cultural analysis to inform future positioning

Assessment Criteria Understanding through application of Knowledge of contexts, concepts, knowledge technologies and processes. Application of technical and professional Application of technical and professional skills skills LO1 , LO2, LO3,LO7 LO4,LO5,LO6,LO7

Reference Material GORMAN, P. CLERK, C. REISS, S. 2001 2002 2000 The look: adventures in pop and rock fashion Madonnastyle Thirty frames per second - the visionary art of the music video Designed by Peter Saville Hip hop files : photographs 1979 1984 Exploring storyboarding The art direction book Sanctuary Omnibus Press Harry N. Abrams Frieze From Here To Fame Thomson / Delmar Rotovision 391.78 GOR 784.61 CLE 780.267 REI

KING, E. COOPER, M. TUMMINELLO, W. BRITISH DESIGN & ART DIRECTION WOLBER, M LEICHER,S SCHREINER,M CLARKE,L (ed) GEORGINA HOWELL RENARD,D

2003 2004 2005 1998

741.6092 SAV 780.8 COO 741.58 TUM 659.13 ART

2009 2008 2008 1975 2006

Uncovering fashion: fashion communication across the media Bands on the road The Measure In Vogue The last magazine

Fairchild Thames & Hudson LCF Conde Nast Rizzoli

Periodicals Another magazine, Citizen K, Dazed & Confused, Drapers Record, Fashion Trends, ID, International Textiles, Jeunes Createurs, Purple, Self Service, Sport & Street Collezioni, Sportswear International, Tank, Textile Report, Textile View, Trends Collezioni, V, View on Colour, W, Wallpaper, Zoom on Fashion Trends

Websites

Fashion related: www.style.com www.vogue.com http://runway.blogs.nytimes.com/ www.businessoffashion.com/ www.drapersonline.com/ www.jcreport.com/ Trend related www.coolhunting.com/ www.demos.co.uk/ www.trendwatching.com/ www.cscout.com/blog/ www.wgsn.com/ Design related: www.dezeen.com/ www.designassembly.org/ www.itsnicethat.com/ www.designboom.com/eng/

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours Date first approved Date of this version

Fashion Histories tbc BA ( Hons) Fashion Design Rochester Level 1, 15 credits Semester one-Weeks 1-15 15 weeks 150 26-05-08

Content Sartorial fashion quotes itself relentlessly as it looks back and cites from previous decades and centuries. Since designers, makers and stylists often glance towards fashions past to inspire their creativity, the knowledge of previous styles and understanding of cultural trends provides both points of reference and friction in relation to the development of new clothes, accessories, trends and their promotion. However, fashion design, construction, innovation, its styling and branding cannot merely be based upon a fleeting glance at that history. It has to learn from past techniques and aesthetics and understand how to utilise these sources within a new environment and atmosphere. Ideally it should follow on in an informed spirit rather than merely in appearance and lead to a progressive, inventive and original practice. In order to understand and question what can be learnt from past trends and innovations, it is necessary to explore the designs within their cultural, aesthetic and socio-political context. One aim of this series of lectures, seminars and tutorials is to indicate how fashion relates to other art forms, for example, photography, architecture, cinema, theatre as well as the traditional fine arts such as painting, to develop a broad understanding of the culture of fashion. The unit provides an insight into fashion history and its most famous designers and creators, as well as looking at the industrial side of clothing manufacture and distribution. The focus will be placed on high fashion and the establishment and negotiation of Paris as the worlds fashion capital. Alongside the analysis of haute couture, the unit will debate the challenge to the dictatorial nature of Paris posed by post-war cultural and industrial developments. These challenges will be considered through both the evolution of the other fashion world cities of Milan, London, New York and Tokyo and the rise and development of the mass market and the ensuing fragmentation of fashion. Aims This unit, based on a series of lectures, seminars and tutorials, will introduce the key histories and cultural theories within the development of the fashion industry to establish a foundation for its evaluation and discussion in both its written and oral form. Students will gain an understanding in the methodology of fashion research for both the historical and the recent past. A1 To provide a clear factual grounding in fashion history within its cultural and socioeconomic context and establish a foundation for its study, interpretation and discussion throughout the course. To develop an awareness of research methodologies and understanding of formal academic writing skills that investigate and evaluate past, current and future fashion

A2

A3

To develop verbal presentation and communication skills in a formal academic setting

PDP aims 1. To develop a range of skills in research methodology. Learning outcomes Students who complete this unit should demonstrate: LO1 An understanding of the history of the Western fashion industry and the links between fashion and other cultural forms. LO2 An ability to apply research techniques through the collation, organisation and evaluation of reference material and to produce a structured essay that respects the academic conventions of research and presentation LO3 The capacity to explore the development of sartorial fashion in its social and cultural context and to organise this material into a formal presentation. PDP learning outcomes 1. An ability to explore and investigate methods of research. Teaching and learning methods An understanding of the historical perception of sartorial fashion in relation to cultural interpretation will be provided by a weekly lecture and seminar programme. This is supported by a project pack which includes handouts and recommended reading for all lectures, and clear guidelines on essay writing and research sources. The production of the essay and presentation will be supported by academic tutorials and study skills support in academic research, writing and presentation - available through a taught program and one-to-one tutorials. Assessment de-briefing and published feedback support the learning strategy. Assessment requirement Essay (1,500-2,000 words) and research presentation Assessment criteria Knowledge of: Fundamental contextual and theoretical issues and critical concepts and a widening appreciation of historical and contemporary practice (LO1) Understanding through: Demonstrating relevant knowledge through undertaking relevant research (LO1) (LO2) The ability to present ideas and information from a variety of sources in an effective manner (LO2) (LO3) Application of technical and professional skills through: The ability to structure a logical piece of written work that develops clear aims and objectives to effective conclusions (LO2) Skills in the use of written and oral forms of communication and understanding of academic conventions effectively demonstrated (LO2)(LO3). Due to the forward looking nature of this unit updated references will be available in the unit handbook and will comprise up to the minute on-line and media sources. The following therefore indicates core and definitive texts:

Essential reading Breward, C. Breward, C. & Gilbert, D. Cottrell, S. Lipovetsky, G. Kawamura, Y. Recommended reading Sebag-Montefiore, H. Steele, V. Troy, N. Vinken, B. Wilson, E. White, N.

Fashioning London: Clothing and the Modern Metropolis, (Oxford/New York, Berg, 2004). Fashions World Cities, (Oxford: Berg, 2006) The Study Skills Handbook, (Palgrave MacMillan, 2003) The Empire of Fashion: Dressing Modern Democracy, (Princeton University Press,1994). The Japanese Revolution in Paris Fashion, (Oxford/New York: Berg, 2004) Kings on the Catwalk, (Chapmans Publishers Ltd., 1992). Paris Fashion, (Oxford University Press, 1988) Couture Culture: A Study in Modern Art and Fashion. (MIT Press, 2003). Fashion Zeitgeist: Trends and Cycles in the Fashion System, (Berg, 2004) Adorned in Dreams: Fashion and Modernity, (London: Virago, 1985). Reconstructing Italian Fashion: America and the Development of the Italian Fashion Industry, (Oxford, 2000).

Students are also encouraged to take a regular look at academic journals and magazines such as: Fashion Theory, Costume, Another Magazine, Creative Review, Dazed and Confused, Draper's Record, Frieze, Interview, Purple Fashion, Sight and Sound, W, Wallpaper. Also to be aware of the press cutting files and web search engines for relevant articles on designers or themes. Vinken, B. Wilson, E. White, N. Van Emden, J. Fashion Zeitgeist: Trends and Cycles in the Fashion System, (Berg, 2004) Adorned in Dreams: Fashion and Modernity, (London: Virago, 1985). Reconstructing Italian Fashion: America and the Development of the Italian Fashion Industry, (Oxford, 2000). Presentation skills for students (Palgrave MacMillan, 2004)

Students are also encouraged to take a regular look at academic journals and magazines such as: Fashion Theory, Costume, Another Magazine, Creative Review, Dazed and Confused, Draper's Record, Frieze, Interview, Purple Fashion, Sight and Sound, W, Wallpaper. Also to be aware of the press cutting files and web search engines for relevant articles on designers or themes.

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours Date of this version

Niche Brands Promotion RFPR1004 BA (Hons) Fashion Promotion Rochester Level 1, 15 credits Semester 2 Weeks 16-20 5 weeks 150

Content Having examined the volume and high street aspect of fashion with brands from both the UK and Europe, the level is now moved to those brands and labels which aspire to be diverse both in product and price alongside quality; for example Reiss, Hobbs, L.K.Bennett, Whistles, Jigsaw or Karen Millen, who have far fewer outlets than the mass brands, also diffusion designer brands such as DKNY or D&G and designers connected with high street retailers such as Debenhams. At this higher level the product must contain differential elements in product, production and promotion to distinguish it from the lower price and higher volume sector of the fashion market. The process of product development is now revisited through this new level with the development of the soft sewing techniques into dresses, trousers and soft tailoring (this reflects the traditional Haute Couture methodology of Flou or soft sewing as a separate discipline in the handling of the garment). Market research, including retail reports, will underpin the understanding of this market sector and the specifics in fabric, finish, construction and design. Roles will play an important part in this unit with primary tasks included within each role and the course specific relationship to these tasks and roles pointing out course differentials With the fashion business changing dramatically in recent years, this area was traditionally known as middle, diffusion or bridge market, positioning it between high street and designer. In recent years however this area of activity has increasingly developed a personal signature and independent approach to fashion thus positioning it as a new fashion area. Aims 1. To research and analyse objectively 2. To understand a brand in depth and its market position 3. To understand every component in the promotion of the brand PDP Aims 1. To develop skills in organisation and written communication for career planning. Task A Analysis of Product Differentials Why does one design brand work so well? What separates it from its rivals and why, when the market is flat or in recession, does it buck the trend? The answers to all these questions can be found by research and investigation to pin-point the differences within the successful operations. The research in this unit is to discover what, where and how the successful niche brand has arrived at this position.

Task B Brand Strategy

The task for the student within this unit is to decide on a strategy which they feel is in keeping with the niche market they have selected and then to develop this brand further. Learning Outcomes Students who successfully complete this unit should be able to demonstrate 1. An ability to de-personalise and analyse investigation 2. An ability to research visual merchandising, store lay-out, etc 3. An ability to get under the skin of a brand and investigate methods of creative branding. PDP Learning Outcomes 1. An awareness of career opportunities within the fashion industry. Teaching and Learning Methods Lectures and discussion groups on the niche market will take place throughout the unit. Students will gain insight into niche brands through shop research planned during tutorials and workshops. Lectures on PR, niche brand promotion and advertising will help to develop new areas of understanding for students during this unit and offer further evidence of the interrelationship between all areas of promotional activity. Assessment Requirement Research 25% Assessment Criteria Self Management & Professional Knowledge & Understanding Competence Creativity and Innovation LO2 & LO3 Reference Material BELL, J. 2002 Silent selling : best practices and effective strategies in visual merchandising 2005 The new boutique : fashion and design 2005 Fashion forecasting 2nd ed 2005 Fashion: from concept to consumer 2004 Market research in practice : a guide to the basics 2001 Mastering fashion buying and merchandising management 2004 Consumer behavior : in fashion 2003 Fashion icon : the power and influence of graphic design 2003 Retail desire : design, display and visual merchandising 2004 How fashion works : couture, ready-to-wear, and mass production Fairchild 659.15 BEL LO1 Portfolio 75%

BINGHAM, N. BRANNON, E.L. FRINGS, G. HAGUE, P. JACKSON, T. & D. SHAW SOLOMON, M. TOTH, M. TUCKER, J. WADDELL, G.

Merrell Fairchild Prentice Hall Kogan Page Macmillan Prentice Hall Rockport Rotovision Blackwell

725.21 BIN 687.0112 BRA 687 FRI 658.83 HAG 658.8 JAC 687.0688 SOL 741.6391 TOT 659.15 TUC 687 WAD

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Company ID & PR (Semester 2 Option 1) RFPR1005 BA (Hons) Fashion Promotion Rochester Level 1, 15 credits Semester 2 Weeks 21-25 5 weeks 150

Content This project aims to develop an understanding of UK fashion, style, culture and consumer behaviour through profile, brand identity and marketing. Students will gain further specialist knowledge through analysis of specific UK markets and researching the structure and organisation within a fashion company. Mixed course teams are assigned to the project whilst individuals are responsible for tasks appropriate to their specialist study. Working in conjunction with each member of the team, students will be expected to identify design concepts, branding and marketing for a particular outcome. They will also need to investigate trends, fabrics and production methods appropriate to their specific market level and customer attitude. Even within promotion, the costing and production of the product plays a vital role within the promotional planning. This unit increases the students knowledge of the level of research and understanding necessary to underpin the product to enable all team members to arrive at a successful outcome, whatever their specific role within the organisation might be. The final presentation will demonstrate team building and single company vision as well as the ability to present a concept in a professional and thorough manner. Aims 1. To build a Company ID and PR campaign 2. To develop an ability to communicate with team members and plan strategies 3. To further develop IT skills PDP Aims 1. To develop skills in negotiation when working in a team environment. Task A Company Profile Once again research and analysis begins the students journey towards a successful outcome. The team strategy will be developed through the promotional members emphasis on complete understanding of market position and the handwriting and signature of the brand being developed. Task B Public Relations Event management and PR will be the key to the success of the outcome within this unit. From the initial ticket or invitation through to the event itself, students will have the opportunity to create a total package of PR management. Learning Outcomes Students who successfully complete this unit should be able to demonstrate 1. An ability to interpret the Company ID and PR concept 2. An ability to practice working in a team and take responsibility for own learning. 3. An ability to develop IT skills.

PDP Learning Outcomes 1. An ability to interact effectively within a group, to enter into collaboration, to co-operate, to negotiate and to exercise leadership skills. Teaching and Learning Methods The emphasis throughout this unit is on both PR and event management alongside further IT development. Lectures, workshops and discussion groups will involve both visiting specialists and staff. Tutorials will ensure the groups are functioning and offer open forums for communication and time management planning. Students will also be offered specialist support on styling, photography and CAD for this unit. Assessment Requirement Portfolio 75% Information & IT Application Interpersonal & Social Skills LO2 & LO3 Reference Material 200 Communities dominate brands : business and marketing challenges for the 21st 5 century BAKER, E. 200 Working communication 2 BELL, A.H. 200 Learning team skills 3 FORD, K. 200 Brands laid bare : using market research for evidence-based brand management 5 HAGUE, P. 199 Do your own market research 8 KASHANI, K. 200 Beyond traditional marketing : innovations in marketing practice 5 LEVINE, M. 200 Guerrilla PR wired 5 COSTANTINO, M. 199 Fashion marketing and PR 8 VAN EMDEN, J., 200 Presentation skills for students 4 WHEELER, A. 200 Designing brand identity 6 AHONEN, T. Futuretext 658.8 AHO Research 25% Assessment Criteria Knowledge & Understanding LO1

Wiley

651.7 BAK

Prentice Hall 658.402 BEL Wiley 658.827 FOR Kogan Page 658.83 HAG Wiley McGraw-Hill Batsford Palgrave Wiley 658.8 KAS 659.111 LEV 687 COS 808.5 VAN 658.827 WHE

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Placement (Semester 2 Option 2) RFAS1003 All BA (Hons) Fashion courses Rochester Level 1, 15 credits Semester 2 Weeks 21-25 5 weeks 150

Content Industrial experience provides the student with experience of a live business environment and the opportunity to start to develop professional skills. The student will select a trial portfolio career direction for their 3-5 week placement. This could be the students intended career destination or an opportunity to experience various companies to broaden the students career portfolio. Prior to the placement the unit will require the student to research relevant companies, prepare a CV and apply for work. On completion of the placement the student will be required to prepare a report and a verbal presentation documenting and evaluating their experience. Aims 1. To provide evidence of work experience in the form of a written report. 2. To experience working within industry and to develop a greater knowledge of career opportunities. 3. To develop good communication skills through oral, visual and written presentations and to communicate effectively through the use of computer aided design (CAD). PDP Aims General PDP aim: To identify and complete personal, educational and career development plans (PDP). 1.To develop skills in negotiation when working in a team environment. Learning Outcomes Students who complete this unit should demonstrate: 1. The ability to collate and present information and data in the form of visual, written and verbal communication. 2. An increasing awareness of the career opportunities within the fashion industry. 3. An understanding of professional skills. PDP Learning Outcomes 1. An ability to interact effectively within a group, to enter into collaboration, to co-operate, to negotiate and to exercise leadership skills. Teaching and Learning Methods Project briefing, lectures and seminars in preparation for the work placement and to assist with reporting of the experience. Staff support whilst students are on placement via e-mail and visits to some companies. The CAD workshop will be available for preparation of the PowerPoint presentation. Study skills support to assist with communication and presentation, which is recorded on video for student reflection. Assessment Requirement

Written report 75%

Verbal report 25%

Assessment Criteria Information & IT Application Self Management & Professional Competence Communication & Presentation Interpersonal and Social Skills LO3 Reference Material LO1 & LO2

Essential BILLINGHAM, J. COLE, J. CULLEN, K. VOGT, P.

