ART & DESIGN DEPARTMENT SHEFFIELD HALLAM UNIVERSITY
2017/18 BA (HONS) Fashion Management and Communication
THE BUSINESS OF
SHEFFIELD INSTITUTE OF THE ARTS
FASHION 1 FASHION EVOLUTION
SEMESTER 1
BA (HONS) FASHION MANAGEMENT & COMMUNICATION
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CONTENTS MO DULE R AT I O NALE
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MODULE DESCRIPTOR
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MODULE BRIEF
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MODULE PROCESS
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SUBMISSI O N DE TAIL S
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READING LIST
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A SSE SSMEN T DE TAIL S
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A SSESSMEN T MAT R IX
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TEACHING SCHEDULE
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STUDENT RESPONSIBILITIES
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AT T ENDANCE
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PAR T ICIPAT I ON
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H OW S TAFF WILL CO N TAC T
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STUDENT SUPPORT
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MO DULE S TAFF DE TAIL S
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BA (HONS) FASHION MANAGEMENT & COMMUNICATION
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T HE FU T UR E BELO NGS TO T HE OU T SIDER S
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MODULE RATIONALE HELLO You will be introduced to the term ‘fashion’ and its distinctive position within fashion management and communication, including
You will learn how to critically examine the relationship between the trends, types of research and design involved in the nature and processes of the broader fashion industry,
historical/cultural contexts and the development of contemporary fashion management.
The module may include some of the following topics:
Exploration and discussion around the evolution of fashion, 20th/21st Century fashion, and the fashion marketplace: fashion designers and fashion houses, haute couture, ready to wear, mass market, street fashion will be undertaken. Study trends in areas such as fashion manufacture, retail, the supply chain and fashion markets will help you develop your contextual awareness of management and communication processes and connect these factors to key social, environmental,
The Design Process Future trends Ethical and sustainable Issues Retail, Buying and the Supply chain Cultural, economical and social influences Globalisation and fashion awareness Contemporary and historical philosophical theories influencing design culture Technological Innovations
psychological, and economic issues in areas such as ladieswear, menswear, lifestyle products, and accessories.
ABOUT BA (HONS) FASHION MANAGEMENT & COMMUNICATION
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CR I T I C A L & A N A LY T I C A LTHINKING R E SE A R CH SEL F - CO N CEP T S T R EN D A N A LYSI S G LO BA L FACI N G D ECI SI O N M A K I N G I N T ER PER S O N A L & N EG OT IAT I O N SK I L L S I N T EL L EC T UA L & CO M M U N I C AT I V E E N G AG E M EN T G EN ER AT E O R I G I N A L CO N CEP T S T I M E M A N AG E M EN T
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MODULE BRIEF
CONTEXT
BRIEF In order to understand the fashion industry, it is critical that you have an in-depth knowledge of the evolution of fashion, as well as the brands and media innovations that play a crucialpart in that history. In this brief, you will be introduced to the story of 20th and 21st Century fashion, from the first haute couturiers to the stars of prêt-à porter (designer ready-to-wear) via the birth of street style and the phenomena of mass-market fast-fashion that dominates retail today.
Alongside the evolution of fashion you will be given an introduction to brands and branding. Brands play a vital role in the development of fashion products and retail innovation, and project the values of society/culture within a tangible form. As such, brands are a fundamental element of fashion that underpin all aspects of the industry.
You will also be given an introduction to the fundamentals of fashion communication and media. You will discover how fashion utilises every industrial and technological innovation to create more exciting ways of engaging with the You will trace the history of fashion consumer, from the birth of the fashion through shifts in the socio-political magazine during the industrial revolulandscape and understand how the arts, technological innovation, medical break- tion to the See Now Buy Now phenomena of the Digital Age. throughs and archaeological discovery shape the very clothes we wear and how we communicate trends. This journey through time will culminate with the issues that you – as a future fashion communicators and managers – face today: sustainability and eco-consciousness, racial diversity, Third-wave feminism, gender identity and our relationship with brands in a digital world.
