CHROMA 2019: Unlocking Postgraduate Potential in Media, Communication & Performance by London College of Fashion

2019 Fashioning Worlds Postgraduate Study in Media, Communication and Performance

MA Fashion Photography MA Fashion Media Production MA Fashion Journalism MA Fashion Curation MA Costume Design for Performance MA Fashion Cultures MA Fashion Media Practice & Criticism Collaborative Unit Digital Anthropology Lab Digital Learning Lab Digital Innovation and Learning at LCF Postgraduate Communities at UAL Research in the School of Media and Communication Contact

Cover: Jiamin Yao MA Fashion Photography

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CHROMA showcases new work from the postgraduate courses in the School of Media & Communication at London College of Fashion, University of Arts London. Our MA courses have a worldwide reputation for producing graduates who are creative, focused, reflective and innovative often pushing the boundaries of their own discipline or working collaboratively across a range of print, screen and experiential media to make their own contribution to the fashion media and communication landscape. CHROMA is an insight into our dynamic courses from the voices of those who have shaped and experienced LCFâ&#x20AC;&#x2122;s postgraduate culture. #FashionWorlds #LCFMA19

Michelle Marshall MA Fashion Photography Recipient of the Better Lives Award 2018

A masters degree is a unique opportunity for personal growth, academic and creative development. It’s where an individual can innovate, interrogate and hone their unique creative practice and academic ability, and develop mastery in a specific field. Our specialist postgraduate courses at London College of Fashion’s School of Media and Communication provide a nurturing, dynamic environment facilitated by leading academics, practitioners and researchers. Pathways from undergraduate to MA and PhD and embedded connections to the fashion industry, and research prepare our students for lifelong learning and engender agility and proactivity in a rapidly changing global, creative and political landscape. Through reflection both in and on practice, students are encouraged to develop their distinctive creative and critical voice and cultivate a range of vital transferable skills. Our MA graduates are fully prepared to contribute to and shape the future of the creative and fashion industries, to undertake PhD study or pursue their personal entrepreneurial or creative ambitions. Through collaboration, engagement, innovation and activism, they create meaningful experiences and creative solutions to critical issues of our times.

Dr Jessica Bugg Dean of School of Media & Communication

M A Fashion Photography

Jasmine de Silva

MA Fashion Photography

Paul Bevan Course Leader

Visual. Conceptual. International. This course situates fashion photography within a range of social, cultural and theoretical models of practice and dissemination. Students develop significant project work based on personal, professional and collaborative initiatives. "The MA Final Project is a culmination but not a conclusion. When you think about researchled practice, a lot of this is associated with art subjects: ideas, concept, research and development are values sometimes confused with art photography but actually what you end up with after going through this process is just better fashion photography. My role is to introduce our students to many things including visual culture and photography, contemporary art, concepts and theories. I assume and expect they will be looking at fashion; that is why they are doing an MA in Fashion Photography but I expose them to things beyond this. We go to exhibitions and look at a wide range of work. Fashion Photography is about dressed bodies in a context – essentially it’s a photography course – the material of the photography is fashion in all its levels of engagement: clothes, dressed bodies and also the material culture around us; objects that connect with us as individuals and humans. Fashion photography is about placing a body in a space, it’s an image construction, I don’t want students to emulate what is fashionable. Looking at other things beyond fashion ensures that they won’t copy. If you only look at fashion photogra-

phy, then you are more likely to try and re-enact what you see. I connect people, and have built a network of great contacts across the world not just with alumni, but with galleries and institutions. We work with the School of Visual Arts in New York and Paris College of Arts who run an MA in Fashion Film & Photography. We do collaborative projects and our students are able to benefit from these international opportunities. You get a different level of commitment here: wider, more lateral and conceptual. Students are developing ideas they will continue to work with. Here we take the conceptual long view. Students should leave with an optimism; a body of work that will become the basis of their next step. They have a potential contribution and knowing that they have a portfolio that legitimises their way in. Photography is a point of access – a sociable device. Our graduates and students should know how to use this responsibly and with something to say.” Photographer, artist and curator Paul Bevan has lead MA Fashion Photography since 2009 which has an international reputation for nurturing innovative fashion image makers.

INTERVIEW Marisol Mendez (Alumna, 2018)

Jiamin Yao

How would you describe your learning experience on the MA? London is a cosmopolitan city and the LCF community is a diverse one ensuring a creative environment within and beyond classes, something that has notably enriched my work. While studying at LCF I benefitted from its eclectic cultural scene and broadened my knowledge of the world by sharing the experience with students and professionals from around the globe. What have you learnt? Before the MA I had dabbled in multiple genres of photography but had yet to find my own voice. Instead of limiting our approach, our course leader Paul Bevan encouraged us to look beyond fashion and photography. Throughout the course I was able to establish connections across disciplines which expanded my understanding of the media, its scope and prospects. By the end of the course, photography had developed from a passion to a fulltime occupation with viable career prospects. And, yes, I was able to imbue my work with its own distinct personality.