2003 Giving presentations

OUP

On Order CC4 On Order CC3

SIAD 2004 Creative CV guide 2005 Letter writing Chambers 2002 Career opportunities in the fashion Checkmark industry DIRECTORIES File FX, Fashion Monitor, Little Black Book, LeBook London PERIODICALS Drapers Recommended GRANGER, M. MIDDLETON, J. SHARP, G. VERITY, J.

2004 The fashion intern 2005 High impact CVs 2002 A guide to working in fashion 2004 Succeeding at interviews : give great answers and ask the right questions

Fairchild On Order Infinite Ideas CC4 Heinemann How To Books CC3 CC4

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Publications (Semester 2 Option 3) RFPR1006 BA (Hons) Fashion Promotion Rochester Level 1, 15 credits Semester 2 Weeks 26-30 5 weeks 150

Content Journalism generally, and the written word in particular, play a key role within the Promotional Business. Combining this with visuals creates a signature or handwriting style for a publication at whatever market level it might be. In this unit students will both investigate publications and their impact on the dissemination of fashion information and also the written word in newsprint, supplement, glossy magazines and niche publications. From Visionaire to The Mirror, from Vogue Nippon to Vogue US and from Another Magazine to Wonderland, students will discover and analyse the world of magazines. The unit is designed to cover the widest possible options of journalism and writing across the media at a variety of market and style levels. The tasks will take them into the heart of publications and show them how each style magazine, section or page aims itself at a market, how it balances its content and what the style philosophy is behind the publication. The written word will be combined with strong visuals to further develop students computer skills. This unit will complete the fashion circle by focusing on the highest level of designer fashion through the catwalk and the big names and key players of the International fashion circuit. This is the chance for students to investigate the style of Prada, Balenciaga, Westwood, Lanvin and others who they admire or of whose work they wish to develop a deeper understanding. Task A Newspaper Journalism Writing for a newspaper is a different writing genre and is especially defined by the identity of each individual paper. Hilary Alexander in The Telegraph has a totally different approach and readership to that of Lisa Armstrong in The Times. The first task will be to research and develop an understanding of these differentials and to select a paper for the first task. Task B Magazine Journalism As with newspapers, the styles vary a great deal across both the publication and the presentation of the written element within the magazine. The second task focuses on the specifics of writing for magazines and their individual style and signature approach to journalism. Aims 1. To understand publication specific requirements and styles. 2. To undertake journalism with an understanding of the technical requirements e.g. write to a set word count, check and proof read, etc. 3. To further develop students critical and analytical skills. PDP Aims 1. To develop a range of personal skills to become reflective in own work.

2. To communicate orally in an effective manner and be able to formulate independent judgements Learning Outcomes Students who successfully complete this unit should be able to demonstrate 1. An ability to analyse the content of style journalism. 2. An ability to adapt their personal style to a specific publication and word count 3. An ability to collect and critique articles and information from publications. PDP Learning Outcomes 1. An ability to analyse information and experiences in own work to formulate independent judgements through reflective. 2. An ability to communicate orally by organising and preparing material for a formal presentation Teaching and Learning Methods Specialist lectures on writing and journalism will be given. Workshops on writing and the skills needed to support written work within any area of journalism from Press Release to glossy magazine will be part of this unit. One to one tutorials will enable students to focus on their personal areas of both strengths and concerns. Additional workshops on writing styles and skills though other methodology will also be part of this unit. Assessment Requirement Research 50% Assessment Criteria Technical Knowledge Critical Analysis and Evaluation LO1 & LO2 LO3 Reference Material 2005 1999 2003 2004 V Best : five years of V magazine Fashion spreads Writing for magazines 20 years of style : the world according to Paper Tank book The newspapers handbook The Penguin book of twentiethcentury fashion writing Understanding women's magazines Making sense of mens magazines Smile i-D: fashion and style Edition 7L Berg McGraw-Hill Harper Design International Thames & Hudson Routledge Penguin Routledge Polity Press Taschen 741.65 V 778.9422 JOB On order 741.65 PAP Journalism 50%

JOBLING, P. WRAY, C.

2002 KEEBLE, R. WATT, J. GOUGHYATES, A JACKSON, P. 2005 1999 2003 2001 2001

741.65 TAN On order 391 WAT 050 GOU 050 JAC 741.65 JON

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours Content

Publications with International Studies (Semester 2 Option 4) RFPR1007 BA (Hons) Fashion Promotion Rochester Level 1, 15 credits Semester 2 Weeks 26-30 5 weeks 150

Journalism generally, and the written word in particular, play a key role within the Promotional Business. Combining this with visuals creates a signature or handwriting style for a publication at whatever market level it might be. In this unit, students will both investigate publications and their impact on the dissemination of fashion information and also the written word in newsprint, supplement, glossy magazines and niche publications. From Visionaire to The Mirror, from Vogue Nippon to Vogue US and from Another Magazine to Wonderland, students will discover and analyse the world of magazines. The unit is designed to cover the widest possible options of journalism and writing across the media at a variety of market and style levels. The tasks will take them into the heart of publications and show them how each style magazine, section or page aims itself at a market, how it balances its content and what the style philosophy is behind the publication. The written word will be combined with strong visuals to further develop students computer skills. Journalism This unit will complete the fashion circle by focusing on the highest level of designer fashion through the catwalk and the big names and key players of the International fashion circuit. This is the chance for students to investigate the style of Prada, Balenciaga, Westwood, Lanvin and others who they admire or of whose work they wish to develop a deeper understanding. Newspaper Journalism Writing for a newspaper is a different writing genre and is especially defined by the identity of each individual paper. Hilary Alexander in The Telegraph has a totally different approach and readership to that of Lisa Armstrong in The Times. The first task will be to research and develop an understanding of these differentials and to select a paper for the first task. Magazine Journalism As with newspapers, the styles vary a great deal across both the publication and the presentation of the written element within the magazine. The second task focuses on the specifics of writing for magazines and their individual style and signature approach to journalism International Studies Students wishing to visit an International country in semester 4 will need to start the process of preparation in year 1. Bi-lingual International PowerPoint Part 1 this presentation will provide the opportunity to present the initial research evidence completed by the student in preparation to the exchange/placement application. The International investigation and understanding of fashion, style and life style within the country of their choice will be researched and analysed and can be further developed in semester three prior to the exchange/placement visit.

International exchange application portfolio- the student application for exchange or placement must be prepared and accepted by the exchange/placement provider for successful completion of this unit. The portfolio must contain a letter of application, CV and samples of student course work

Aims 1. To understand publication specific requirements and styles. 2. To undertake journalism with an understanding of the technical requirements e.g. write to a word count, check and proof read, etc. 3. To further develop students research, integration and synthesis skills. 4. To develop presentation and bi-lingual communication skills in order to research, plan and prepare for the International exchange semester abroad in semester four. PDP Aims 1. To develop a range of personal skills to become reflective in own work. 2. To communicate orally in an effective manner and be able to formulate independent judgements Learning Outcomes Students who successfully complete this unit should be able to demonstrate 1. An ability to analyse the content of style journalism. 2. An ability to adapt their personal style to a specific publication and word count 3. An ability to collect and categorise ideas and information from International publications 4. An ability to source, select and evaluate research material in a edited PowerPoint presentation PDP Learning Outcomes 1. An ability to analyse information and experiences in own work to formulate independent judgements through reflective. 2. An ability to communicate orally by organising and preparing material for a formal presentation Teaching and Learning Methods Specialist lectures on writing and journalism will be given. Workshops on writing and the skills needed to support written work within any area of journalism from Press Release to glossy magazine will be part of this unit. One to one tutorials will enable students to focus on their personal areas of both strengths and concerns. Additional workshops on writing styles and skills though other methodology will also be part of this unit. Assessment Requirement International Studies Part 1 50% Bi-lingual International PowerPoint International designers research + International exchange application portfolio Bi-lingual presentation Assessment Criteria Technical Knowledge Research Integration & Synthesis Information & IT Application LO1 & LO2 LO3 & LO4 Journalism 50% Reference Material

JOBLING, P. WRAY, C.

2005 1999 2003 2004

V Best : five years of V magazine Fashion spreads Writing for magazines 20 years of style : the world according to Paper Tank book The newspapers handbook The Penguin book of twentiethcentury fashion writing Understanding women's magazines Making sense of mens magazines Smile i-D: fashion and style

Edition 7L Berg McGraw-Hill Harper Design International Thames & Hudson Routledge Penguin Routledge Polity Press Taschen

741.65 V 778.9422 JOB On order 741.65 PAP

2002 KEEBLE, R. WATT, J. GOUGHYATES, A JACKSON, P. 2005 1999 2003 2001 2001

741.65 TAN On order 391 WAT 050 GOU 050 JAC 741.65 JON

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours Date first approved Date of this version Content

Fashion Theories tbc BA(Hons) Fashion Design Rochester Level 1, 15 credits Semester two -Weeks 16-30 15 weeks 150 26-05-08

Fashion and dress culture plays a defining role within the formation of different individual and collective identities. After looking in the first semester at the various stylistic and social changes that haute couture, prt-a-porter and mass market clothing underwent, the aim is now to explore theories that accompany these changes, reflect or even inform them. The styles in fashion are not simply plucked out of thin air by some ingenious designer, but very much reflect and adopt styles in the fine arts, industrial design, interior decoration, decorative art and the media at large. It is often the role of those working within the fashion industry to tailor these developments to both appeal to and assist in the construction of an individuals sense of self and social identity. Clothes are the most intimate commodities in a consumer society; they are worn directly on the human body and define not only the physical (mobility, postures, gestures etc.) but also the psychological state of a person. This lecture and seminar series will demonstrate that apart from the most fundamental concern of protection, questions of gender, sexuality, ethnicity, morality, social position and individual representation immediately influence the wearers choice of a garment or accessory whether it is a conscious process or not. The theoretical analysis of fashion has repeatedly been concerned with explanations of why and how styles in dressing originate, what people think they gain from wearing certain clothes and accessories and what changes (economic, social, political and aesthetic) are made to sustain fashions influence on culture and society. This unit will focus on how these theories can be applied to fashion within both its historical and contemporary practice. To develop understanding of the ways clothes formulate socio-cultural notions of the self, a motivating force which informs both the production and consumption of fashion. Aims Throughout this unit, the students will be confronted with theoretical approaches to the history of fashion design. The weekly lectures, seminars and tutorials will focus on a variety of ideas surrounding identity in order to deepen, broaden and complicate the basic grounding achieved in the first semester. A1 A2 To provide a clear, initial grounding in a theoretical body of thought to stimulate research between cultural Studies and studio projects. To introduce the students to techniques in the critical evaluation and textual analysis of theories relating to fashion practice.

A3

Introduce theoretical methodologies to extend formal essay writing skills.

PDP aims 1. To develop a range of written communication and object and visual analysis skills. Learning outcomes Students who complete this unit should demonstrate: LO1 A clear and basic knowledge of theoretical approaches that can be seen to inform the practice of fashion. LO2 An understanding of the importance of critical analysis, evaluation and the connection between cultural and theoretical notions and practical work. LO3 The ability to produce a theoretically informed and structured essay that respects the academic conventions of research and presentation. PDP learning outcomes 1. An ability to demonstrate written communication skills by writing essays and reports.

Teaching and learning methods The lecture and seminar programme will provide a critical assessment of clothing the human body and illustrate the various interpretations (psychological, sociological, etc.) of fashion. It will introduce feminism and gender debates in regard to dress and status, provide a discussion of the context of subculture, broaden the discussion to non-western dress and provide a forum to discuss ideas about fashion in a different language. This is supported by a project pack which includes handouts and for all lectures, and theoretical texts for discussion within each of the seminars. The production of the essay will be supported by bookable academic and study skills tutorials. Assessment de-briefing and published feedback support the learning strategy. Assessment requirement Essay (1,500-2,000 words) & Seminar / Object Analysis Documentation 100% (LO1/2/3) Assessment criteria Knowledge of: fundamental contextual and theoretical issues and critical concepts and a widening appreciation of historical and contemporary practice (LO 1/ LO2) Understanding through: Demonstrating relevant knowledge through undertaking relevant research (LO 1/ LO2) The ability to present ideas and information from a variety of sources in an effective manner (LO 3) Technical and applied skills through: The ability to structure a logical piece of written work that develops clear aims and objectives to effective conclusions (LO 3) Skills in the use of written forms of communication and understanding of academic conventions effectively demonstrated (LO 3) Due to the forward looking nature of this unit updated references will be available in the unit handbook and will comprise up to the minute on-line and media sources. The following therefore indicates core and definitive texts:

Essential reading Barnard, M, Fashion as Communication (London: Routledge, 1996) Buckley, C./Fawcett, H, Fashioning the Feminine. Representation and Womens Fashion from the Fin de Siecle to the Present (London: I.B. Tauris, 2002) Cooper, S, Writing logically, thinking critically, (Pearson Longman, 2003) Craik, J, The Face of Fashion (London: Routledge, 1994) Crane, D, Fashion and its Social Agendas. Class, Gender and Identity in Clothing (Chicago: University of Chicago Press, 2000) Recommended reading Davis, F, Fashion, Culture and Identity (Chicago: University of Chicago Press, 1992) Edwards, T, Men in the Mirror: Mens fashion, masculinity and consumer society (London: Cassell, 1997) Entwistle,J./Wilson,E. Body Dressing (Oxford: Berg, 2001) Garber, M, Vested Interests: Cross-Dressing and Cultural Anxiety (London: Penguin, 1992) Marshall L, A Guide to Learning Independently, (Berkshire: Open University Press, 2003) Maffesoli, M, The Time of Tribes: The Decline of Individualism in Mass Society (London: Sage, 1996) Mercer, K, Welcome to the Jungle: New positions in black cultural studies (London: Routledge, 1994) Said, E, Orientalism: Western conception of the Orient (London: Routledge, 1978)