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MODULE BRIEF
SCENARIO
For this project you will chart the story of 20th and 21st Century fashion through the prism of your own personal passion/interest, and demonstrate a basic understanding and awareness of not only ‘what’ but - more importantly ‘why’ specific fashions and trends emerged in their time and keep coming back. You will also select a RADICAL brand/retailer to research and demonstrate a basic understanding and awareness of the historical, cultural and contemporary issues related to,, not only the brands development, but also how the brand operates within the fashion market place.
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PROC B A
( H O N S )
F A S H I O N
M A N A G E M E N T
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BA (HONS) FASHION MANAGEMENT & COMMUNICATION
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RESEARCH
You will be required to iden/fy and explore a wide range of primary and secondary research methods: field research, interviews, video recordings, personal observa/ons, books/trade journals, magazines, online resources, social media.. Your research porColio should evidence your ability to crea/vely explore and inves/gate ideas, theories and concepts by crossreferencing and analysing the research informa/on you have compiled.
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02. I D E AT E
Research development is ul/mately the first step to responding crea/vely and innova/vely to the informa/on you have gathered whilst carrying out your inves/ga/ve research. Once you have generated a range of key research, you will explore a range of research deconstruc/on methods in order to cri/cally analyse your findings, visualise your data and begin the process of research explora/on and development. You will show evidence of your experiments, planning and trials, both within your research porColio and reflec/ve blogs. Types of experimenta/on could focus on photography techniques, shoot planning, storyboards, layout development and edi/ng skills.
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C O M M U N I C A T I O N
CESS INDUCTION WEEK
2017/2018
INDUCTION WEEK
2017/2018
Process + Steps
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04.
You will develop a series of visual and wriIen outcomes, which should clearly reference your research and experimenta/on. Your ďŹ nal outcomes should be ďŹ t for purpose and suitable for the intended audience/consumer. You should demonstrate strong awareness of contemporary approaches to visual communica/on methods, presenta/on outcomes, and innova/ve composi/on skills.
You will present your outcomes in both physical and digital formats. This may be to a panel of industry experts, lectures, peers.
PRODUCTION
PRESENT
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SUBMISSION 12
ASSESSMENT EVIDENCE FOR SUBMISSION
PART 1 ASSESSMENT EVIDENCE FOR SUBMISSION – What you will be marked on.
1. Online portfolio (website)
You will build a website that will be the hub of this project and become an online portfolio for all your SHU work. It will house your blogs, provide a link to your professional Instagram account and showcase a PDF/Issuu version of your zine and report.
1a Visual Research Portfolio (print and digital)
You will create a professional Instagram account (to be used for this project and all subsequent modules) that will act as a digital research record for all primary and secondary visual research, creative experiments, gifs, graphics, video etc… You will post at least 132 squares of visual research throughout the length of this module with each decade – the 1910s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s, 1980s, 1990s, 2000s, 2010s – being allocated 12 squares each. You will create your own unique hashtag for this project and caption/hashtag your images correctly.
1b. Academic Research (Blog)
You will create a blog account (to be used throughout your degree) that will showcase a selection of different writing styles such as fashion journalism (designer profiles and trend reports) and academic report writing. You will use the APA referencing system where appropriate. For this project your academic research blog will evidence your understanding of the evolution of 20th and 21st Century fashion, and how the development of fashion brands and fashion communication play a crucial part of this history. You will submit 4 pieces of writing (word count: 400 each); the style and subject to be determined by your tutor.
2. Creative Zine
You will create a zine which will immerse the reader into each of the ten decades that you will have been exploring through your visual and academic research. Your findings will be displayed in a creative and graphic way using the techniques and skills – TBC – that you have learned and experimented with. The zine should be a minimum of 28 pages (including front and back covers) and include a short piece of writing in the form of an Editor’s Letter or a small feature that ties together 100 years of fashion through your specific focus.
BUSINESS OF FASHION 1 EVOLUTION OF FASHION
The zine should be as ‘cool’ as it is informative, and be professionally printed.
