Bof2 handbook 2 by charlene gallery

ART & DESIGN DEPARTMENT SHEFFIELD HALLAM UNIVERSITY

2017/18 BA (HONS) Fashion Management and Communication

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGEMENT AND MARKETING

SHEFFIELD INSTITUTE OF THE ARTS

SEMESTER 1

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

CONTENTS MO DULE R AT I O NALE MODULE DESCRIPTOR MODULE BRIEF READING LIST SUMMISSI O N DE TAIL S A SSE SSMEN T DE TAIL S

4 6 8 14 16 18

A SSESSMEN T MAT R IX

MODULE PROCESS

TEACHING SCHEDULE

AT T ENDENCE

PAR T ICIPAT I ON

H OW S TAFF WILL CO N TAC T

MO DULE S TAFF DE TAIL S

STUDENT SUPPORT

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

A BR AND IS T HE SUM O F T HE TANG IBLE AND IN TANG IBLE BENEFI T S PROV IDED BY A PRO DUC T O R SERV ICE AND EN COMPA SSES T HE EN T IR E CUS TOMER E XPER IENCE.

H O W B R A N D S WO R K , C H A R T E R E D I N S T I T U T E O F M A R K E T I N G

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

MODULE RATIONALE HELLO

tions in response to a complex brief. The proposal of a fashion product or range for a contemporary fashion company or brand for the purposes of

You will focus on understanding the development of a strong relationship

raising the profile of the brand will be identified.

with the target audience that is essential for successful brand management. By looking at the tangible elements of brand management such as product itself;

The following topics may be covered: • Creative brand strategy • Strategic/Visual thinking

look, price, the packaging, etc. and the intangible elements i.e. the experience the consumer takes away from the brand,

• Attracting and retaining customer loyalty

and the relationship that they have with

• Trends in customer attitudes and behav-

that brand, you will work individually or

iors

and/as a group on a practical project the

• Brand positioning

exposes you to the elements of innovative brand marketing campaigns, within

• Brand values

the business of fashion. Building

your

understanding

• Developing a fashion brand

‘fashion’ you will examine opportunities

• Market research • The company/store as a brand

to identify and develop ideas and proposals for integrated marketing communica-

• Trends in fashion branding • T angible and intangible brand values • Experiential branding

ABOUT BA (HONS) FASHION MANAGEMENT & COMMUNICATION

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

CR I T I C A L T H I N K I N G R E SE A R CH T R EN D A N A LYSI S D ECI SI O N M A K I N G 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 CO L L A B O R AT I O N T I M E M A N AG E M EN T

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

MODULE BRIEF

CONTEXT

BRIEF

to fashion powerhouses. Similarly, some of the most loved luxury brands of bygone eras — Schiaparelli, Vionnet, Moynat and, now, Paul In today’s competitive global environment the Poiret — have been acquired by Arnaud de survival of any fashion brand lies in its ability Lummen of Luvanis, an independent entrepreto adapt and innovate whilst retaining a clear neur who has both the necessary creative vision sense of its brand heritage and core values. As and the business acumen to transform these consumers become more sophisticated and the perfectly preserved ‘Sleeping Beauties’ into plethora of products more similar, the need to differentiate through emotional attachment has assets ready for relaunch. During this assignment, you will be introduced become increasingly important. But what happens when a brand fails to connect with chang- to the business of brand management including brand integration and ing consumers’ needs and falls out of step with “Sleeping Beauties”= brands branded marketing in its various forms. The the times? which are currently inactive on importance of creativity There are certain brands that have iconic status the global market but which re- in brand management will be emphasised and established by visionary tain potential brand equity that explored, and you will pioneers who helped define an era by mirroring can be conjured up in the minds gain an understanding of how to communithe momentous social of consumers by re-articulating cate and understand and political changes brands from a visual of their time. However, the brands heritage. perspective. You will pioneering brands living be challenged to find on past reputation is no contemporary solutions in brand management longer enough to survive and brands that have failed to adapt to change have fallen by the way- whilst building on the identity and authenticity of a heritage brand so as not to lose its DNA. side. Brand managers refer to these dormant Emphasis must be focused on understanding brands as ‘sleeping beauties; a term that highcustomers and what they value, and having a lights their potential. ‘Sleeping Beauties’ are no longer active on the market but retain prospec- good knowledge of competitors, all of which are key elements for successful brand management tive brand equity that can be conjured up in and critical in creating a strategy that will help a the minds of consumers by rearticulating the brand’s heritage through a new product offering brand to achieve a competitive advantage and or direction. satisfy customers’ needs better than that of While there are many brand revitalisations their rivals. happening right now at the hands of visionary directors (Raf Simons for Calvin Klein, Demna Gvasalia for Balenciaga, Alessandro Michele for Gucci) these once-stagnant brands have been reignited, repositioned and restored back