Stage 2 units
STAGE 2 DESCRIPTION (INTERMEDIATE LEVEL) Stage Two of the course define develop and detail from the first stage enabling students to expand their expertise at the same time as adding new skills and enhancing their understanding of how the promotional world works. Creative Styling is examined in much greater depth with a ten-week unit which enables students to investigate styling one of the key areas for image and image communication in contemporary promotional activity. Further units encompass PR, Branding and Marketing and Publications. Options within the current curriculum include a moving image project called The Cut. This unit is a moving image unit related to Marketing and Branding. The unit combines moving image and a real live event. Cultural studies continues throughout the second year but gradually focuses on the Pilot Essay leading to Dissertation with promotions students using this as a strong support element to their chosen direction for the final year rather than as a separate element. The two 15 credit historical and cultural studies units run alongside the main study units, throughout the stage two. The student moves into the course specific nature of promotions in stage two. This stage of the courses allows the student to move away from a staff led schedule to a more student directed approach in which the student is encouraged to be increasingly self-motivated and self-reliant. Stage two is the experimental and developmental stage that encourages the student to investigate the taught theories and methodologies taught in year one. Work at this level will enable students to gain knowledge and a critical understanding of the well-established principles in promotions and an ability to apply these principles outside of the context in which they were first learnt, including the live workplace. Students will learn to evaluate the appropriateness of different approaches to solving problems. They will have an understanding of the limits of their knowledge and how this influences, analyses and interpretations based on their knowledge of fashion. Team working projects will develop the qualities and transferable skills necessary for employment and progression to other qualifications requiring the exercise of personal responsibility and decision-making. Personal Development Planning PDP continues through stage two by the completion of the on line tutorial form and through the introduction of unit Fashion Reflection 1 (see Unit Descriptor)

Stage 2 Unit Descriptors

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Creative Styling RFPR2001 BA (Hons) Fashion Promotion Rochester Level 2, 30 credits Semester 2 Weeks 1-10 10 weeks 300

Content This unit thoroughly investigates the vocation of styling as a practice. The creation of image and the communication of style are of paramount importance within the arena of fashion promotions. The last twenty years have witnessed an explosion of image creators who are responsible for creating a specific look. As a result, Creative Styling gives a firm grounding in all aspects of a stylists practice. Core lectures include fashion photography and lighting, pinpointing trends, sourcing garments, styling for different markets, fashion genres, shooting in studios and locations, finding a location, props, booking models, how to organise a team, hair and make-up, returns, PR companies, how to achieve different moods (the difference between commercial and edgy), styling for editorial, real-life, celebrity, beauty, still-life, catalogue, advertising and TV, opportunities as a stylist, going freelance or working for a newspaper/magazine, getting an agent. By disseminating this information, the student has the opportunity to investigate current issues affecting and influencing fashion styling. The diverse content of this unit will extend the students knowledge of fashion styling both on a practical and conceptual level. After the core lectures, the student then has the background knowledge to interpret the styling theory and produce their own fashion shoot. Aims A stylist is more than a dresser. Creativity, market awareness, organisational skills, vision and extensive industry contacts are paramount to success in this field. Through core lectures and industry speakers, students will develop an understanding of the inter-relationship between fashion theory, knowledge of key trends and practice. 1. To further develop the ability to research, analyse, investigate and critique current and future trends within fashion styling and media. 2. To understand and recognise the generic workings of fashion styling, the army of professionals involved in the process and to demonstrate awareness of the importance and application of the profession within the fashion industry. 3. To facilitate multi-structural learning and demonstrate the ability to respond intellectually to define key concepts of styling in terms of how it is organised, managed, communicated and launched within current industry practice. 4. To develop the students practical understanding of the processes involved in organising a successful shoot whilst simultaneously improving key interpersonal and networking skills through sourcing their own creative team (photographer, model, hair and makeup). 5. To successfully produce a fashion shoot and ensure ideas and execution are of a professional level. 6. To develop creative and imaginative ideas through layout and the exploration of digital media and photography. Learning Outcomes

Students who complete this unit should demonstrate: 1. An ability to widen the methods of research, critical and analytical knowledge of fashion styling as a discipline. 2. An ability to read and analyse fashion images in the media, understand the process behind the glossy image and determine which consumer market these photographs aim to attract. 3. An ability to promote and communicate analytical skills through the process of a developmental learning journal. 4. An ability to negotiate all production aspects of shoot organisation and confidently assemble a creative team. Professional practice and self developmental skills will be utilized, further developing students autonomy and ability to work in a self-directed capacity. 5. An ability to deliver a styled shoot, showing evidence of applicable fashion genres and competence in putting a story together. 6. An ability to produce creative styling shoot layouts through the use of digital media and computer aided design. Study Skills Development Learning Outcomes 1. An ability to provide evidence of self reflection through the learning journal. Teaching and Learning Methods The conceptual creative styling principles and information will be imparted through lectures, seminars, video, supervised studies and workshop demonstration where discussion and debate will be encouraged. The project brief will concentrate on contemporary creative styling, photography, fashion promotion, trends, culture, and socio-economic references. Self and peer appraisals will be encouraged through the critique process. Critiques, assessment de-briefing and published feedback support the learning strategy. Management study skills support is available through bookable tutorials. Assessment Requirement Theory 50% Styling 50% Learning Journal Verbal presentation Contemporary context (understanding Styling work (shoot, clothing, of styling as a genre) location, lighting, model choice) Research folders/sketchbooks Art Direction/Graphics Assessment Criteria Knowledge & Understanding Creativity & Innovation Technical Knowledge LO1, LO2 & LO3 LO4, LO5 & LO6

Reference Material Essential Fashioning film stars: dress, culture, identity, ed. by Rachel Moseley, BFI Publishing, 2005 Bloch, P., Elements of style: from the portfolio of Hollywood's premier stylist, Warner Books, 1998 .Cent (issue 4: the Judy Blame issue) Mastering Fashion Styling by Jo Dingemanns, Macmillan, 1999 Photo Styling: How to build your career and succeed by Susan Linnet-Cox, Allworth Press, 1996 Recommended Tank Too, Thames & Hudson 2006

Image Makers: Professional Styling Hair and Makeup by Lee Widdows and Jo Mc Guinness, Batsford, 1997 Market a La Mode: Fashion, Commodity and Gender in the "Tatler" and the "Spectator" by Erin Mackie, Johns Hopkins University Press, 2003 Dawber, M., Pixel surgeons, Mitchell Beazley, 2005 (Digital image manipulation/photography/fashion illustration) Hastreiter, K., 20 years of style: the world according to Paper, Harper Design International and Paper Magazine, 2004 Normant, S., Metamorphosis: transforming the world's most famous women, Thames & Hudson, 2004 Smile ID: fashion and style: the best of 20 years of ID, Taschen, 2001 V Best: Five years of V magazine, Edition 7L, 2005 Worst Fashions - What We Shouldn't Have Worn... But Did by Catherine Horwood, Sutton 2005 Fashion Images de Mode, ed. L. Lovatt-Smith, Steidl various dates (Nos.1-6 2001) Michael Thompson Images by Dennis Freedman, Harry N. Abrams, 2005 Tank Book, Thames & Hudson 2002 Purple 6, ed. Elein Fleiss, Paris Purple Institute, 2000 Periodicals: Viewpoint, Amelias Magazine, Another, Pop, Flaunt, V, i-D, Tank, Wonderland, 10, Self Service, Citizen K

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Creative Thinking (Semester 1 Option 1) RFPR2002 BA (Hons) Fashion Promotion Rochester Level 2, 15 credits Semester 1 Weeks 11-15 5 weeks 150

Content In order to be a competent journalist, one has to master the art of research. This unit thoroughly investigates the area of primary and secondary research and creative journalism. The importance of good research cannot be underestimated and it is this aspect which will enhance the students promotions vocabulary. Inspiration can be found anywhere! Students will be encouraged to analyse and evaluate different styles of writing in magazines, newspapers and the internet. The onus is to allow students to explore investigative journalism and interview techniques. Vox pops, grammar, fashion terminology, catwalk reports, market level, readership, interview construction (question and answer formats and traditional text) and creating an angle are subjects to be addressed within this unit. Students are actively encouraged to make use of primary research and will be identifying London based companies, designers, fanzines, newspapers and periodicals to research. Historical and contemporary knowledge of genres are as important here as is keeping an eye on the zeitgeist. Students will be encouraged to think instinctively and note emerging trends around them from art, music, interiors, technology and social shifts to generic fashion and beauty issues. Aims The pen is mightier than the sword! Good journalism is a particularly strong method of communication and in fact propaganda (at times); it can delight, inform, inspire or even anger the reader. This is an opportunity to analyse the area of fashion journalism and improve grammar, vocabulary and analytical skills. 1. To develop existing research skills and go beyond simply referencing the internet. Students will be encouraged to examine and discover cultural trends in order to approach writing their article. 2. To further develop critical knowledge of fashion writing and enable students to read and analyse texts, thus identifying the importance of writing for a specific market. 3. To comprehend how to give journalistic work an angle. 4. To expand and strengthen journalistic skills, grammar and interview technique, along with layout technique Learning Outcomes Students who complete this unit should demonstrate: 1. A strong understanding of the application of extensive research along with the need to investigate and be aware of cultural trends. 2. The ability to read and analyse fashion journalism for a variety of different markets. 3. The ability to give a journalistic piece a good, strong angle ensuring an interesting and thought provoking read. 4. The ability to write good copy utilizing clear grammar, excellent journalistic insight and strong interview skills, laid out in a professional format, demonstrating IT skills.

Teaching and Learning Methods The Creative Thinking principles and information will be imparted through lectures, seminars, video, supervised studies and workshop demonstration where discussion and debate will be encouraged. The project brief will concentrate on research, contemporary fashion related publications, fashion writing, interviews, reviews, trends, cultural and socio-economic references. Self and peer appraisals will be encouraged throughout. Critiques, assessment debriefing and published feedback support the learning strategy. Management study skills support is available through bookable tutorials. Assessment Requirement Creative Research 60% Innovative Journalism 40% Research folders/sketchbooks Written journalistic piece. Evidence of primary and secondary Art Direction and layout research (encompassing creative graphics, layout, form and typography) Clear analysis of different publications, styles of writing and their editorial policies Assessment Criteria Research Integration & Synthesis Information & IT Application Critical Analysis & Evaluation LO1 & LO2 LO3 & LO4 Reference Material Essential 10 (short article on fashion language by Hadley Freeman in issue 19) CRAIG, R., Online journalism: reporting, writing and editing for new media, Thomson Wadsworth, 2004 DE BURGH, H., Investigative journalism: context and practice, Routledge, 2000 WRAY, C., Writing for magazines, McGraw-Hill, 2003 PIAGGI, A., Anna Piaggis fashion algebra, Thames and Hudson, 1998 WATT, J., Penguin book of twentieth century fashion writing, Penguin, 1999 Recommended GOUGH-YATES, A., Understanding womens magazines, Routledge, 2003 BRYANT, M.W., WWD illustrated: 1960s -1990s, Fairchild, 2003 JONES, T. & S. RUSHTON, Fashion now 2: i-D selects, Taschen, 2005 JONES, T., Smile i-D, Taschen, 2001 ESTEN, J., Diana Vreeland: Bazaar years, Universe, 2001 CONBOY, M., Tabloid Britain : constructing a community through language, Routledge, 2006 HARRIS, C., Visual journalism: a guide for new media professionals, Allyn and Bacon, 2002 JACKSON, P., STEVENSON, N. & K. BROOKS, Making sense of mens magazines, Polity Press, 2001 JOBLING, P., Fashion spreads, Berg, 1999 KEEBLE, R., The newspapers handbook, Routledge, 2005 Fashion Theory [especially nos. 1(3), 5(2), 8(1), 10(1/2)] FRANKEL, S., Visionaries, V & A Publications, 2001 GAN, S., Dreaming in Print, Visionaire publishing, 2002

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Creative Thinking with International Studies (Semester 1 Option 2) RFPR2003 BA (Hons) Fashion Promotion Rochester Level 2, 15 credits Semester 1 Weeks 11-15 5 weeks 150

Content This unit familiarizes the student with the fashion, lifestyles and culture of the country about to be visited on their European Exchange. Whilst main study Fashion Promotion students are producing an Innovative Journalism piece this option offers students the chance to produce a Creative European Journalistic piece, including bi-lingual journalism. Research, analysis and commentary on the lifestyles, culture and sartorial styles of the country in question will be included. Students may wish to reference fashion houses within France and Italy in a historical sense within their research. In order to be a competent journalist, one has to master the art of research. This unit thoroughly investigates the area of primary and secondary research and creative journalism within the arena of European fashion houses and publications. The importance of good research cannot be under-estimated, and it is this aspect which will enhance the students promotions vocabulary. Inspiration can be found anywhere! Students will be encouraged to analyse and evaluate different styles of writing in magazines, newspapers and the internet. Students are also encouraged to take study visits to the European country of their choice to obtain valuable primary research. The onus is to allow students to explore investigative journalism and interview techniques. Vox pops, grammar, fashion terminology, catwalk reports, market level, readership, interview construction (question and answer formats and traditional text) and creating an angle are subjects to be addressed within this unit. Students are actively encouraged to make use of primary research and will be identifying European based companies, shops, boutiques, designers, fanzines, newspapers and periodicals to research. Historical and contemporary knowledge of genres are as important here as is keeping an eye on the zeitgeist. Students will be encouraged to think instinctively and note emerging trends around them from art, music, interiors, technology and social shifts to generic fashion and beauty issues. International Studies Exchange/Placement Students: Students preparing for their exchange or placement abroad will complete a written journalistic piece which is written in a bi-lingual format. The journalistic piece must encompass creative graphics, layout, form and typography. On their return students should be able to demonstrate a developmental knowledge from their exchange which will be present within their work completed in their final year Aims The pen is mightier than the sword! Good journalism is a particularly strong method of communication and in fact propaganda (at times); it can delight, inform, inspire, or even anger the reader. This is an opportunity to analyse the area of fashion journalism within the

International country of the students choice and improve grammar, vocabulary, bi-lingual and analytical skills. 1. To develop existing research skills and go beyond simply referencing the internet. Students will be encouraged to examine and discover cultural trends in order to approach writing their article. 2. To further develop critical knowledge of fashion writing and enable students to read and analyse texts thus identifying the importance of writing for a specific market. 3. To comprehend how to give journalistic work an angle. 4. To expand and strengthen bi-lingual writing skills, generic journalistic skills, grammar and interview technique. 5. To develop presentation and bi-lingual communication skills in order to research, plan and prepare for the International exchange semester abroad Learning Outcomes Students who complete this unit should demonstrate: 1. A strong understanding of the application of extensive research along with the need to investigate and be aware of cultural trends. 2. The ability to read and analyse fashion journalism for a variety of different markets. 3. The ability to give a journalistic piece a good, strong angle ensuring an interesting and though provoking read. 4. The ability to write good copy utilising clear grammar, excellent journalistic insight and strong interview skills combined with evidence of bi-lingual writing. 5. An ability to communicate in the language of the students chosen exchange visit. Teaching and Learning Methods The Creative Thinking with European Studies principles and information will be imparted through lectures, seminars, video, supervised studies and workshop demonstration where discussion and debate will be encouraged. The project brief will concentrate on research, contemporary fashion related publications, fashion writing, interviews, reviews, trends, cultural and socio-economic references. Self and peer appraisals will be encouraged throughout. Critiques, assessment de-briefing and published feedback support the learning strategy. Management study skills support is available through bookable tutorials. Assessment Requirement Creative Research 60% International Studies Part II 40% Research folders/sketchbooks Written journalistic piece written in a bi-lingual format. Evidence of primary and secondary research relating to the students chosen Art Direction and layout International country. (encompassing creative graphics, layout, form and typography) Clear analysis of different publications, styles of writing and their editorial policies Assessment Criteria Research Integration & Synthesis Communication & Presentation Critical Analysis & Evaluation Information & IT Application LO1 & LO2 LO3, LO4 & LO5