ASSESSMENT EVIDENCE
ASSESSMENT EVIDENCE
FOR SUBMISSION
KEY DE TAILS
RESEARCH
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Creatively presented and professionally executed PORTFOLIO research portfolio (Digital ONLINE/PRINT/ and hard copy.) ACADEMIC print, website and blog
2 CR E ATIV E ZINE
The zine should be a minimum of 28 pages (including front and back covers) and include a short piece of writing in the form of an Editor’s Letter or a small feature that ties together 100 years of fashion
3 PR ES E NTATION
Showing high levels of innovation and creativity, creatively executed, professionally printed (Digital and hard copy.)
3. Presentation This presentation will be showcased through your website. During your presentation you will be expected to show your zine in a PDF/issuu format on screen (as well as give a printed version to your 20th and 21st Century fashion. The presentation will last 10 minutes in a relaxed and supportive atmosphere.
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MODULE READING LIST Dillon s. (2012) Fundamentals of Fashion Management, AVA Publishing Whitaker J. (2011) The World of Department Stores. Thames & Hudson Masset C (2010) Department Stores, Shire Publication Seeling S. (2000) Fashion The Century of the Designer, Konemann Cologne Burns L.D. Mullet K.K. Bryant N.O. (2011) The Business of Fashion: Designing, Manufacturing and Marketing, McGraw-Hill; 5 Edition (January 17, 2012 Ambrose G. & Harris P. (2005) Layout AVA Burke S. (2006) Fashion Computing – Design Techniques and CAD, Burke Publishing Tallon K. (2008) Digital Fashion Illustration, Batsford Malhotra, N., Birks, D. & Wills, P. (2013), Essentials of Marketing Research, Pearson Education Ltd Solomon, M. (2014), Consumer Behavior: Global Edition, 11/E Pearson Higher Education Lea-Greenwood G (2012) Fashion Marketing Communications, Wiley Keller K.L et all (2013) Strategic Brand Management, Prentice Hall Fill, C. (2013) Marketing Communications: Brands, Experience and Participation, 6th edition, Pearson Education Bickle M. (2010) Fashion Marketing, Fairchild Solomon M.R. & Rabolt N. (2008) Consumer Behaviour in Fashion, 2nd edition, Prentice Hall Van Dijk M. (2009) Luxury Fashion Management: Brand and Marketing Management in the everchanging Luxury Fashion Industry, VDM Verlag Additional Sources: Posner H. (2011) Marketing Fashion, Laurence King Yurchisin J. & Johnson K.K.P. (2010) Fashion and the Consumer (Understanding Fashion), Berg Fashion Institute of Technology (2009) Introduction to Fashion Marketing, Pearson Learning Solutions Muller F. (2009) Brand Portfolio Strategies in Fashion Industries: A Study on how to successfully extend brand portfolio in the fashion industry, VDM Verlag Okonkwo U. (2007) Luxury Fashion Branding: Trends, Tactics, Techniques, Palgrave Macmillan Rath P.M. et al. (2008) The Why of Buy: Consumer Behaviour and Fashion Marketing, Fairchild books Additional Sources: Posner H. (2011) Marketing Fashion, Laurence King Yurchisin J. & Johnson K.K.P. (2010) Fashion and the Consumer (Understanding Fashion), Berg Fashion Institute of Technology (2009) Introduction to Fashion Marketing, Pearson Learning Solutions Muller F. (2009) Brand Portfolio Strategies in Fashion Industries: A Study on how to successfully extend brand portfolio in the fashion industry, VDM Verlag Okonkwo U. (2007) Luxury Fashion Branding: Trends, Tactics, Techniques, Palgrave Macmillan Rath P.M. et al. (2008) The Why of Buy: Consumer Behaviour and Fashion Marketing, Fairchild books Practitioner Magazines Drapers Retail Week Collezioni Donna Pret-A-Porter L’officiel Collections Haute Couture Collezioni Uomo Womenswear Daily The Retail Bulletin Retail merchandiser In-store www.wgsn.com BUSINESS OF FASHION 1 EVOLUTION OF FASHION
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PUBLICATIONS//TRADE JOURNALS//WEB
Newspapers/trade journals WWD ///Drapers ///The Guardian /// Sunday Times Fashion///Lifestyle/ Arts/ Harpers Bazzar /// Vogue /// Elle ///Wallpaper /// Creative Review /// Independent Fashion Garage ///Tank /// 125 /// 10 /// Another /// Dazed /// Pop /// The Gentlewoman /// Purple /// Interview /// W /// Nylon /// Self Service /// Lula /// I-D ///Numero /// Wonderland
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SUBMISSION DETAILS & CHECKLIST
27.1 HOW WILL YOU SUBMIT:
The following outcomes must be printed and presented professionally Research Portfolio (digital and print) Website & Blog Creaitve Zine (shoot and written pieces) Presentation Your name must be clearly labelled on the side of the box and on all outcomes presented within. (Please collect a sticky label) Any digital media (i.e websites) , must be shared withn.mccreesh@shu.ac.uk and the URL links printed on a business card and presented within the box.