“The MA allowed me to strip myself right back and start from scratch. I left the course stronger, more stable and with a better idea of how to work professionally, technically, conceptually; I was more equipped.” Kári Sverriss (Alumae, 2016) Dazed Digital, Vogue Italia, Numero Russia

How will this inform your professional / academic / creative future? By forming relationships, building a solid professional network, and getting to know how things operate in “the real world” I acquired the necessary skills and tools to make a shift from an enthusiastic student to a trained professional. Do you have a favourite memor y from your time at LCF? My favourite memor y is probably our class trip to Paris to attend Paris Photo. The whole journey was a bonding experience, but beyond that, it was the first time I ever caught a glimpse of photography as an established institution. Coming from Bolivia, where creative industries are struggling to be taken more seriously, it was certainly encouraging to discover that a whole city shifts to welcome art.

Eliza Bourner

Michelle Marshall

MA Fashion Photography

â&#x20AC;&#x153;As an image maker, I am keen to question the world around me, aiming to ultimately shape a new visual and social vocabulary, which in turn may pave the way for new social templates. In line with its ethos, The Better Lives Award has validated the potential changing power of the themes that I am exploring as part of my practice within the context of fashion.â&#x20AC;?

Eliza Bourner

“Now I know who I am as a photographer and I know what photographs I want to take; I am being commissioned by the magazines I want to work with.” Kári Sverriss (Alumna, 2016) Dazed Digital, Vogue Italia, Numero Russia

Marisol Mendez (Alumna, 2018)

Alumni MA Fashion Photography

“Instead of limiting our approach, our course leader encouraged us to look beyond fashion and photography.”

Roberto Aguilar Karoliina Barlund Nikolay Biryukov Josh Brandao Nadia Lee Cohen Camilo Echeverri Tania Franco Klein Vlad Andrei Gherman Clara Giaminardi Harun Güler Emmi Hyyppä Eliska Kyselková Nirma Madhoo Luca Piccolo Thurstan Redding Simone Steenberg Kári Sverrison Emitis Soltani Anna Radchenko Beinta á Torkilsheyggi Turkina Faso Alexandra Vacaroiu Amberly Valentine Nicol Vizioli Hung-Chun Wang Kasia Wozniak

Jinmei Shi

"My MA experience was amazing; a chance to challenge myself professionally and meet people from all over the world with whom to exchange experience and grow together. The course taught me how to take responsibility for my own photography projects, present ideas to an audience and test the concept. I changed the way I think; I started to see new things and interpret them differently. Professionally, I became more confident and personally, more open-minded" Kári Sverriss (Alumnus, 2016) Dazed Digital, Vogue Italia, Numero Russia

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Suraj Nongmaithem

MA Fashion Photography

Jasmine De Silva

Exposing Film Makers

A growing alumnus of successful image-makers have emerged from LCFâ&#x20AC;&#x2122;s postgraduate courses. An opportunity to develop a body of original work, courses are networked to offer many opportunities for collaboration and exposure. Fashion film makers have for the last five years presented work at the BAFTA certified Aesthetica Short Film Festival in York where London College of Fashion presents a sell-out, dedicated showcase of cutting- edge fashion film. Overseen and curated by the School of Media and Communication Creative Director, Nilgin Yusuf, LCF fashion filmmakers have also presented work at ICA as par t of the London Short Film Festival (2016), Berlin Fashion Film Festival (2017) and at the Palais de Tokyo in Paris (2018) where LCF collaborated with Vestoj to spotlight LCF filmmakers.

"External opportunities I have been lucky to receive through the MA involved having my first shor t film screened at Aesthetica, opening me up to the world of film festivals. I have also started working as a regular freelancer within Tank magazine as a result of learning about the position through our course." Jasmine De Silva MA Fashion Photography