Reference Material CRANE, R. GOWLAND, D. TUCEK, M. 2000 2000 2002 European business cultures The European mosaic Europe at the gates of the union : A dataPearson Education Longman KMR

LORD, R. ADAMSON TAYLOR, S. GRAFF, M.L. FLOWER, R. SETTEMBRINI, L. STEELE, V. KAWAMURA, Y. KURZ, C. Periodicals

2001 2003 2002 2001 2001

based assessment of markets and consumer lifestyles across Eastern and Western Europe Culture shock : Germany Culture shock : France Culture shock : Spain Culture shock : Italy Made in Italy

Kuperard Kuperard Graphic Arts Center Graphic Arts Center Skira

Fashion houses

LANGUAGE WEBSITES

2003 Fashion, Italian style Yale University Press 2004 The Japanese revolution in Paris fashion Berg 2003 Berliner style Booth-Clibborn Vogue Paris, Vogue Italia, Vogue Deutsch, Vogue Espana, Vogue Uomo, Elle French, Elle Italian, Elle German, Elle Spanish, Collezioni (uomo, sport & street, ...), Citizen K, Jalouse, Form (Germany), Officiel de la couture et de la mode, Self service, Textile report, Crash, b-guided, Zoom on fashion trends; Fashion Theory [especially nos. 1(3), 5(2), 8(1), 10(1/2)]; 10 (short article on fashion language by Hadley Freeman in issue 19) Dior, Chanel, Lanvin, Yves Saint Laurent, Jean Paul Gaultier, Louis Vuitton, Cacharel, Chloe, Balenciaga, Givenchy, Christian Lacroix, Sonia Rykiel, Valentino, Ungaro, Moschino, Pucci, Prada, Versace, Armani, Gucci, Benetton, Dolce & Gabbana, Roberto Cavalli, Alberta Ferretti, Krizia, Missoni, Maison Martin Margiela, Dries van Noten, Raf Simons, Viktor & Rolf, Bernhard Willhelm, BBC Languages: http://www.bbc.co.uk/education/languages (French, German, Italian, Spanish) UniLang: http://home.unilang.org/main/index2.php Real French: http://www.realfrench.net Texs French grammar: http://www.laits.utexas.edu/tex/ Italica: http://www.italica.rai.it/ Learn Spanish: http://www.studyspanish.com/index.htm

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Placement (Semester 1 Option 3) RFPR2004 All BA (Hons) Fashion courses Rochester Level 2, 15 credits Semester 1 Weeks 11-15 5 weeks 150

Content This option can not be selected by students taking the 60 credit exchange or placement unit in semester four. A learning agreement will be negotiated between the placement tutor and the student prior to the commencement of this unit. A copy of the learning agreement must be forwarded to the contact person at the placement organisation. This short 3/4 week placement is an opportunity to seek sponsorship and to start the process of researching for the final collection in an industrial environment. Work placement provides the student with experience of a live business environment prior to the final year. The students personal development plan (PDP) will progress through the work placement by demonstrating a higher level of evidence in oral presentation, written presentation, team skills, time management and research skills but mostly in further developing a network of support for the final year and potential employment. The PDP reflective analysis will be completed back at the University after the short placement to enable the students to present the learning outcomes of the placement and PDP component for assessment. Aims 1. To provide evidence from the work placement experience that will demonstrate verbal, written and visual communication skills. 2. To experience working within industry to develop interpersonal and social skills. 3. To increase knowledge and understanding of how important personal development planning (PDP) is in becoming a reflective practitioner. 4. To further develop personal skills in building a personal network of support for the final year and potential employment. Learning Outcomes Students who complete this unit should demonstrate: 1. Student to negotiate and write their own learning outcome 2. Student to negotiate and write their own learning outcome 3. Student to negotiate and write their own learning outcome. 4. Student to negotiate and write their own learning outcome Teaching and Learning Methods Project briefing will be organised in Block 5 to enable the student to prepare and plan for the placement. The placement learning agreement must be completed prior to the placement with the agreed learning outcomes written for the assessment of the unit. The work placement tutor will remain in regular contact with the student throughout the placement period via e mail. PDP workshops will support the student on their return to the University in preparation to the final year.

Assessment Requirement Placement Portfolio 50% Personal Development Planning 50% Placement learning agreement Student to negotiate the vehicle for demonstrating PDP. Assessment Criteria Self-Management & Professional Critical Analysis & Evaluation Student to select own assessment criteria Competence Student to select own assessment criteria LO1 & LO2 LO3 & LO4 Reference Material BARON, C.L. COLE, J. COPE, M. CULLEN, K. MIDDLETON, J. PERRY, M., TAIN, P. VAN EMDEN, J. VAN EMDEN, J. VERITY, J. 2004 2004 2003 2005 2005 2004 2005 2003 2004 2004 Designing a digital portfolio Creative CV guide Personal networking : How to make your connections count Letter writing High impact CVs Marketing your creativity : New approaches for a changing industry Portfolio presentation for fashion designers Effective communication for arts and humanities students Presentation skills for students Succeeding at interviews : give great answers and ask the right questions New Riders SIAD FT Prentice Hall Chambers Infinite Ideas AVA Fairchild Palgrave Palgrave How To Books

Unit Title Unit Code Location Course Level & Credit When taught Duration Learning hours Date first approved Date of this version

Modernism & Postmodernism TBC Rochester BA (Hons) Fashion Textiles: Print Level 2, 15 credits Semester 3 - Weeks 1-15 15 weeks 150

Content The theories that originate, not only in cultural studies, but in diverse fields such as, sociology, psychology, media and film studies and art and design history clearly demonstrate that the analysis of clothing can and must use sources and research material from outside its own discipline. After a year of looking at fashion specifically, the third semester is devoted to the investigation of a broader spectrum of cultural production. This ensures a thorough understanding of the connection between fashion and culture and the relevance of clothes to modern life. The first two semesters demonstrated that clothing acts as a signpost for aesthetic, cultural and social change, and that these transformations can be realised directly on the consumers body. The examination of a body of work that seeks to explain, theorise and philosophises cultural change will extend this understanding to a wider area of aesthetic practice. To enable the analysis of fashion in more depth, this unit will examine the theoretical notions of modernism and postmodernism by looking at their visual manifestations in both high and low culture (i.e. architecture, fine arts, design, film, magazines etc.) The debates surrounding Modernism and Postmodernism are at the core of cultural studies, the unit will therefore expand the students spectrum of analysis by introducing these concepts, which are often vital for the final dissertation and to bring conceptual underpinning to projects within the students main studies. The lectures and seminars will acquaint students with the ideas of what is considered a modern cultural expression and how it can be read, which will then be applied to the theoretical reading of fashion in the fourth semester. It is important for every designer nowadays to be able to work with an understanding of the concepts of modernity and post-modernity. These two areas of knowledge have formed the background of cultural production for the last hundred years. The understanding of the roots of modernity and its growth, across a variety of cultural areas provides opportunity for further development of research skills and promotion of discussion. Aims A1 To introduce the major theories surrounding aspects of modernity and Modernism in contrast to the present notion of post-modernity and postmodernism. A2 To present and discuss images from throughout the period of modernity and debate the changing perceptions of both high and low culture. A3 To extend the range of theoretical research methodologies within essay writing and ability in textual analysis and evaluation. Learning outcomes

Students who complete this unit should demonstrate: LO1 the ability to understand and communicate intellectual concepts that underpin the historical and contemporary perception of modernity, modernism and postmodernism; LO2 the capacity to recognise and critically assess images that display the concepts of modernism and postmodernism within the conceptual and theoretical parallels of both high and low culture; LO3 the ability to edit and analyse textual material to a higher level and organise this into both formal discussions and an articulate and structured essay.

Teaching and learning methods The lecture and seminar programme will provide an insight into design and cultural history in the context of modern and post-modern aesthetics. It will illustrate the historical development and contemporary quotation of what is seen as modern, progressive and part of the avantgarde. This is supported by a project pack which includes handouts and recommended reading for all lectures and theoretical texts for discussion within each of the seminars. The programme will also focus on the development of skills in textual and visual analysis. The production of the essay will be supported by bookable academic and study skills tutorials. Assessment debriefing and published feedback support the learning strategy. Assessment requirements Essay (2,000-2,500 words) & Seminar Documentation 100% (LO 1/2/3) Assessment criteria Knowledge of : Fundamental contextual and theoretical issues and critical concepts and their relationship to historical and contemporary practice (LO 1/2) Understanding through: Demonstrating ability to explore and interpret relevant knowledge (LO 2/3) The ability to analyse, evaluate and synthesise a variety of sources (LO 3) Application of technical and professional skills through The ability to structure a logical piece of written work that develops clear aims and objectives to effective conclusions (LO3) Skills in the use of written and oral forms of communication and understanding of academic conventions effectively demonstrated (LO /3) Due to the forward looking nature of this unit updated references will be available in the unit handbook and will comprise up to the minute on-line and media sources. The following therefore indicates core and definitive texts: Essential reading Baker, A. Jr. Betterton, R. (ed.): Berman, M.: Breward, C. (ed) Modernism and the Harlem Renaissance. (University of Chicago Press, 1987) Looking On: Images of Femininity in the Visual Arts and Media, (London: Pandora, 1987). All that is Solid Melts Into Air: The Experience of Modernity (London: Verso, 1983). Fashion and modernity, (Oxford:Berg, 2005)

Cottrell, S.

Critical thinking skills: developing effective analysis and argument (Palgrave,2005)

Recommended Reading Greenhalgh, P. (ed.) Modernism in Design (New York: Reaktion Books, 1990). Harvey, D. The Condition of Postmodernity, (Basil Blackwell, 1989) Huyssen, A. After the Great Divide: Modernism, Mass Culture and Postmodernism, (Indiana University Press 1986). Jameson, F. Postmodernism or the cultural logic of late capitalism (Verso 1991) Lehmann, U.: Tigersprung: Fashion in Modernity (Cambridge, Mass.: The MIT Press, 2000). Mulvey, L. Visual and Other Pleasures, (London: Macmillan, 1989). Sarup, M. Slater, D. Wilk, C. (Ed.) An Introductory Guide to Post-Structuralism and Postmodernism, (Atlanta: University of Georgia Press, 1993). Consumer Culture and Modernity (Polity Press 1996) Modernism 1914-1939: designing a new world, (V & A Publications, 2006)

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

PR, Marketing & Branding RFPR2006 BA (Hons) Fashion Promotion Rochester Level 2, 30 credits Semester 2 Weeks 21-30 10 weeks 300

Content PR, Marketing and Branding are essential facilitating tools in the mechanism of Fashion Promotions. They are all linked first you brand a product, then market it; subsequently PR activity is generated. This unit thoroughly investigates the area of these three disciplines. Students begin the project investigating PR. They work in teams and produce a film promoting a fashion designer. Event management skills are key, along with the ability to create strong press packs and dossiers. Students will also develop their understanding and application of marketing and branding. What is a brand and how is it marketed? S.W.O.T. analysis workshops, projected costings, budgets, writing questionnaires, youth trends, street teams, viral, direct, guerrilla and targeted marketing are all discussed within the unit. Strategies such as pop-up retailing, micro-communities and consumer behaviour are also covered. Aims Creativity, market awareness, organisational skills, vision and knowledge of semiotics and consumer behaviour will aid success in this field. Through core lectures and industry speakers, students will develop an understanding of the inter-relationship between PR, marketing and branding in both theory and practice. 1. To understand the importance of the moving image as a promotional tool. 2. To learn about the process of Event Management. 3. To appreciate film as a genre and learn different camera angles and techniques. 4. To build on existing PR techniques and research skills by promoting a collection through film and photography work, styling, and written techniques. 5. To develop an understanding of how fashion/lifestyle/music products and brands are developed, pitched and promoted. 6. To respond intellectually and target a campaign to a specific market. Learning Outcomes Students who complete this unit should demonstrate: 1. An ability to communicate using the moving image as a promotional tool. 2. An ability to successfully utilize Event Management skills through organising a film screening event. 3. The ability to produce a sophisticated DVD package which demonstrates appropriate camera angles/techniques. 4. The ability to promote a designers collection and generate fashion imagery/PR through a variety of techniques utilized in Public Relations. 5. The ability to extend methods of research, and knowledge of fashion/music/lifestyle marketing and branding.

6. The ability to communicate a company/brand with an original, conceptual idea applying core principles of professional practice. Teaching and Learning Methods The PR, Marketing & Branding principles and information will be imparted through lectures, seminars, event management, video, supervised studies and workshop demonstration where discussion and debate will be encouraged. The project brief will concentrate on PR, marketing and branding trends and technique, culture, and socio-economic references. Self and peer appraisals will be encouraged throughout. Critiques, assessment de-briefing and published feedback support the learning strategy. Management study skills support is available through book-able tutorials.