Plastic wallets/holders/bags or other unsuitable presentation methods will not be accepted. BUSINESS OF FASHION 1 EVOLUTION OF FASHION
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11.17 @ 3pm HPO HELP DESK
The deadline for this assignment is 27/11/2017. All assessment evidence for submission’ must be handed in to a member of the Help Desk at HPO no later than 15:00.
Please be aware that late submissions will not be accepted.
NB: It is essential you follow the guidelines above when submitting your work, demonstrating your awareness of professional approaches to the presentation of your work.
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ASSESSMENT MATRIX 18
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BA FASHION M&C
| LEVEL 4 SEMESTER 1 PLANNER
| ACADEMIC YEAR 2017/18
THE BUSINESS OF FASHION 1 FASHION MANAGEMENT & MARKETING ACADEMIC TUTORIALS NB: Please note that this plan m ay be subject to change, you will be inform ed well in advance of any changes via W HATSAPP WK
MONDAY
DATE
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18.09.17
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25.09.17
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02.10.17
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09.10.17
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16.10.17
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23.10.17
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30.10.17
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06.11.17
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13.11.17
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21.11.17
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27.11.17
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04.12.17
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11.12.17
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18.12.17 25.12.17
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01.01.17
TUESDAY
W EDNESDAY
THURSDAY
MODULE BRIEFING Lecture/Seminar FM&C STUDIO 1 & 2 Charlene Gallery & Jamie Huckbody 10am-5pm Groups A & B
LECTURE/SEMINAR FM&C STUDIO 1 Jamie Huckbody Group A & B 10am-1pm
CAD/CREATIVE WORKSHOP Charlene Gallery & Alex Gilliot FM&C STUDIO 1 Group A – 10AM-1PM Group B – 2-5PM
LECTURE/SEMINAR/CREATIVE FM&C STUDIO 1 & 2 Charlene Gallery & Jamie Huckbody JEAN MCEWAN WS 1 10am-5pm Groups A & B
ACADEMIC TUTORIALS FM&C STUDIO 3 PAUL LUKE Group A & B 10am-1pm
CAD/CREATIVE WORKSHOP Charlene Gallery & Alex Gilliot FM&C STUDIO 1 Group A – 10AM-1PM Group B – 2-5PM
LECTURE/SEMINAR/CREATIVE STUDIO Paul Luke & Leanne Calderdale 10am-5pm Groups A & B
FASHION WRITING FM&C STUDIO 1 Jamie Huckbody Group A & B 10am-1pm
CAD/CREATIVE WORKSHOP Charlene Gallery & Alex Gilliot FM&C STUDIO 1 Group A – 10AM-1PM Group B – 2-5PM
LECTURE/SEMINAR/CREATIVE FM&C STUDIO 1 & 2 Paul Luke & Leanne Calderdale JEAN MCEWAN WS 2 10am-5pm Groups A & B
ACADEMIC TUTORIALS FM&C STUDIO 3 PAUL LUKE Group A & B 10am-1pm
ENRICHMENT TRIP TO LONDON
LECTURE/SEMINAR/CREATIVE STUDIO Jamie Huckbody & Leanne Calderdale 10am-5pm Groups A & B