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

MODULE BRIEF

SCENARIO

As a creative brand manager, you are As a creative brand manager, you are tasked with the relaunch of a pioneering heritage brand for the FUTURE consumer. (S/S 2020) In Fashion Marketing, brand management is the analysis and planning on how a brand is perceived within the market. Therefore, you must consider both the tangible (product, look, price, the packaging, etc.) and intangible elements (consumer brand experience and relationship to the product) of your chosen ‘Sleeping Beauty’ brand. You will manage and deliver all strategic marketing and creative communication assets to ensure that the brand is elevated and represented across a number of customer touch points: online, bricks-andmortar store, social media. While brands concerned by revival strategies do not need to be a slavish homage — any 21st Century brand relaunch is done with a subversive sense of irreverence and takes into account the interests of a Millenial Generation consumer — there is a need to make your brand as authentic and as legitimate as possible in order to ensure success.

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

MODULE BRIEF

KEY DE TAILS

Part 1: Brand Audit (Situation Analysis and Strategic Planning) You will conduct extensive marketing In addition, you must also include an research investigations into your chosen investigation of the current state of the pioneering fashion brand, collecting and relevant market sector you wish to penecollating both tangible and intangible trate, which should cover the following: features that will authenticate the brand heritage. You will utilse a range of funMarket Data – Market size, growth and damental qualitative and quantitative opportunities. research and analytical tools including Customers – historic, existing and potenPESTEL, SWOT, Porters five forces and tial consumers of your brand. Ansoff ’s matrix in order to fully exam- Competitors – direct competition, prodine and analyse your chosen brand. The uct offer and price points. USP and difbrand audit should provide a situation ferentiation strategy. analysis, in which you will review and explain the existing internal and external market environments (Marco and Micro). In order to propel a brand forward, it is imperative that you identify the current brand position and how the brand is perceived within the market. The audit should also include a review of the brands utilisation of the key marketing tools: • • • • •

Marketing Mix Target customers Positioning Strategy Differentiation strategy Competitive advantage

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

ASSESSMENT EVIDENCE

FOR SUBMISSION

KEY DE TAILS

1 BRAND AUDIT

Creatively presented and professionally executed research document. (see guidelines) You should aim to produce both digital and hard copy which must be produced to a professional standard.

It is recommended that you lay out the audit in the following manner. 1. Contents 2. Introduction 3. Internal Audit and Brand Positioning 4. Visual Identity 5. Marketing Mix (Product, Place, Promotion…) 6. External Audit PESTEL 7. Brand Insight (personality, insight, idea, action, benefits and truth) 8. Competitor Analysis – Positioning Map 9. Consumer Analysis 10. SWOT 11. Brand Challenges 12. Recommendations. 13. List of Illustrations 14. Bibliography 15. Appendices

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

ASSESSMENT EVIDENCE FOR SUBMISSION

Part 2: Brand Implementation plan (Research and Development) Whilst there is no doubt that fashion marketing continues to evolve, it is no longer just about the tangible products or ensuring the right products are in the right place at the right time. Realistically, it is now more about the brand experience that differentiates the successful from the irrelevent. Walter Landor, a pioneer of branding, famously said, “Products are made in the factory but brands are created in the mind.’ Brands are indeed an image or an emotion, based on associations that are stirred when a brand’s name is mentioned. The most influential or successful brands manage to engender positive or constructive associations in the minds of consumers; triggering strong emotions and feelings that can be extremely potent and affirmative. Therefore, as a brand manager, you must carefully consider the associations that your chosen brand conveys to the world, ensuring that the brand messages are transmitted by design rather than by default. Collaborations are a great way of breathing life into a brand and to gain competitive advantage, as well as exposing the brand to a wider audience. In reviving your pioneering brand, you are required to select an innovative collaborative partner (this could include celebrity endorsements and non-fashion brand personalities – artists, musicians, influencers). Through your market and trend analysis, you will select the most innovative, influential yet logical partner for your chosen brand, with whom you will develop a new brand identity. Through a range of creative workshops, you will critically and carefully develop this new brand