Assessment Requirement Visual Promotional Communication 50% Research and Context 50% Individual film (demonstrating Demonstration of contextual creativity and technical knowledge) knowledge & research through tutorials and presentations Press Release Organisation of the screening event Assessment Criteria Understanding through application Knowledge & Understanding of of knowledge contexts, technologies and processes Application of technical and professional skills LO1,LO2,LO3 LO4,LO5,LO6

Reference Material Essential www.imdb.com www.showstudio.com Film Directors A Z: The Art of the Worlds Greatest Film-makers by Geoff Andrew, Carlton, 2005 The Rough Guide to cult movies (2nd Edition) by Paul Simpson, Helen Rodiss and Michaela Bushell, Rough Guides, 2004 Exploring Storyboarding by Wendy Tumminello, Thomson / Delmar Learning, 2004 Guerilla Marketing in 30 days by J. Levinson, Entrepreneur Press, 2005 Guerrilla PR Wired by M. Levine, McGraw-Hill, 2002 Buzz: harness the power of Influence and create demand by M. Salzman, I. Matathia & A. OReilly, Wiley 2003 Viral Marketing by R. Goldsmith, Pearson Education, 2002 Viral Marketing in a week by R. Perry, Hodder & Stoughton, 2002 Recommended www.vogue.com www.style.com The Art of Watching Films by Joe Boggs and Dennis Petrie, McGraw Hill 2004 www.lovefilm.com

Media Promotion & Marketing for Broadcasting, Cable & the Internet by S. Eastman, D. Ferguson & R. Klein, Elsevier/Focal Press 2006 (n.b check out the chapter on New Media Promotion) Record Label Marketing by T. Hutchison, A. Macy & P. Allen, Elsevier 2006 The Anatomy of Buzz by E. Rosen, Harper Collins 2000 BEGLEITER, M. BURTON, C. & A. DRAKE FOSTER, J. GREEN, A. GUNDLE, S. HENSLOWE, P. HUGHES, M. KIRBY, J. 2001 2004 2005 2001 2006 2003 2005 2005 From word to image: storyboarding and the filmmaking process Hitting the headlines in Europe Effective writing skills for public relations Creativity in public relations The glamour system Public relations: a practical guide to the basics Buzzmarketing Connected marketing No logo On film-making: An introduction to the craft of the director Digital filmmaking 101 Get started in short filmmaking Online public relations DVD art: innovation in DVD packaging design Digital video essentials: shoot, transfer, edit, share Brand culture Michael Wiese Productions Kogan Page Kogan Page Kogan Page Palgrave Macmillan Kogan Page Portfolio ButterworthHeinemann HarperCollins Faber & Faber Michael Wiese Productions A & C Black Kogan Page Rotovision Sybex Routledge

KLEIN, N. 2000 MACKENDRICK, 2004 A. NEWTON, D. 2001 PATMORE, C. PHILLIPS, D. RIVERS, C. SADUN, E. SCHROEDER, J. WHEELER, A. Periodicals 2005 2001 2005 2003 2006

Designing brand identity 2006 Wiley Viewpoint, Marketing, Brand Strategy, Journal of Fashion Marketing & Management

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Fashion Promotion Reflection I (Semester 2 Option 1) RFPR2007 BA (Hons) Fashion Promotion Rochester Level 2, 15 credits Semester 2 Weeks 26-30 5 weeks 150

Content This unit thoroughly investigates the area of Fashion Publications and how we define innovation. The magazine marketplace is tough publications fold for a variety of reasons. Formats are investigated in terms of print, internet, mp3, CD Rom and moving image. Students are encouraged to consider what really makes a publication innovative. Students will be encouraged to analyse and evaluate different styles of writing in magazines, newspapers and the internet. Students are actively encouraged to make use of primary research and will be identifying glossies, weeklies, bi-monthlies, fanzines, newspapers and internet publications to research. Historical and contemporary knowledge of genres are as important here as is keeping an eye on the zeitgeist. Students will be encouraged to think instinctively and note emerging trends around them from art, music, interiors, technology and social shifts to generic fashion and beauty issues. The students PDP (personal development plan) will progress further by enabling them to write their own learning outcomes for this project. Reflective analysis will also be evident from the learning journal. Aims The fashion/lifestyle publication is a complex thing. Contemporary innovation can be conceptual or even a commercial concept this project gives students the opportunity to explore the area of magazine publication intensively. 1. To visualize, research and develop ideas related to innovative fashion/lifestyle publications. 2. To further develop students knowledge of consumer markets and how to compile a consumer profile. 3. To increase knowledge and understanding of how important personal development planning (PDP) is in becoming a reflective practitioner 4. To develop an innovative fashion publication considering the current media climate and consumer behavior. Learning Outcomes Students who complete this unit should demonstrate: 1. Student to negotiate and write their own learning outcome. 2. Student to negotiate and write their own learning outcome. 3. Student to negotiate and write their own learning outcome. 4. Student to negotiate and write their own learning outcome Teaching and Learning Methods The Fashion Publication principles and information will be imparted through lectures, seminars, video, supervised studies and workshop demonstration where discussion and debate will be encouraged. The project brief will concentrate on research, contemporary fashion related publications, fashion writing, interviews, reviews, trends, cultural and socio-economic

references. Self and peer appraisals will be encouraged throughout. Critiques, assessment debriefing and published feedback support the learning strategy. Management study skills support is available through bookable tutorials. PDP workshops will support the student in preparation to the final year. Assessment Requirement Personal Development Plan PDP 50% Publication Outcome 50% Learning Journal demonstrating a Student to negotiate the vehicle for clear analysis of different publications, publication outcome styles of writing and their editorial policies. Database of contacts within the magazine industry Assessment Criteria Self-Management & Professional Creativity & Innovation Student to select own assessment criteria Competence Student to select own assessment criteria LO1, LO2 & LO3 LO4 Reference Material Essential ANDERSSON, P., Inside magazines : independent pop culture magazines, Thames & Hudson, 2002 FARRELLY, L., Zines, Booth-Clibborn, 2001 New magazines (sample issues mostly) A magazine (each issue curated by a different designer, e.g., Martin Margiela, Haider Ackerman, Yohji Yamamoto) Amelias magazine Another Man .Cent (each issue edited by a different guest editor, e.g. Judy Blame, Betty Jackson & Molly Molloy) Elle Girl First Point (subscription) GQ Style IT Fashion Forecast (subscription) Lula Found Refill Mixte Mood Pap Rojo Rubbish Sam Super boy Super girl Wonderland (subscription) (Also DOT and AMPHIZ, magazines produced for publication by two former MA fashion students) Recommended

MOSER, H., The Art Directors' handbook of professional magazine design, Thames and Hudson, 2003 FROST, C., Designing for newspapers and magazines, Routledge, 2003 LESLIE, J., Magculture : new magazine design, Laurence King, 2003 SAMARA, T., Publication design workbook, Rockport, 2005 SOCIETY OF PUBLICATION DESIGNERS, Publication design annual (40th), Rockport, 2005 Willings Press Guide 2006, Vols. 1-3, Romeike Ltd., 2006 MINTEL (www.reports.mintel.com) for market/consumer research The Penguin Book of 20th Century Fashion Writing 391 WAT Mallarme on fashion: A translation of the fashion magazine La Derniere Mode 391.001 MAL Fruits 391.09 AOK Anna Piaggis Fashion Algebra 391.09 PIA Diana Vreeland: Bazaar Years 391.09 VRE The Best of Fashion Advertising 741.6391 SAS Fashion Icon: The Power and influence of graphic design 741.6391 TOT Alexey Brodovitch 741.65 BRO WWD Illustrated: 1960s 1990s 741.65 BRY Magazine Covers 741.65 CRO Dreaming in Print: A decade of Visionaire 741.65 GAN Smile ID: Fashion and style: the best 20 years of i-D 741.65 JON Tank Book 741.65 TAN Talking Fashion 778.9422 HOA (Stylemakers / Sherrill, M. 391.09 SHE) Beauty, spirit, style / Bensimon, G. 778.92 BEN Fashion Spreads: Word and Image in fashion photography since 1980 778.9422 JOB Joes: second issue 778.9422 JOE Catching the moment 778.9422 JON Fashion Publication: Exposing meaning in fashion through presentation 778.9422 LI Fashion: Images de Mode 778.9422 LOV Look at Me: Fashion and Photography in Britain 1960 to the present 778.9422 WIL Imperfect beauty / Cotton, C. 77809422 COT The impossible image / Sanders, M. 778.9422 SAN

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours Aims

Exchange (Semester 2 Option 3) RINS2004 All BA (Hons) Fashion courses Rochester Level 2, 60 credits Semester 2 Weeks 16-30 15 weeks 600

This Exchange Unit is designed to broaden your educational experience and to deepen your understanding of cultural diversity. It will enable you to study within a different cultural context and gain fresh perspectives of your subject(s). This Unit will also develop your communication and linguistic skills and your command of a foreign language. Content Following a period of preparation for study abroad, you will be based for the duration of the Exchange Unit in a non-UK higher education institution, where you will follow and complete a suitable programme of study provided by that institution. The content of this programme will be closely related to the subject matter of your UCCA course, but may include some elements which do not form a part of the provision at UCCA. You must follow the agreed programme of study as specified in your learning agreement - any variation must be approved in advance and in writing by your Course Leader at UCCA. Learning Outcomes On completion of this Unit, you will be able to provide evidence of: LO1 LO2 LO3 LO4 LO5 Increased confidence in your ability to cope with new and unfamiliar situations and environments. Increased understanding of the practice of your main subject(s) in a European or International context. Development of your communication skills. A broadened and deepened understanding of your subject(s), acquiring fresh perspectives, that will inform future work. Reflective analysis of the learning achieved through the exchange.

Assessed Components The exchange is assessed by UCCA tutor(s) designated with this responsibility by your Dean i.e. the Exchange Unit Leader. The assessment will take account of marks/grades awarded to you by the host institution, and the report which you are required to produce, reflecting on the learning that has resulted from your experiences. Course work : Report : 75% 25%

You must achieve at least a pass mark in both components. Assessment Criteria Understanding through application of knowledge Application of knowledge and skills in different contextual frameworks and situations. (LO2) Evidence of acquisition of further knowledge and understanding, development of personal attributes and mastery of essential skills related to your own creative practice. (LO4) Application of technical and professional skills Ability to anticipate and accommodate change, and to work within contexts of uncertainty and unfamiliarity. (LO1) Development of interpersonal and social skills, in particular the ability to interact effectively with others. (LO3) Ability to reflect, analyse and evaluate own learning and experiences. (LO5) Maximum number of students to be registered Exchanges, which are supported through the Socrates-Erasmus scheme, will be restricted to those students who meet the prevailing requirements for this scheme. Exchanges with other institutions, which fall outside the Socrates-Erasmus scheme, will be considered and are subject to the approval of the Course Leader and Director of Studies. Participating students must be prepared to bear a substantial portion of the costs and expenses which they will incur. Pre-requisites All students wishing to participate in the Exchange Unit must provide evidence to their Course Leader that they have undertaken the available preparation for exchanges and have at least a basic command of the language in which the provision of the host institution will be delivered.

Reference Material Various authors Live and work in series (France, Italy, Germany, Scandinavia, Spain, etc.) Rough guide to series Time Out guide series Culture shock! series Vacation Work CC6

CRANE, R. DEVINE, M. GOWLAND, D.

2000 1988 2000

HOWE, S.

2003

Rough Guides Penguin Graphic Arts Center European business cultures Pearson 382 CRA Dictionary of fashion: terminology of London College fashion in four languages of Fashion The European mosaic : Longman 940.55 contemporary politics, economics GOW and culture Retailing in the European Union : Routledge 381.1094 structures, competition and HOW performance

1990 Dictionary of garment terminology: English, French, German, Italian TROMPENAARS, 2004 Marketing across cultures F. REBMANN, G.

Schiele & Schon Capstone

658.8 TRO

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

International Placement (Semester 2 Option 3) RFPR2008 All BA (Hons) Fashion courses Rochester Level 2, 60 credits Semester 2 Weeks 16-30 15 weeks 600

This unit descriptor provides the generic template for credit-rated placements that are recognised for awards within the Common Undergraduate Credit Scheme. The precise form and content of the placement unit may therefore vary between Faculties, subject discipline and courses. Content A placement offers an opportunity to study and learn in an alternative context. This may be in 'the world of work' in a location which offers 'first-hand' experience of professional practice in a specialist subject. Alternatively, the placement may be located where the student can learn from the experience of practising in a social or community context. The Placement Tutor or the Course Leader will inform the student of the placement opportunities already established. Alternatively, the student may propose a suitable host institution or organisation. All students must follow the agreed programme of study as specified in the learning agreement - any variation must be approved in advance and in writing by the Placement Tutor or the Course Leader at the University. Given the wide range of contexts in which placement experience may occur, an individual programme of work - a learning agreement - will be negotiated between the Placement Tutor or Course Leader and the student prior to the commencement of this unit. A copy of the learning agreement must be forwarded to the contact person at the host institution/organisation. The workload will be based on the Common Undergraduate Credit Scheme guideline that 60 credits require an average of 600 hours total learning time. This Placement Unit is designed to extend the students knowledge and understanding of the specialist subject and to develop practical and conceptual skills, through a period of working within an appropriate professional or social context. This unit will also help the student to develop an ability to study independently and to enhance their interpersonal and social skills, and to increase the students appreciation of working with diversity (or diverse groups of people). The Learning agreement must contain: The unit aims, unit learning outcomes, unit assessment requirements and the unit assessment criteria. Submission dates for all assessable requirements Specific preparation undertaken by the student before commencement of the placement. The unit assessment requirements, evidenced through the achievement of the unit aims and learning outcomes. The assessment requirements, which must be submitted to the host institution before the submission deadline for formal assessment. Aims

This unit aims to: Placement Course Work 1. Broaden the students educational experience and to deepen the students understanding of cultural diversity. 2. Enable the student to study within a different cultural context and gain fresh perspectives of their subject specialism. 3. Develop communication and linguistic skills and a command of a foreign language. 4. To further develop inter-personal and social skills. 5. To further develop critical and evaluative skills within the subject discipline. 6. To manage and meet deadlines as stated on the individual learning agreement. Written Report (Pilot Essay) 7. Outline various forms and ideas in the representation of fashion that theoretical and conceptual reflection within research both for written and projects. 8. Examine aspects of the cultural progression and erratic changes within fashion. 9. Promote the skills of essay writing and the theoretical formulation methodologies Learning Outcomes On completion of this unit, students will be able to provide evidence of: Placement Course Work 1. Increased understanding of the practice of their subject in a professional or social context. 2. Development of the students practical and conceptual skills. 3. Increased confidence to cope with new and unfamiliar situations and environments. 4. Development of inter-personal and social skills and (where relevant) include the ability to collaborate with people from diverse backgrounds. 5. Reflective analysis of the experience and the learning achieved through the placement. 6. Achievement of all additional learning outcomes set out in the individual learning agreement for this unit. Written Report (Pilot Essay) 7. The ability to recognise and critical assess contemporary fashion within its cultural and visual representation and to reflect on the connection between written assignments and practical studio work. 8. An understanding of the intellectual concepts that underpin the historical and contemporary representation of fashion both in its production and consumption as well as in its wider cultural configurations. 9. An articulated and structured academic essay that provides scope for and understanding of the research requirements for the final year dissertation. Assessment Requirement Students performance for the placement unit will be assessed by the Unit Leader and any other University tutors designated with this responsibility by the Director of Studies. Staff at the host institution/organisation may also contribute to the formal assessment process - any such involvement will be specified in the learning agreement. Assessment Requirement Placement Course work 75% Written Report (Pilot Essay) 25%

encourage a studio based contemporary of research

Learning Agreement & placement course Essay of 2,500-3,000 words work Assessment Criteria Critical Analysis & Evaluation Self-Management & Professional Communication & Presentation Competence Knowledge & Understanding Research Integration & Synthesis Interpersonal & Social Skills Research Integration & Synthesis LO1, LO2, LO3, LO4, LO5 & LO6 LO7, LO8 & LO9 Students must achieve at least a minimum pass mark in both components to pass the whole unit and achieve the 60 credits. Maximum number of students to be registered The number of students who can undertake placements will be limited to the number of suitable hosts that the University has been able to confirm. Pre-requisites Placements take place during Stage Two of the course and are credit rated at level two. The pre-requisites are that students have: satisfactorily progressed from stage one to stage two without trailing any level one units. been awarded a provisional grade of at least the minimum pass in all level two units completed prior to the placement.

Additional Requirements The student must be available to work at the host institution/organisation on the days and times agreed with the host - these may not be the same hours and days that they would normally be expected to attend the University. All placements are subject to the requirements set out in the prevailing University policy guidelines associated with working at external locations and the University Equal Opportunities Policy. All students must fulfil the Health and Safety requirements of the institution/organisation hosting the placement and abide by the Equal Opportunities framework of the host organisation. If the placement is with a host organisation which works with under-18s who come under the Children Act, the student may be asked to undergo a CRB check prior to the placement. The Placement Tutor/ Course Leader must confirm whether this is necessary and ensure that it is included in the 'Specific Preparation' section of the learning agreement. Please note that the University is not able to offer the student any financial support for the additional expenses that may incur during the placement. This includes the costs of travel to and from the host institution/organisation, subsistence during the period of the placement, and the costs of any materials or equipment supplied by the host for which they may require reimbursement. Reference Material

Essential BILLINGHAM, J. COLE, J. CULLEN, K. VOGT, P.