FASHION WRITING FM&C STUDIO 1 Jamie Huckbody Group A & B 10am-1pm
CAD/CREATIVE WORKSHOP Mark Howe & Alex Gilliot FM&C STUDIO 1 Group A – 10AM-1PM Group B – 2-5PM
FORMATIVE FEEDBACK STUDIO Jamie Huckbody & Charlene Gallery & Paul Luke Groups A – 10am – 1pm Group B – 2-5pm
ACADEMIC TUTORIALS FM&C STUDIO 3 PAUL LUKE Group A & B 10am-1pm
FASHION PHOTOGRAPHY WS Mark Howe FM&C STUDIO 1 Group A – 10AM-1PM Group B – 2-5PM
ENRICHMENT TRIP TO LONDON
READING WEEK – READING WEEK – READING WEEK – READING WEEK - READING WEEK – READING WEEK – READING WEEK – READING WEEK CREATIVE PROCESS CREATIVE PROCESS FASHION PHOTOGRAPHY FM&C STUDIO 1 & 2 ZINE COMPLETION WS WS Paul Luke & Mark Howe FM&C STUDIO 1 Mark Howe & Alex Gilliot JEAN MCEWAN WS 3 Jamie Huckbody & Paul Luke FM&C STUDIO 1 10am-5pm Groups A & B Group A & B Group A – 10AM-1PM 10am-1pm Group B – 2-5PM
3D
CREATIVE PROCESS STUDIO Paul Luke & Mark Howe 10am-5pm Groups A & B
ACADEMIC TUTORIALS Understanding assessment FM&C STUDIO 3 PAUL LUKE Group A & B 10am-1pm
FINAL PRESENTATIONS Project hand-in TEAM FM&C STUDIO 1 Group A – 10AM-1PM Group B – 2-5PM
MODULE BRIEFING STUDIO Lecture/seminar Jamie Huckbody & Violet Mtonga 10am-5pm Groups A & B
LECTURE/SEMINAR FM&C STUDIO 1 Jamie Huckbody Group A & B 10am-1pm
LECTURE/SEMINAR FM&C STUDIO 1 Violet Mtonga Group A – 10AM-1PM Group B – 2-5PM
LECTURE/SEMINAR STUDIO Jamie Huckbody & Violet Mtonga 10am-5pm Groups A & B
ACADEMIC TUTORIALS Understanding your feedback FM&C STUDIO 3 PAUL LUKE INDIVIDUAL APPOINTMENTS 10am-1pm
LECTURE/SEMINAR FM&C STUDIO 1 Violet Mtonga Group A – 10AM-1PM Group B – 2-5PM
LECTURE/SEMINAR STUDIO Jamie Huckbody & Violet Mtonga 10am-5pm Groups A & B
GROUP TUTORIAL FM&C STUDIO 1 Jamie Huckbody Group A & B (SCHEDULED) 10am-1pm
LECTURE/SEMINAR FM&C STUDIO 1 Violet Mtonga Group A – 10AM-1PM Group B – 2-5PM
STU DEN T VACATIO N STUDY WEEK
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FRIDAY
INDUCTION WEEK
STUDENT RESPONSIBILITIES
You will be required to take a high level of responsibility for your own learning throughout the assignment, steadily progressing towards student autonomy. During your SDS time you will need to make full use of the university wide resources and technical support facilities in order to actively engage with the subject matter and develop your skills and knowledge to the required standard as you progress through the course. Maintaining a good level of professionalism is a clear indication of your commitment towards both your studies and future goals. Please make the most of the opportunities available to you throughout this assignment, attend all timetabled sessions and do not hesitate to ask for clarification during briefing sessions if you do not understand what you are required to do. You must ensure that you arrive at least 10 minutes before the session starts, ready to begin at 10am. You must arrive prepared for your sessions (notepad, pen and art materials when relevant) If you are unable to attend a session, please ensure to inform Charlene Gallery c.gallery@shu.ac.uk or via WhatsApp. It is your responsibility to catch up on work missed.