identity for your chosen pioneering brand. You will examine the three main brand management strategies used in order to revive sleeping beauties – brand revitalisation, brand copying and retro-branding – and explore visually how your brand could be communicated to a future consumer. You will develop a digital (i.e. Instagram) and hard copy visual look-book of your creative experimentations, which may include (but not restricted to) endeavours into advertising, social media outcomes, brand packaging, or even redesigning the product itself. You will develop a brand strategy manual, which must clearly communicate your creative vision for your chosen brand. It is recommended that you lay out the manual in the following manner. 1. Brand Strategy - Brand Vision - Brand Values - Brand Story 2. Market Research 3. Trend Research 4. Repositioning Map 5. Target Consumers 6. Brand Identity 7. Communications Strategy 8. Conclusion 9. List of Illustrations 10. Bibliography 11. Appendices

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

ASSESSMENT EVIDENCE

FOR SUBMISSION

KEY DE TAILS

1 RESEARCH PORTFOLIO

Creatively presented and professionally executed research portfolio /experimentation lookbook with annotation. Digital and hard copy.

CR E ATIV E

2 Professionally printed and bound book (digital and hard copy)

STR ATEGY DOCUMENT

3 CR E ATIV E OUTCOMES

i.e. advertorial campaign, editorial, brand lookbook, brand website, Packaging etc. (Digital and hard copy.)

MODULE READING LIST Bergh, Joeri van den, Behrer, Mattias (2011) How Cool Brands Stay Hot: Branding to Generation Y. London; Philadelphia: Kogan Page Cook, G. (1992) The Discourse of Advertising. London: Routledge Dodis, A. (1974) A Primer of Visual Literacy: The MIT Press Fauconnier, Giles; Turner, Mark (2003) The Way We Think: Basic Books Hines T & Bruce M (2011), Fashion Marketing: Contemporary Issues, Butterworth- Heinemann Lancaster G & Massingham L (2011), Essentials of Marketing Management, Routledge McKim, R. (1980) Thinking Visually: Strategy Manual for Problem Solving: Lifetime Learning Pine J , Gilmore JH (2011) The Experience Economy, Updated Edition. Harvard Business School Press Shaw, Colin, Qaalfa Dibeehi, Steven Walden (2010) Customer Experience: Future Trends and Insights. Palgrave Macmillan Schmitt, Bernd H (1999) Experiential Marketing: How to Get Customers to Sense, Feel, Think, Act, and Relate to your Company and Brands. New York: Free Press Wheeler, Alina (2006) Designing Brand Identity: Wiley Ferrell, O.C. and Hartline, Michael (2005). Marketing Strategy. Thomson South- Western Hewson M and Vinken B (2004) Fashion Zeitgeist: Trends and Cycles in the Fashion System Berg publishers Solomon M, Rabolt N (2008) Consumer Behaviour: in Fashion. Prentice Hall Blackwell Publishing Van Dijk M. (2009) Luxury Fashion Management: Brand and Marketing Management in the everchanging Luxury Fashion Industry. VDM Verlag Fill, C. (2013) Marketing Communications: Brands, Experience and Participation, 6th Edition. Pearson Education Lea-Greenwood G (2012) Fashion Marketing Communications, Wiley Keller K.L et all (2013) Strategic Brand Management, Prentice Hall Dillon, S. (2012) Fundamentals of Fashion Management, AVA Publishing Raymond M. (2010), The Trend Forecasters Handbook. Laurence King Cottrell S (2005). Critical Thinking Skills. Developing Effective Analysis and Argument. Palgrave Macmillan Smith B. (2008) Pro Digital Fashion Photography: A Complete Reference Guide to the Tools and Techniques of Successful Digital Fashion Photography. ILEX 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

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

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

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

SUBMISSION DETAILS & CHECKLIST

08.0 HOW WILL YOU SUBMIT:

The following outcomes must be printed and presented professionally contained within a black archival box: 1 A4 or A3 Prat Pampa portfolio 1+ Brand Audit 1+ Research portfolio 1+ Creative Strategy Creative outcomes (i.e. advertorial campaign, editorial, brand lookbook, brand website, Packaging etc. 1 USB with all digital outcomes 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 with j.huckbody@shu.ac.uk and the URL links printed on a business card and presented within the box. BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

01.18 @ 3pm HPO HELP DESK

The deadline for this assignment is 08/01/2018. All assessment evidence for submissionâ&#x20AC;&#x2122; 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.