2003 Giving presentations

OUP

On Order CC4 On Order CC3

2004 Creative CV guide SIAD Chambers 2005 Letter writing 2002 Career opportunities in the fashion Checkmark industry DIRECTORIES File FX, Fashion Monitor, Little Black Book, LeBook London PERIODICALS Drapers Recommended GRANGER, M. MIDDLETON, J. SHARP, G. VERITY, J.

2004 The fashion intern 2005 High impact CVs 2002 A guide to working in fashion 2004 Succeeding at interviews : give great answers and ask the right questions

Fairchild On Order Infinite Ideas CC4 Heinemann How To Books CC3 CC4

Unit Title Unit Code Location Course Level & Credit When taught Duration Learning hours Date first approved Date of this version

Research Methodologies tbc Rochester BA (Hons) Fashion Promotion Level 2, 15 credits Semester 4 - Weeks 16-30 15 weeks 150

Content The previous semester was devoted to the description and investigation of theories grouped around modernism and postmodernism: how the terms could be defined, how they produce a certain aesthetic, a certain style and how these theoretical concepts relate to the visual and cultural landscape that surrounds us. Throughout the fourth semester, the lectures continue the themes from the previous semester, that originate in diverse fields; cultural theory, sociology, art history, media and film studies, but now the focus moves onto how these can be used to explore the representation of style and fashion. The previous discussions of contemporary design have already identified the proximity of todays fashion/style to self-referential reflection in notions of post-modernity; quotes from past clothing styles, appropriations from other art-forms and cultural borrowing, which have become the hallmark of many designers collections. Now the lectures and seminars extend the analysis of the contemporary fashion system to examine its theoretical and cultural relevance. For most consumers acquiring clothing in a shop - primarily on the high street remains the only direct way in which they enter into a tangible relation with the sartorial product. Apart from this, knowledge on developments in the industry and new design is gained largely from fashions mediation, i.e. the various forms in which the dress is seen; on the catwalk, in photographs, in the magazine, on video, on the Internet, in the museum or within film and theatrical performance. In these instances it appears that the fashion image becomes more important than the actual creation, and this semester is devoted to an exploration of the spectacularisation of the sartorial product and the problems arising from such contemporary configurations. By looking at and by reading films, video-clips, theatre design, photography and, of course, fashion design that is displayed and used in the media, the student will gain an understanding of the visual language of signs and images; as well as the ideological role that clothes and accessories can play within these images and within modern culture as a whole. The unit therefore utilises and extends the theoretical debates previously covered to reflect on the way in which fashion is seen in modern culture and its mass media. The lectures series will cover both substantive areas of cultural representation and contemporary fashion, and also the appropriate methods to approach these areas of study. In outlining different approaches that academics have taken in creating their research projects, we aim to show you possible methods that you yourself may adopt in developing your own dissertation.

Aims The unit extends the understanding of the cultural and representational arena of the fashion industry. Each lecture demonstrates a methodologically based case study of specific examples of fashion in its mediated form. The utilisation of theories of representation will continue the investigation into modernity, post-modernity and the sartorial representation of their tenets. A1 Outline various forms and ideas in the representation of fashion that encourage a theoretical and conceptual reflection within research both for written and studio based projects. A2 Examine aspects of the cultural progression and erratic changes within contemporary fashion. A3 Promote the skills of research from a diverse range of sources and raise an understanding of the links between particular methodologies and research questions. Learning outcomes Students who complete this unit should demonstrate: LO1 The ability to recognise and critical assess contemporary fashion within its cultural and visual representation and to reflect on the connection between written assignments and practical studio work. LO2 An understanding of the intellectual concepts that underpin the historical and contemporary representation of fashion both in its production and consumption as well as in its wider cultural configurations. LO3 An articulated and structured academic essay that provides scope for and understanding of the research requirements for the final year dissertation. Teaching and learning methods The lecture series will provide an insight into how to view fashion, design and cultural history in the context of modern and post-modern aesthetics and theory. This will be presented through case studies which demonstrate theoretically based examinations of contemporary fashion. The focus of both the lectures and seminars will be on the development and understanding of research methodology. This will be supported by scheduled one-to-one tutorials and research workshops for the dissemination and support of student research. The production of the research journal will be supported through briefing and workshop sessions. Study skills support will be available through bookable tutorials Assessment de-briefing and published feedback support the learning strategy and prepare the student for the final year dissertation option. Assessment requirement Essay (2,500-3,000 words) & Research Journal 100% (LO 1/2/3) Assessment Criteria Knowledge of: Contexts, concepts and processes in regard to the ability to analyze and evaluate complex ideas, and apply these to specific examples drawn from personal research and/or related studio practice (LO 1 LO2). Understanding through: An individual and creative approach to the communication of ideas surrounding contemporary cultural production (LO 2 LO3). Technical and applied skills through: An understanding of the principles of focused and methodological research and its formulation into an articulate academic essay (LO3).

Due to the forward looking nature of this unit updated references will be available in the unit handbook and will comprise up to the minute on-line and media sources. The following therefore indicates core and definitive texts: Essential reading Baudrillard, J., The System of Objects. (Verso, 199)7 Simulcra and Simulation, (University of Michigan Press 1994) Blaxter, L. How to Research, (Open University, 2002) Boorstin, Daniel. The Image: A Guide to Pseudo Events in America. (New York: Vintage, 1962) Bourdieu, P. Distinction: A Social Critique of the Judgement of Taste (Routledge, 1986) Bruzzi, S., Undressing Cinema: Clothing and Identity in the Movies, (Routledge, 1997). Recommended reading Campbell, K. The rhetorical act: thinking, speaking and writing critically, (Wadsworth, 2003) Debord, G., The society of the spectacle, (Zone Books, 1994). Eco, U., Travels in Hyper-reality, (London: Picador, 1986). Evans, C., Fashion at the Edge, (Yale University Press, 2003). Hooks, B., Reel to real: race, sex, and class at the movies, (London: Routledge, 1996). Jobling, P., Fashion Spreads. Word and Image in Fashion Photography since 1980, (Berg, 1999).

Stage 3 units
STAGE 3 DESCRIPTION (HONOURS LEVEL) At this final stage of the course the student will be able to consolidate their acquired knowledge and understanding by selecting to study on their specialist career pathway. Pathway choices are: Styling Journalism PR/Marketing Work at this level will develop students systematic understanding of key aspects of promotion, including acquisition of coherent and detailed knowledge, at least some of which is at or informed by, the forefront of defined aspects of the discipline. Studies will enable students to deploy established techniques of analysis and enquiry. Students will gain the conceptual understanding necessary to devise and sustain arguments, and/or to solve problems, using ideas or techniques. The presentation of the students conceptual ideas will be formally presented to a panel of academics at project reviews throughout the final year. Typically Honours degree graduates will have the qualities and transferable skills necessary for employment requiring the exercise of initiative and personal responsibility, decision-making in complex and unpredictable contexts and the learning ability to undertake further education or training of a professional or equivalent nature.

STAGE THREE Diagram Overview

BA (HONS) FASHION PROMOTION

SEMESTER 5

SEMESTER 6

STAGE 3 3 Units
2 x 30 credit units 1 x 45 credit unit 1 x 15 credit unit Total 120 credits

CORE OPTIONS

Stage 3 Unit Descriptors

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours CONTENT

Lifestyle Communication BA (Hons) Fashion Promotion Rochester Level 3, 30 credits Semester 5 Weeks 1-30 15 weeks 300 hours

The final year of the BA (Hons) Fashion Promotion course will provide the student a choice of three pathways to specialize in. Visual Communication-Styling Written Communication-Journalism Verbal/ Promotional/ Communication-PR/Marketing This unit will act as a test run for the students pathway choice prior to the major project in semester six. The project brief will be a student negotiated brief based upon a marketing campaign for a perfume launch. The UK Fragrance market is worth an estimated 1.6 billion in the UK, and 15 billion worldwide. British women spend 640 million on perfumes, and men, 350 million. There are over 200 new launches each year, of which only 5% are still on the market after two years, and 3% after three years. However, in 2009, press fragrance advertising revenue fell by 15 million, and even at the most popular time of the year for fragrance, Christmas, fragrance editorial fell by almost 15%. With every major fashion house, independent designers, and celebrity developed/endorsed fragrance having a vested interest, the market has to be sustained. As a huge part of the fashion promotion and lifestyle industry, never has it been so important to develop innovative and successful strategies to promote and market fragrance, an area with its own trends (eg Rose-derived fragrances were by far the most popular in 2009) and its own high level of consumer preference (eg 88% of women choose a fragrance simply for its smell, whereas 40% of men do not view fragrance as a grooming essential). Task A Concept and Market Research Research will start over the summer prior to the final year, which will provide the foundation for students to select a pathway or a mix of pathways. Task B Launching a perfume brand Using a spritz of an unlabelled scent as inspiration students will be encouraged to develop a fragrance promotional campaign to a market of their choice. The student will create a promotional campaign for their fragrance this can involve ad

campaign styling, casting, still life styling, product design, graphic design, marketing and branding, promotional placements, PR, event design and written word.

Aims 1. To analyse marketing, business factors and information through market research, market intelligence, lifestyle/culture, products and consumer trends. 2. To increase the understanding of the process involved in planning a campaign through research across a broad range of sources. 3. To examine up to date business and marketing factors and information that may influence the success of a product. 4. To develop, organise and communicate through both written, visual methods and verbal methods an effective marketing plan, which reflects the market context and environment. 5. To organise, manage and work without close supervision, through establishing self discipline and autonomous learning by taking increased responsibility for the learning.

Learning outcomes Students who complete this unit should demonstrate: 1. An ability to demonstrate knowledge and understanding of business factors in relationship to development of lifestyle brand promotion. 2. An ability to analyse and synthesize research material to support the creation of a focused and targeted product. 3. An ability to produce and communicate a marketing strategy. 4. An ability to promote written, visual data and provide effective solutions within the context of business marketing and current professional practice. 5. An ability to work without close supervision, to establish self-discipline and autonomy by increased responsibility of their own schedules.

Teaching and Learning Methods Autonomous learning is central to the students final year learning strategy. Personal develop planning, PDP has been integrated throughout the course and now these skills will further support the student in becoming a professional within their chosen career path. The project briefing, lectures, seminars, group/individual tutorials will all support the student throughout this unit. Specialist workshops in In Design will be prioritised for the final year students on set days. Formative reviews, self and peer appraisal will be encouraged throughout the learning process. Student negotiated project brief will enable the student to complete all work by themselves, or to commission fellow students as they wish. The project will be heavily led by decision-making, project managing, planning, self motivation and organisation. The complexity of the project is down to the individual. A presentation, in the style of a pitch, to a panel of academics and fashion experts will encourage clarity of communication, campaign direction and purpose.

Assessment Requirement Concept & Marketing Research 50% Promotional Outcome 15 credits (Task A) (Task B) Research: Specific focused research Promotional campaign relevant to the fragrance and pathway option. Promotional portfolio [4,000 to 5,000 words]

Assessment Criteria Understanding through application of Knowledge of contexts, concepts, knowledge technologies and processes. Application of technical and Application of technical and professional professional skills skills LO1 , LO2, LO5 LO3,LO4,LO5

Reference Material

Unit Title Unit Code Location Level & Credit When taught Duration Learning hours

Dissertation (Semester 1 Option 1) RINS3002 Rochester Level 3, 30 credits Semester 1 Weeks 1-15 15 weeks 300 hours

Content The student will determine the subject matter of their dissertation through negotiation with the designated unit tutor. The subject matter must be such that lends itself to a breadth and depth of research. This must allow for critical analysis, evaluation and the integration and synthesis of ideas and theory which develops reasoned arguments and conclusions. This unit offers the opportunity to study in depth something that really interests the student. The cultural studies team aim to be as accommodating as possible to the wide range of student interests. However it is expected that the topic be relevant to the students area of specialisation and builds upon their educational experience during the last two years. The dissertation topic should fall within the broad area of the history, theory, criticism or practice of design, art, or related aspects of cultural or media studies. It is anticipated that the research topic will support the development of the student as a practitioner within their chosen field. Aims 1. To increase students knowledge and understanding of the practice and theory of the specialist subject in its contemporary and/or historical contexts. 2. To develop advanced levels of research, embracing both primary and secondary sources. 3. To select, interpret and formulate research in a creative and independent manner. 4. To demonstrate ability to engage in sustained and informed critical analysis. 5. To demonstrate the ability to organise a coherently structured discussion. 6. To develop the ability to work in a sustained and independent manner. Learning Outcomes 1. A comprehensive and independent awareness and understanding of the chosen topic. 2. The ability to formulate and apply research methodologies to the chosen subject and develop and articulate ideas and information in written form. 3. The confidence and flexibility to identify and define complex ideas and arguments through the application of appropriate knowledge and awareness. 4. A critical awareness and ability to present a coherent analysis and exploration of examples, themes and issues related to the subject. 5. The ability to employ recognised academic conventions of research and presentation and to work within constraints. 6. The ability to work in an autonomous manner with minimal supervision within agreed guidelines. Teaching and Learning Methods At the beginning of the unit, the student will be allocated a personal dissertation tutor to offer advice and ensure that a suitable subject and title has been identified for the dissertation. Dissertation preparation sessions and lectures will also be provided by dissertation and study

skill tutors and librarians to help formulate a research methodology and identify relevant texts and other sources. Half way through the unit, the student will receive feedback on a rough draft: a typed version of the dissertation in progress. The draft is vital to ensure thorough guidance. It is there for the tutor to informally assess progress, give full advice, and ensure effective time management. At key points during the Unit, there are set dissertation tutorials at which students receive advice on their progress and feedback on the dissertation draft. One of the main aims of the Dissertation Unit is, however, to demonstrate ability to study independently and the student will be expected to work under their own initiative and direction for most of the Unit. The student will be expected to punctually attend all lectures, workshops and tutorials as arranged. Assessment Requirement Dissertation 100% 8,000-10,000 words Assessment Criteria Knowledge & Understanding Research Integration & Synthesis Creativity & Innovation Critical Analysis & Evaluation Communication & Presentation Self-Management & Professional Competence LO1, LO2, LO3, LO4, LO5 & LO6 Students will be penalised for exceeding or falling short of this range of words. They must submit two hard copies of a word-processed dissertation, together with illustrations etc. where appropriate, and a full list of references. Reference Material Individual advice on the chosen topic will be given in the tutorials. Blaxter, L. Cambell, K. K. Cooper, S. Cottrell, S. Gillam, B. Gray, C. Levin, P. Mounsey, J. Orna, E. Pears, R. Rudestam, K. How to research (Open University, 2002) The rhetorical act: thinking, speaking and writing critically, (Wadsworth/Thomas Learning, 2003) Writing logically, thinking critically, (Pearson Longman, 2003) Critical thinking skills: developing effective analysis and argument, (Palgrave Macmillan, 2005) Developing a questionnaire (Continuum, 2002) Visualizing research: a guide to the research process in art and design, (Ashgate, 2004) Excellent dissertations! (Open University, 2005) Essays and Dissertations, (Oxford University Press, 2002) Managing information for research, (Open University, 1995) Cite them right: referencing made easy, (Northumbria University, 2004) Surviving your dissertation: a comprehensive guide to content and process, (Sage, 2001)

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Fashion Promotion RFPR3003 BA (Hons) Fashion Promotion Rochester Level 3, 45 credits Semester 2 Weeks 16-25 10 weeks 450 MAJOR PROJECT INTRODUCTION