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LEARNING & TEACHING METHODS Students will be supported in their learning, to achieve the learning outcomes, in the following ways: briefing sessions, lectures/seminars and studio practice with individual and group guidance of marketing, management, branding and communication topics. Where appropriate the project may be research focused and the brief delivered in association with collaborative partners. Formative feedback is provided throughout the module and is primarily focused on helping you to reflect on and evaluate your work as it is progressing. It helps you consider the work you have already undertaken and how this may be developed and improved. It also helps you to plan how you will progress with your work. Summative feedback is provided at the end of the Task/s and also involves your tutor grading your work ASSESSMENT TEAM
in the form of work reviews and discussion will give you the opportunity to evaluate your own work, and that of your peers enabling you to act on formative, verbal feedback prior to the final submission of work for summative assessment. Regular formative feedback is provided at staged intervals to promote reflective learning and the development of specific skills and you will receive written summative feedback ASSESSMENT CRITERIA You must refer to the ‘Assessment criteria’ that accompanies this brief, which includes a comprehensive guidance on the assessment criteria for this particular task. ATTENDANCE The teaching sessions are a valuable opportunity for you to discuss your progress with your tutor and peers, they are carefully planned to help guide you through the assignment and therefore it is imperative that you make every effort to attend all timetabled teaching sessions where a register will be taken. If for some reason you are unable to attend a teaching session you must contact the module leader CHARLENEGALLERY via WhatsApp or Student Support on 0114 225 6947 or 0114 225 4670 to explain your reason for non-attendance. Failing this you can email Charlene Gallery at: c.gallery@shu.ac.uk.
FM
Your work will be assessment by Paul Luke
SUMMATIVE FEEDBACK OVERVIEW
Feedback will be provided during a one to one tutorial with Paul Luke and Charlene Gallery 3 weeks after submission date. (date to be confirmed) individual appointments will be allocated closer to the date. Students will receive feedback on their performance in the following ways: Presentation of your work to peers and tutors
Please bear in mind that if you miss a session, for whatever reason, you will be expected to catch up with the work on your own, staff cannot repeat missed sessions.
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HOW STAFF WILL CONTACT YOU Staff will use announcements and WhatsApp to remind you of deadline reminders and room changes. Tutors will contact you using your university email address, so please check both Blackboard and your university emails regularly. YOUR PARTICIPATION ON THIS MODULE We refer to the scholarly level of participation as academic conversation, which entails a variety of things including academic conversation, articulation and presentation. Participation is interdependent with preparation for each week, which involves reading (highlighting, pagination post-its, margin notes, comments & questions, etc.), writing (posting to discussions, note-taking, outlining, questioning, defining, mapping, framing, summarizing, journaling, blogging, podcasting, exposition, etc.), organizing (documenting, labelling, ordering, archiving, filing, sequencing events, chronicling, etc.), reflecting (rethinking, reincorporating, remapping, analyzing, synthesizing, etc.), and speaking (discussing, podcasting, corresponding with peers, chat, etc.). One goal of preparation is to sustain increasingly sophis ticated academic conversations or engagement with the readings, course and peers. A second goal is to develop systematic approaches for engaging with the readings and your peers (i.e., developing reading, speaking, writing, organizing, and reflection form(at)s and styles that are effective).
STUDENT SUPPORT If you are experiencing any health or personal issues which are affecting your course, please contact Faculty Student Services. They can advise you of support services available to you within the University. Contact them by email at artanddesign@shu.ac.uk by phone on 0114 225 6947 or at the Faculty Student Services Helpdesk on the ground floor of the Head Post Office Building. If you wish to request an extension you can do so at My Student Record https://msr.shu.ac.uk under the ‘Extenuating Circumstances’ section.
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MODULE LECTURERS
Charlene Gallery c.gallery@shu.ac.uk BA Course Leader BOF 1 Module leader Digital fashion Fashion technology Visual communication Film Fashion marketing
Jamie Huckbody j.huckbody@shu.ac.uk Brand direction Fashion journalism Styling Fashion/Art history Fashion contextual studies
Paul Luke p.luke@shu.ac.uk Level 4 tutor Visual branding Visual communication Film Digital fashion
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GUEST LECTURERS
JEAN MCEWAN ALEX GILLIOT
LEANNE CALDERDALE
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BENJAMIN THAPA
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