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

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

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 â&#x20AC;&#x2DC;Assessment criteriaâ&#x20AC;&#x2122; 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 JAMIE HUCKBODY 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.

ASSESSMENT TEAM Your work will be assessment by Jamie Huckbody and Charlene Gallery. SUMMATIVE FEEDBACK OVERVIEW

Feedback will be provided during a one to one tutorial with Jamie Huckbody 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 in the form of work reviews and discussion will

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.

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

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 â&#x20AC;&#x2DC;Extenuating Circumstancesâ&#x20AC;&#x2122; section.

M&C BA (HONS) FASHION MANAGEMENT & COMMUNICATION

ASSESSMENT MATRIX 20

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

PROC B A

( H O N S )

F A S H I O N

M A N A G E M E N T

C O M M U N I C A T I O N

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

01 .

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.

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.

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

CESS INDUCTION WEEK

2017/2018

INDUCTION WEEK

2017/2018

Process + Steps

03.

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

TEACHING SCHEDULE BA FASHION M&C

| LEVEL 5 SEMESTER 1 PLANNER

| ACADEMIC YEAR 2017/18

THE BUSINESS OF FASHION 2 ACADEMIC TUTORIALS NB: P le a s e n o te th a t th is p la n m a y b e s u b je c t to c h a n g e , y o u w ill b e in fo rm e d w e ll in a d v a n c e o f a n y c h a n g e s v ia W H A T S A P P WK

DATE

18.09.17

25.09.17

02.10.17

09.10.17

MONDAY

TUESDAY

16.10.17

23.10.17

THURSDAY MODULE BRIEFING Lecture/Seminar FM&C STUDIO 1 Charlene Gallery & Jamie Huckbody 10am-11.30am Groups A&B

BLENDED WORKSHOP FM&C STUDIO 1 & 2 Violet Mtonga & Paul Luke Groups A & B 10am-5pm

Lecture: The Scope of Marketing Research: The Macro environment - PESTEL analysis. Lecture: Selling the dream: fashion images and advertising. BLENDED WORKSHOP FM&C STUDIO 1 & 2 Violet Mtonga & Paul Luke Groups A & B 10am-5pm

Lecture Series Darren Black FM&C STUDIO 1 & 2 Groups A & B 2-5pm LECTURE/SEMINAR FM&C Studio 1 Charlene Gallery Groups A & B 10am-1pm

Lecture: Emerged Economies and the new Fashion Consumer.

ACADEMIC TUTORIALS FM&C STUDIO 3 EXTERNAL 10am-1pm

LECTURE/SEMINAR FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black Groups A & B 10am-1pm PHOTOGRAPHY MASTERCLASS FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black Groups A & B 2-5pm

BLENDED WORKSHOP FM&C STUDIO 1 & 2 Violet Mtonga & Paul Luke Groups A & B 10am-5pm

LECTURE/SEMINAR FM&C Studio 1 Charlene Gallery Groups A & B 10am-1pm

Brand Reinvention, Luxury and the New Accountability: Sustainability in Fashion Today. Lecture/Seminar: Market Size and Trends (SWOT and ANSOFF matrix)

Writing the Brand Audit

TUTORIALS FM&C STUDIO 1 & 2 Violet Mtonga & Paul Luke Groups A & B 10am-5pm

F R ID A Y

LECTURE/SEMINAR FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black Groups A & B 10am-1pm

SUMMER PROJECT Lecture/Seminar FM&C STUDIO 1 & 2 Charlene Gallery & Jamie Huckbody Groups A & B

Lecture: The Scope of Marketing Research: The Micro Environment - Porters five forces analysis. 13