The Fashion Promotion unit is delivered through a student negotiated project agreement. Rarely in the creative world does one have carte blanche for full self expression of ideas and ideals. Such a moment occurs at the end of the three year BA (Hons) degree courses at Rochester. To succeed in a highly competitive and ever changing business, an informed and innovative approach is vital. This applies to all aspects of the fashion industry, from pattern cutting to styling and at all levels of product. This final major self-negotiated project must reflect this within contemporary and developing fashion trends in every element of the creative process, including trend, product, production, presentation, market awareness, specific brand positioning and client. Technology, research, analysis and a challenging approach within the final response to the self negotiated project must also contribute to the outcomes. The brief will be constructed to enable the student to focus on their specific career and skill aims, as well as their personal strengths in learning outcomes. All these components will be in relation to professional standards and based on research and understanding of the specific area of fashion that the student is focusing towards. Building on the students specialist study units will also further personalise the project and support their personal philosophy as well as providing the opportunity to demonstrate their individual skills. The major project will draw upon all of the students previous experience and skills to demonstrate their understanding of these challenges. Appropriate Professional Industry sponsorship and support during the final project, in discussion with the final year tutor is possible, and indeed, encouraged. Carmel Snow - Editor Harpers Bazaar US 1934-1958: Elegance is good taste plus a dash of daring Inspiration comes out of the air we breathe. And that air is free for all Success in fashion means having a finger on the pulse of the times Content The Promotion Process The development of promotional activity, for whatever product and at whatever level of the market, is amongst the most complex, yet most rewarding tasks within the fashion industry. The initial thoughts and concepts which become the first underpinning and starting point of the promotion are vital. The communication of this concept and the planning, time scale and methodology must be communicated via presentation, not only to the team immediately

involved in the physical production of the promotion, but also to those in design, management, retail and promotion as the first step. Clarity of purpose and the methods which will achieve this outcome will also lead to the successful realisation of the promotional activity, whatever form that may take. This, in turn, completes the process and the communication of the product, design and promotion and can then be presented as a final outcome both to those who worked through the process and to those now taking it forward to designers, buyers, consumers, marketing and promotion. This unit aims to consolidate both the theoretical and practical skills required to produce the necessary methods of promotional activity, reflecting the specialist areas of the subject selected by the student as their signature reflection of their work. Students will be expected to exercise their intellectual capacity by demonstrating and identifying innovative forms of communication, in turn, using their creative skills to plan how they will communicate their written and visual ideas. The importance of relevant research underpinning all projects and their outcomes must be emphasized within the final outcomes and the presentation of work. The overall premise behind the construction of this unit is to rationalize all previous personal promotional approaches, attitudes and understanding into an overall coherent statement. This is to enable students to truly reflect their personal signature, their strengths and their career ambitions through creative communication of the style and methodology with which they approach promotion. The unit is based on total integration of self development, individual style, research, presentation, management and planning to act as the culminating statement of each individuals flair, intuition, and understanding of promotions; thus enabling the student to demonstrate and convey their ideas on a professional level. The work may involve, where possible, live projects or work experience related investigation. New methods combined with tradition, historical awareness allied to contemporary considerations and cultural, ethical and global factors are just some of the elements the student must weigh up in the balance of this unit. The outstanding element to be considered as paramount within this work is appropriateness; by combining this with the necessary research, knowledge, investigation and original thought, a student will be able to demonstrate clearly their personal style attitude and thought process when working in the promotions business in whatever role that might be. Successfully managing a product from concept to catwalk, showroom or exhibition, through to consumer is a complex business involving many decisions to which the creative director, that is you the promotions expert, must have the answers. Teamwork will support the outcomes and within the business, support is vital since technicians, specialists and craftspeople will be involved within specific areas. One person must have the vision to hold the entire procedure together and one person must have the final say on what does and does not contribute to the overall success of the promotion. The final semester focuses on the formation of the creative activities which also involves planning and time management, underpinning the entire operation. Research Trend/Market Level Market Position- Consumer Concept and Mood Colour - both core and accent Surface Paper and Print print, font, size, surface, size, etc Form and Shape Prototype Methods Presentation Portfolio, DVD, CDROM, Books etc Technical Methods Flash, PowerPoint, Virtual Reality, Film, etc Copy

Marketing & Branding Event Management

Successful promotional presentations attend to each and every component of the concept from the creative overview to the type of customer targeted. Every detail must be considered to support the overall image and to communicate exactly what is in the promotional directors mind in the creation of the activity, event, dossier, etc. In business, questions will need to be answered and an unclear concept or a confused creative statement will result in both an unsuccessful presentation and a loss of respect from the team and the management. The Promotion Specialism To succeed in a highly competitive market and ever changing business an informed approach to the final portfolio of promotional work is vital. This semester is the culmination of the course offering the opportunity to express through this unit the creative directors individual signature style. The promoter will communicate their vision through a series of promotional activities demonstrating a range of solutions and a spectrum of statements behind the creative process and develop a portfolio demonstrating an understanding of market levels. The opportunity to further investigate personal projects in consultation with staff and evolve exciting and innovative solutions to promotional activities is the key to this unit. These projects will demonstrate to a future employer the diversity and breadth of projects the students are capable of undertaking and will reflect their personal style, management skills and effectiveness in communicating knowledge, style and professionalism. New trends and styles of promotion move at an unprecedented speed. Therefore, it is essential that the students are able to identify and implement new forms of communication to ensure that their work promotes forward thinking strategies, up to date skills necessary for successful employment. All projects should underline the skills and ability to create and innovate new methods of media presentation. The use of computer-aided design (CAD) can open up new possibilities for the student as the promoter, in terms of typeface development, the positioning and re-positioning of layout, format and manipulation of images. These processes, when combined with handcrafted techniques, should contribute and enhance a contemporary outcome. Creative skills are developed through managing oneself and by managing others. The student will take on the role of Creative Director for the completion of this component and will embrace all the tasks which this implies. They will employ all the knowledge and expertise developed through previous semesters and also add new elements specific to their chosen style. The BA (Hons) Fashion Promotion students will negotiate, through tutorials, their personal approach and philosophy to the work they wish to produce. Communicating the collection in visual form will be through research, mood/concept, colour/surface, form/shape and books, portfolio, sketches, illustrations, etc, which will all be employed within this communication process. All these elements will support the promotional direction and philosophy. This will draw on all previous projects to demonstrate the students acquired creative experience in concept building around a set market level in an innovative, challenging and appropriate way. The portfolio plan, time management and professional diary must be included within the promotional package.

Aims Promotion Aims 1. To increase the understanding of the process of research and planning involved in conceptualisation and promotional outcomes with a professional attitude. 2. To develop, organise and communicate effective creative promotional concepts, which reflect the product, market and brand context whilst also developing a personal identity. 3. To organise, manage and work without close supervision, through establishing selfdiscipline and autonomous learning by taking an increased responsibility for ones own learning. 4. To illustrate an informed view of external promotions factors such as ethical, climatic, environmental, global and sustainable issues. 5. Student to negotiate and write their own aim. The Specialist Aims 6. To demonstrate a specific promotions focus. 7. To demonstrate an innovative and informed approach to the specialist area. 8. To present a series of specialist promotional solutions . 9. To integrate a variety of methodologies with the creative outcomes. 10. Student to negotiate and write their own aim. Learning Outcomes Promotion Learning Outcomes Students who complete this unit should be able to demonstrate: 1. The ability to research and time manage a series of projects in a professional manner. 2. The ability to develop, organise and communicate with appropriate methods a personal response and signature to promotional activities. 3. The ability to manage self directed work and to take increased personal responsibility for self promotion through creative work. 4. The ability to integrate a variety of global issues into their work. 5. Student to negotiate and write their own aim. The Specialist Learning Outcomes 6. The ability to select appropriate specialist focus. 7. The ability to present innovative solutions in specialist promotional outcomes. 8. The ability to manage a range of outcomes. 9. The ability to demonstrate a range of methods within a specialist promotional area. 10. Student to negotiate and write their own brief. Teaching and Learning Methods The Fashion Promotion Major Project unit is delivered through a student negotiated project agreement. Autonomous learning is central to the students final year learning strategy. Personal development planning, PDP has been integrated throughout the course and now these skills will further support the student in becoming a professional within their chosen career path. The project briefing, lectures, seminars, group/individual tutorials will all support the student throughout this unit. Specialist workshops in CAD will be prioritised for the final year students on set days. Critiques, self and peer appraisal will be encouraged throughout the learning process.

Assessment Requirement

Styling, PR, Journalism 25% Creative elements within the specialist area to be covered/considered: Colour Surface Format Production Market/marketing Global positioning Competitors Ethical issues Time scale Costing Team Assessment Criteria Knowledge & Understanding Communication & Presentation Technical Knowledge Information & IT Application Research Integration & Synthesis Creativity & Innovation Interpersonal & Social Skills Critical Analysis & Evaluation Self Management & Professional Competence LO1, LO2, LO3, LO4 & LO5 LO6, LO7, LO8, LO9 & LO10 Reference Material GORDON, B. & M. KRISZTIAN, G. GILL, B. MANUELLI, S. FRINGS, G. HELLER, R. KLANTEN, R. SIMMONDS, D. SHARPLES, M. 2005 2006 2003 2004 2003 2005 1998 2005 2004 1999 The complete guide to digital graphic design Visualizing ideas : from scribbles to storyboards Graphic design as a second language 1000 graphic elements RSVP : the very best of invitation and promotion design Fashion : from concept to consumer Essential managers manual Hidden track: how visual culture is going places How to be a team leader How we write : writing as creative design Thames & Hudson Thames & Hudson Images Rockport RotoVision Prentice Hall Dorling Kindersley Die Gestalten Verlag Hamlyn Routledge

Portfolio 75% Research to support each project component. Proposal and preparation for each project. A range of responses to the promotional subject area with planning and a demonstration of time management. Sketchbooks, dummy, mock-up, story board or other appropriate preparation work.

Unit Title Unit Code Course Location Level & Credit When taught Duration Learning hours

Fashion Promotion Reflection II RFPR3004 BA (Hons) Fashion Promotion Rochester Level 3, 15 credits Semester 2 Weeks 26-30 5 weeks 150 hours

Content The Fashion BA (Hons) courses have firmly embedded learning outcomes into all units within the curriculum. They provide a statement of what a learner is expected to know, understand and be able to do at the end of a period of learning. But if learning outcomes prescribe the results of a period of learning before the outset of the journey, how appropriate is the learning when the risk taking is so vital in Art and Design? All journeys have secret destinations of which the traveller is unaware Martin Buber The seeking out of the secret destination within a journey must be encouraged in a student. This common fashion final unit of study provides the student with the opportunity to reflect and to write their own learning outcomes for their final year journey. Professional/reflective practice is a phrase with deep resonance for both staff and students. Within this final unit of the BA (Hons) Fashion courses at Rochester, students demonstrate how well they truly understand these words and how they have demonstrated their personal development plan (PDP) through evidence in oral presentation, written presentation, team skills, time management, research skills and methods, IT software, historical and theoretical understanding, conceptual development/ideas generation and materials and technical knowledge and skills. The reflective analysis of their specific philosophy and how they achieved it, with reference to current professional practice, will enable students to gather together all the separate strands within their PDP work to arrive at a Summative Dossier. A final summative presentation of all key works in a contemporary format, whether classic portfolio or some other format, will be an integral component for all areas of study. This will support the student in their future employment or further study, as well as being an important element of their final assessment/exhibition of work. The focus provided by this work will enable students and staff to produce an edited and focused final reflective summary of the final major project as well as the journey which was taken to arrive there through the documentation of the production dossier. The work produced for this component of the final year will prepare the student in becoming a Reflective Practitioner which will support the student in the necessary preparation for job applications and interviews. Aims 1. To consolidate communicating fashion visual images and written texts in the presentation of a final summative dossier. 2. To present all forms of communication to document professional practice. 3. To be able to act autonomously with minimal supervision or direction within agreed guidelines. 4. To consolidate the philosophy of personal development planning PDP.

Learning Outcomes Students who complete this unit should demonstrate: 1. Student to negotiate and write their own learning outcome 2. Student to negotiate and write their own learning outcome 3. Student to negotiate and write their own learning outcome. 4. Student to negotiate and write their own learning outcome Teaching and Learning Methods Regular supporting tutorials and advisory sessions will be held to discuss the students personal development plan, employability skills and career opportunities. PDP workshops will support the student in the preparation for the mock career interview and job applications. Assessment Requirement Summative Dossier 50% Personal Dossier 50% Management, planning and organising a Negotiated Personal PR in a format either portfolio. Planning for the final destination, integrated to final degree work or as a the exhibition/fashion show. separate style statement Mock career interviews (normally videoed) Assessment Criteria Student to select own assessment criteria Student to select own assessment criteria LO1 LO2 LO3 & LO4 Student to select own assessment criteria to demonstrate their own philosophy of PDP Reference Material COPE, M. MIDDLETON, J. VAN EMDEN, J. BARON, C.L. TAIN, P. BAKER, E. BURKE, S. TARANTINO, C. & TAN, K. RIEGELMAN, N. 2003 Personal networking : How to make your connections count 2005 High impact CVs 2004 Presentation skills for students 2004 Designing a digital portfolio 2005 Portfolio presentation for fashion designers 2002 Working communication 2006 Fashion computing : design techniques and CAD 2005 Digital fashion photography FT Prentice Hall Infinite Ideas Palgrave New Riders Fairchild John Wiley Burke Publishing Thomson

2006 Colors for modern fashion 9 Heads Media 2004 Fashionize : the art of fashion illustration Happy Books selected by Delicatessen

How your work is marked

Assessment Methods
Formative assessment Formative assessment is an interim review of your work undertaken at key points during particular units. It provides an indicative measure of your progress, allows you to consider your work in relation to that of your peers, allows you to agree with staff any adjustments you need to make in order to satisfy course requirements, and is designed to help you improve your performance. It does not contribute to the final unit mark. Summative assessment Summative assessment is that carried out at the end of a unit. It provides an evaluation of your progress during the unit, generates a unit mark, and confirms the conditions for referral and retake.

The purpose of assessment

Assessment measures your performance in completed units. It is therefore retrospective and should not necessarily be taken as a guide to future success. Assessment can have the following purposes: to measure your performance over a specified part of the course by published criteria against a stated requirement; to provide you with feedback about your performance, helping you to identify strengths and weaknesses; to determine your suitability to progress to the next stage of the course; to determine the award of an appropriate qualification. The assessment scheme is designed to recognise and credit achievement rather than to penalise failure. If you fail a unit you will have a further chance to improve your work and pass. You progress from stage to stage of your course by accumulating sufficient credit (i.e. by passing units). The final award requires students to accumulate credit in the same way. The Student Regulations Handbook contains more detailed information on the assessment scheme and regulations.

Assessment methods used on the course

Assessment practices adopted by the course are consistent with the University Assessment Policy. The Assessment methods employed are effective in permitting students to demonstrate course outcomes. Assessment Criteria/learning outcome specific to each unit and level generic Grading Descriptors ensure a consistency of approach to assessment. A range of assessment strategies is used: formal examinations; essays; group production projects; individual production projects; production simulations to deadline; individual; written critical evaluations; student presentations; reflective learning journals and international studies assessed work placements; and a dissertation.

On practical units, whenever possible, assessments are integrated into the teaching and learning: extended production projects give scope for tutor guidance week by week, for example; or a final summative assessment will be based closely on earlier formative assessments which have given students scope to steadily build and develop skills assisted by tutor feedback. Care is taken by lecturers to try to ensure that all students engage in assessed group work. On such group assessments, individual student logs/reflective learning journals of activity are required and tutor observations of individual student contribution are recorded on assessment feedback sheets. Individual performance in group work is formally recognized in the assessment criteria for group assessments. On some individual group assignments, there is scope for negotiated briefs so that students particular interests and favoured specialisms can be accommodated. This increases student engagement and motivation and means that the course, while focusing on core skills, can appeal to students who have ambitions in particular specialties.

Unit assessment and Stage assessment

Unit assessment is the basic unit of assessment. Unit information will include a timetable for assessment and a clear statement of assessment requirements, assessment criteria and assessment methods appropriate to its learning outcomes and length of study. Throughout the course a range of assessment methods will be used. They may include reviews of coursework, presentations, written submissions. Peer and self-assessment are also used at appropriate points, to enable you to achieve an increasingly self-critical view of your work. Each unit is assessed on completion and given a percentage mark. These grades are subject to confirmation by the Unit Assessment Board at the end of the academic year (see 6.7 and 6.8). You will also receive verbal and written feedback from your tutors. The credit value of each unit is proportional to its study time. This provides weighting for the unit; unit marks contribute proportionately to the Stage mark. Units will normally be assessed within their duration. Exceptionally assessment may extend beyond the unit but a deadline will be set for the release of marks and the return of work. Stage assessment is the major summative assessment point which allows progression between stages of a course. Where appropriate it may form the basis for the recommendation of an award. The purpose of stage assessment is to consider the overall performance of students within a stage of a named course, to award credit where appropriate and to set any conditions for progression or retrieval of failure. Stage assessment collates the weighted marks from units to produce a single end of stage mark.

Formative review
Formative review is also operated on some courses. This is a major review of progress at the end of the first semester of each year. Its purpose is to allow students: to take stock of performance to agree with staff adjustments to their course of study that may be necessary to meet the requirements of an award or for progression at the year end

to consider, with staff, the advisability of any change of course available at this point.

Assessment Boards
The Unit Assessment Board is responsible to the Progression & Award Board for the conduct of all assessment associated with the course. The full Progression & Award Board normally meets annually at the end of the academic year. Its membership includes the Pro-Vice Chancellor or nominee (Chair), the relevant Dean, the Associate Dean, the Head of Registry Services or nominee, the Chief External Examiner(s) and the Faculty Registrar.

Confirmation of marks
External examiners are appointed by the Universitys Academic Board. They moderate internal marks (where appropriate), ensure correct procedures are followed and proper standards maintained. The external examiner will consult with internal examiners and may examine samples of work submitted, or meet with students. However, external examiners do not need to see you personally or your individual work in detail for the Unit Assessment Board to reach a decision on your marks, or your classification of award. Final responsibility for determining marks rests with the Unit Assessment Board.

Difficulties with work

You may experience difficulties associated with practical projects, research methods or writing. There can be a variety of causes ranging from dyslexia to nerves. If you have such problems, you should inform your tutor at the earliest opportunity; the University will then consider how it can best assist you. Student Services may also be able to provide help, advice and support. The course is designed to help you succeed in what you undertake, but if you have problems you must help the course team to help you. You should also disclose any health problems which might have implications for your course of study. It is your responsibility to make known to your Course Leader any circumstances which may have seriously affected your performance in assessment. This should be done by completing a Mitigating Circumstances claim form prior to submission so that such issues may be taken into account during assessment. Further information about the Mitigating Circumstances Policy is contained within your Student Regulations Handbook.

Submission and return of work

You are advised to keep a copy of all work submitted for assessment, wherever feasible and appropriate. Make a note of the date and name of the person to whom you submitted your work, as this will make it easier to resolve any issues that may arise regarding submission. At the beginning of each unit, you will be notified of the date and time by which work must be submitted for assessment.

Health & Safety

Throughout your studies you will be presented with information which should help you to stay safe and healthy throughout the duration of your course. You have a responsibility to conduct yourself in a manner which does not harm the safety of yourself and others. If your course includes time in Workshops or Studios please listen to the valuable safety instructions and advice given to you by the Academic Staff and Technicians, you must attend a health and safety induction before you are able to work in these areas. When undertaking project work, you should as part of your professional development consider the impact of your work on others. Where your project involves processes, materials or elements of risk; you will need to assess the way in which you produce the project work safely, how the work is installed during displays or the end of year show and how to minimise any risk to those viewing your work. Academic and Technical staff can support you in undertaking these risk assessments. The University is here to help facilitate and develop your project work safely. Please ensure health and safety is integral to your studies.

Marking Descriptors
The marking descriptors show you what you need to achieve in your work to gain each grade. All Fashion unit learning outcomes are mapped to the stage marking descriptors/and are grouped under the three generic levels of criteria, (level C-Certificate, Level I-Intermediate Level, and Honours Level): Project Briefs therefore place emphasis on learning outcomes, explaining to the student the experience, understanding, knowledge and skill the project is designed to help them acquire. The notes on submission and assessment given one ach project explain clearly the way in which the requirements/submissions for a project and the formative assessment process itself is a demonstration of what they have learned. The general marking descriptors are as follows.

Learning, Teaching & Academic Guidance for your course What do I need to know about this in relation to my course? All courses at the University are founded on the principle that the most effective educational experience combines structured teaching and your own independent study. Your course is designed to give you maximum responsibility for the management of your own learning. The skills and abilities that will support you after graduation extend beyond your subject knowledge. This will require a high degree of commitment and personal organisation from you. It is important that you attend all taught sessions, making arrangements to cover material from any session which you are unable to attend (e.g. through illness). How can I manage my independent study time? During each unit, staff will explain to you what work you are expected to cover in self-managed study time. It is essential that you organise your time so that you can carry out the required amount of independent study. Failure to do this is likely to result in your being unable to complete the work required in the time available. If you feel you need further information or help with managing your studies, please alert your tutor who will be able to help. What is a Unit Handbook? A Unit Handbook will be given to you at the introduction of each unit. It will include a project brief, timetable/schedule, assessment deadline and any further information such as technical notes, additional research and reference material that you may need in order to complete the unit. How will I be taught on my course? Several different learning and teaching methods are used at the University, and may be used on your course. These are defined as follows: Projects Projects combine formal teaching and independent study on a focused task with a defined outcome. They may be initiated by staff, or jointly between staff and students. The outcomes of projects vary according to courses; for example, it may be a slide presentation, a written report or a product. Each project culminates in some form of review or critique. Practical Work projects will be set in a practical workshop situation, using materials, processes and techniques to generate research and an understanding of theoretical principles. Depending on the equipment and processes used, this may involve an introduction to safe working practices through technical demonstrations that you must attend before commencing personal practical work. Lectures Lectures are the principal teaching method used for the presentation and discussion of theoretical issues. They are used to focus on issues central to a unit and are often used in conjunction with seminars to extend and examine the issues raised. Your lecture notes are a valuable adjunct to other information sources and may prove useful to you long after completion of your course. Seminars Seminars provide an opportunity for dialogue and interaction between staff and students. Seminars may be used to support lectures, or may be central to practical delivery.

Tutorials Tutorials provide an opportunity to discuss your progress and to agree a further course of action. They may be used to address specific issues in your work, to follow up assessments or to discuss other factors affecting your progress. Informal and formal tutorials are held with each student. Each student is assigned a personal tutor. Following a tutorial, a copy of the tutorial form is given to you which records the discussion. You should retain a copy of the tutorial form for your own records so that you can assess your progress over a period of time.

Group work Group work is recognised as an important educational experience in its own right and is valued by many employers. Assessment aims to balance the merits of group achievement and individual performance.

Project Proposals Project Proposals are used on many courses. Project Proposals make it possible to focus your course in a way which reflects your own interests and aspirations, within the scope of the course. Project Proposals are one way of helping you to negotiate and plan your studies with staff, agreeing the aims of your work. Your Project Proposals and study plan will form part of the Unit Handbook for relevant units.

Student presentations Student presentations comprise one student or a group of students giving an illustrated talk on an agreed subject to a group of their fellow students. This enables students to share their experiences and learning, and develop the knowledge and understanding of the group as a whole. A primary function of presentations is to develop your skills and ability in verbal communication.

Self-managed independent study Self-managed independent study forms an essential part of your course. It is important that you develop an organised and effective approach to independent study to enable you to complete and extend projects and take full advantage of learning resources at the University and elsewhere. Independent study may take place at your home, at the University (for example, in the Library) or externally (for example, at museums or exhibitions). It is suggested that you keep a record of private study undertaken for discussion with staff.

Study visits Study Visits may involve organised visits to any of the following: buildings, stores, companies and organisations, design practices, trade fairs, exhibitions, museums and galleries. They may take place in the UK or overseas, and may require financial contribution from you, in which case you will be notified of any costs well in advance of the visit.

Academic Guidance
The University has identified threshold standards of academic guidance and support across all five campuses. While Faculties can quite rightly exercise local decisions on how these standards are supported, the policy identifies the appropriate commitment the University makes to students to guarantee they receive sufficient opportunities for guidance on their progress through their courses.

Accordingly, the University has established Threshold Standards for Academic Guidance in three areas: a) Unit choice and change of unit b) Progress within units c) Progress within the course A Unit choice and change of unit

Threshold Standard: i) Faculties will provide students with timely and appropriate advice on unit choice Method: To meet this standard, Faculties will be required to provide: B Advance information and advice about unit options including the process of making a choice, prioritising choices, the method of and timescales for logging and changing choices, and how the outcomes will be notified Clear indication of the latest advisable times by which a change of unit can be made Progress within units

Threshold Standards: i) Students are entitled to know what additional support is available to them in the course of a unit in addition to timetabled teaching. Method: To meet this standard, Faculties will be required to: Provide clear information on how students can request assistance with a unit, which includes information on any scheduled tutorials, surgeries, staff availability and locations for advice.

ii) Students on referral and/or retake should be provided with a timetabled personal tutorial to discuss what they need to do in order to retrieve failure. Method: To meet this standard, Faculties will: C Ensure that a date and time for a tutorial is provided in all referral and retake letters. Note attendance or non attendance at such tutorials on the students file Record the content of the tutorial on tutorial forms and log these forms appropriately. Progress within the course

Threshold Standard: i) The course leader is responsible for monitoring the students overall progress within the course. All students will be provided with the opportunity to attend one scheduled personal tutorial to review their overall academic progress in Semesters I and 2 of each academic year. Method: To meet this standard, each Faculty will:

Ensure that a course specific personal tutor system is in place. Inform students about tutorials, and access to tutors and additional tutorial advice.

Monitoring Course leaders will be asked to comment on, and evaluate the efficacy of the Academic Guidance Policy during Annual Academic Monitoring.

Glossary
Aims
The purpose behind your work. Aims are course-related and express the course's intentions at particular points, whether relating to individual projects, stages of your course or indeed the course as a whole. In each unit a list of aims, coded A, sets out the intended purpose of the unit. The formal procedure whereby prior learning which has taken place outside the University, certificated or experiential, is accredited by the University for the purpose of admission to or progression on a course of study. The formal procedure whereby you challenge a decision made regarding your performance in assessment. Disagreement with academic judgement does not constitute grounds for appeal. Details about the appeals procedure are contained within the Student Regulations Handbook. The processes and mechanisms through which the quality and standard of your work is measured and evaluated. Assessments are retrospective and do not credit future potential, although the feedback provided by marks and comments should be of assistance. A sample of marks from all units will be verified to ensure the quality of marking. Formative assessment is an interim review of your work undertaken at key points during particular units. It provides an indicative measure of your progress, allows you to consider your work in relation to that of your peers, allows you to agree with staff any adjustments you need to make in order to satisfy course requirements, and is designed to help you improve your performance. It does not contribute to the final unit mark. Summative assessment is that carried out at the end of a unit. It provides an evaluation of your progress during the unit, generates a unit mark, and confirms the conditions for referral and retake. Peer and Self-assessment requires you to assess your own work and that of fellow students. It encourages a sense of ownership of the process of assessment, assists you to become an autonomous learner, helps to develop a range of transferable skills and makes assessment part of the learning process rather than an adjunct to it.

AP(E)L

Appeal

Assessment

Assessment Board The generic term for a board of examiners at the University. The University
has a 2-tier assessment system, comprising Unit Assessment Boards and Progression & Award Boards.

Assessment Criteria Assessment Requirement Award

The particular characteristics against which your work will be assessed. What needs to be done as a means of demonstrating attainment of a units learning outcomes. The academic qualification conferred upon a student who has successfully met and completed the requirements of a specific course of study.

Progression & Awards Board

A sub-committee of the Academic Board, this Assessment Board has responsibility for determining the progression of students and, when students have met the requirements for the award, the level and where appropriate the title of the award to be received. The Board also determines Retake requirements. The member of staff responsible for the management and organisation of a course of study. A numerical value ascribed to a unit of study, related to the learning outcomes and the notional time judged necessary to achieve them. Each unit carries a credit rating: a unit is rated at 15 credit points; a double unit is rated at 30 credit points. The awareness, acquisition and application of subject-specific and generic knowledge and skills, as well as key personal qualities, to maximise potential through successful university study including postgraduate study, life-long learning and sustainable employment in a changing and competitive world.

Course Leader Credit

Employability

External Examiners Relevant subject experts, either academic or professional, from outside the
University who moderate the assessment of students and contribute to the maintenance of academic standards in all courses of study of the University.

Grading Descriptors

An indicative framework which sets out the typical levels of performance required to achieve grades at each level. A common framework applies across all undergraduate courses at the University; the grading descriptors are set out in section 6 of this Handbook. training. A list of learning outcomes coded LO is set out for each unit.

Learning Outcomes That which has been learned or a student is able to do as a result of study or

Level

Each unit carries a Level rating, which denotes the classification of the relative academic complexity of learning outcomes associated with units. The level rating does not necessarily coincide with the year/ stage of full-time study. All students in stages 1 and 2 are assigned a Personal Tutor. The role of the personal tutor is to maintain an overview of an individual students profile and provide advice on a students overall progress. Personal tutors meet with their tutor groups following the publication of stage assessment profiles. Personal tutors also meet individually with any student who is perceived to have potential problems. The personal tutor may refer students to other sources of advice and support as appropriate.

Personal Tutor

Reference material The information which supports the aims of a unit and which students are
advised to consult. Materials can take any form including visual, textual, websites etc. They may also be identified by the student or suggested by staff as work develops.

Referral

The means whereby a student is granted a further opportunity to be assessed in a unit, following initial failure. The opportunity is subject to qualifying conditions, and so may not be available to every student (see Student Regulations Handbook). The means whereby a student is able to retrieve failure following Referral. This opportunity is subject to qualifying conditions, and may not therefore be available to all students (see Student Regulations Handbook). If a unit is failed due to the non-submission of an assessment requirement, there is no opportunity for referral, and a student will receive an automatic retake (this opportunity is also subject to qualifying conditions).

Retake

Stage Study Visits

The period of time leading up to a formal point of progression or award. Visits in the UK or overseas selected for specific educational and cultural purposes. Where they require a financial contribution, you will be notified of any costs well in advance. The list of topics or points to be covered by a block of study. A self-contained unit of study. Each unit has a set of specific learning outcomes. The member of staff responsible for the management and organisation of a designated unit. The unit leader is responsible for organising group and individual tutorials, as appropriate, to provide you with advice and guidance on progress on the unit.

Syllabus Unit Unit Leader