WEDNESDAY

INDUCTION WEEK

ACADEMIC TUTORIALS FM&C STUDIO 3 EXTERNAL 10am-1pm

Independent Prim ary Research and com petitive analysis in London Details to follow

LECTURE/SEMINAR FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black Groups A & B 10am-1pm PHOTOGRAPHY MASTERCLASS FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black Groups A & B 2-5pm

30.10.17

06.11.17

INDEPENDENT RESEARCH AND DEVELOPMENT - INDEPENDENT RESEARCH AND DEVELOPMENT

READING WEEK – READING WEEK – READING WEEK – READING WEEK - READING WEEK – READING WEEK – READING WEEK – READING WEEK -

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

BA FASHION M&C

| LEVEL 5 SEMESTER 1 PLANNER

| ACADEMIC YEAR 2017/18

THE BUSINESS OF FASHION 2 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

DATE

13.11.17

21.11.17

27.11.17

04.12.17

11.12.17

22 23

18.12.17 25.12.17

01.01.17

M ONDAY

TUESDAY

W EDNESDAY STRATEGIC WRITING WORKSHOP FM&C STUDIO 3 Charlene Gallery Groups A & B 10am-1pm

THURSDAY

FRIDAY PRODUCTION: STYLING & PHOTOGRAPHY FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black & Tom Kaye Groups A & B 10am-5pm

PRODUCTION: PHOTOGRAPHY & CAD FM&C STUDIO 1 & 2 Mark Howe & Charlene Gallery & Paul Luke Groups A & B 10am-5pm

ACADEMIC TUTORIALS FM&C STUDIO 1 Jamie Huckbody 10am-1pm

PRODUCTION: STYLING & PHOTOGRAPHY FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black & Tom Kaye Groups A & B 10am-5pm

PRODUCTION: PHOTOGRAPHY & CAD FM&C STUDIO 1 & 2 Mark Howe & Charlene Gallery & Paul Luke Groups A & B 10am-5pm

GROUP TUTORIALS FM&C Studio 3 Charlene Gallery Groups A & B (SCHEDULED) 10am-1pm

PRODUCTION: STYLING & PHOTOGRAPHY FM&C STUDIO 1 & 2 Jamie Huckbody & Darren Black & Tom Kaye Groups A & B 10am-5pm

PRODUCTION: PHOTOGRAPHY & CAD FM&C STUDIO 1 & 2 Mark Howe & Charlene Gallery & Paul Luke & Violet Mtonga Groups A & B 10am-5pm

ACADEMIC TUTORIALS FM&C STUDIO 1 Jamie Huckbody 10am-1pm

PRODUCTION: EDITING/CAD FM&C STUDIO 1 & 2 Jamie Huckbody & Tom Vardy & Tom Kaye Groups A & B 10am-5pm

ACADEMIC TUTORIALS FM&C STUDIO 3 EXTERNAL 10am-1pm

DIGITAL PRESENTATIONS FM&C STUDIO 1 & 2 Jamie Huckbody & Charlene Gallery & Tom Kaye Groups A & B 10am-5pm

PRODUCTION: PHOTOGRAPHY & CAD FM&C STUDIO 1 & 2 Mark Howe & Charlene Gallery & Paul Luke Groups A & B 10am-5pm

STU DEN T VACATIO N STUDY 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 Jamie Huckbody: j.huckbody@shu.ac.uk or via WhatsApp. It is your esponsibility to catch up on work missed.

BA (HONS) FASHION MANAGEMENT & COMMUNICATION

MODULE LECTURERS MODULE LEADER Jamie Huckbody j.huckbody@shu.ac.uk Level 5 tutor Brand direction Fashion journalism Styling Fashion/Art history Fashion contextual studies

Charlene Gallery c.gallery@shu.ac.uk BA Course Leader Digital fashion Fashion technology Visual communication Film Fashion marketing

Paul Luke p.luke@shu.ac.uk Level 4 tutor Visual branding Visual communication Film Digital fashion

BUSINESS OF FASHION 2 CREATIVE BRAND MANAGAMENT

GUEST LECTURERS

DARREN BLACK VIOLET MTONGA MARK HOWE TOM KAYE

BA (HONS) FASHION MANAGEMENT & COMMUNICATION