MA Fashion Film and Digital Production

Vicky Mather Course Leader MA Fashion Film and Digital Production

I was 17 when I got my first job on a feature film as an art department assistant, based at Ealing Studios working for production designer Brian Savegar. I studied a BA in Fine Art at Kingston University, focusing on analogue photography and animation, which I completed in 2004. I freelanced as a photographer for music magazines and experienced various roles in T V and film, from runner to costume assistant, prop construction, art department and stills, before going to the National Film and Television School where I was awarded a scholarship for a two-year MA in Animation Direction. My graduation film Stanley Pickle became one of the most awarded films to come out of the NFTS. I was signed as a director to White Lodge, the fashion film branch of Blink Productions, where I made a fashion film for Lulu Guiness called The World is Your Oyster. During my time as a commercials director, I was chosen as a BAFTA ‘Brit to Watch’ and was included in the Made in Britain series at the BFI for next generation of British female filmmaking talent. MA Fashion Film and Digital Production will be a synergy of fashion and film and has been created to meet the demands of industr y film-making. Fashion brands and houses need film-makers with fashion knowledge, as do production companies who want to work with a wider fashion clientele. It’s a course where students can gain fashion knowledge and develop

visual narratives through the medium of film. It is open to people from all different backgrounds. There is opportunity in the industr y and production companies are producing highly creative fashion content. Fashion film doesn’t always mean commercial for example; brands may be looking for mood pieces that communicate the personality of their brand. In addition, independent fashion designers go through highly creative processes to develop new collections and in collaboration with filmmakers, there are opportunities to bring their stories to life in the most imaginative and exciting ways, anything is possible! We are looking for students who are passionate about film and fashion, who naturally generate ideas. We want to meet people who are interested in developing visual stor ytelling skills in a contemporary digital climate. This course will give our students the opportunity to continue to define, develop and contribute to the genre of Fashion Film. MA Fashion Film & Digital Practice will launch in Sept 2020

M A Fashion M edia Production

Valerie Hsieh

Exploratory. Multi-disciplinary. Collaborative. A bespoke course for multi-media practitioners, MA Fashion Media Production is a cross-disciplinar y course that aims to enliven existing markets with fresh ideas and new concepts across screen, print and experiential media. The desire to question existing fashion systems and relationships; to disrupt that which is expected and to of fer bold alternatives are positively encouraged through play ful interactions and group dynamics. This course has been a nurturing and dynamic space for many fashion film makers, art directors and digital entrepreneurs. “To do this course, it’s not necessar y to know about coding or to be a cinematographer but you must have a creative curiosity about technology in its widest sense. Understanding what’s available, what the best tools are and finding the best people to help you create the work you want is important. MA Fashion Media Production allows individuals to reinterpret the language of media into a contemporary context - be that film, digital platforms or interactive media. Interpretation is key and allows for a diverse output; every graduate produces something different. The final project can be specific and highly personal or it can be more global and outward looking. A Fashion Media Production student should be able to analyse and critique emerging technology by understanding what’s gone before. Students apply from all sorts of backgrounds and adopt a number of approaches. You take a bit from jour-

nalism, photography and film-making and end up with an augmented reality app for example. Understanding production and the role of the producer means that you understand the processes. It’s difficult to have creative ideas without knowing how to allow them to take form. The better you understand the production processes, the better you will be at doing what you want to do – and collaboration is a vital part of media production. The fact that this is a course that has a high number of female students is pertinent in the often male dominated world of media production. Anyone can learn skills online. The course (and my role) is about giving a safe and suppor tive space to think, research and maybe mess up a few times. This is quite a hard thing to do in a job but LCF can provide this: the space and the guidance that you receive here are invaluable.” Andy Lee is a filmmaker and has been a judge and speaker at many international fashion film festivals including Buenos Aires, Madrid, Canada and L A.

MA Fashion Media Production

Andy Lee Course Leader

INTERVIEW Helen Woltering (Alumna, 2015) What is your job title? Ar t Director for Branded Content at Refinery 29 How did your MA help you professionally and creatively? My MA helped me to really evolve creatively. Because you’re pretty much your own boss during the course, it feeds your creativity and you can experiment as much as you want. Experimenting is what helps you find your niche, your passion and it helps you to know what to focus on and therefore master that area. Did it help you to secure your current employment? Definitely. My job is to be an all rounder and that’s what you learn in FMP - juggling multiple projects on various mediums. In my current job I do everything from creative concept, ideation to final production. I consult fashion and beauty brands, I develop creative strategies/concepts/treatments and I art direct all branded content, whether its video, photo or event production. Dealing with tight deadlines and clients can be really stressful. MA FMP prepares you to operate effectively in a fast paced environment and to think outside the box. In MA FMP you are working with complete autonomy, this can sometimes be overwhelming, but this is what helps me to excel in my job today. How would you describe your course and your experience on it? I would describe the course as ‘you can make it what you want it to be’. It really gives you the opportunity to experiment with various mediums and it brings together people with backgrounds and skill sets. Some have a film background, others have been journalists or stylists before, others worked in marketing or graphic design. It’s really diverse and therefore a multifaceted experience.

Despoina Zachariadou

“MA Fashion Media Production helped me to get a full understanding of the industry and to innovate projects that helped me to develop ideas in my future job. Research was the most important part as well as being aware of the tools we have to communicate and learning how to work in a team. Being able to talk to really important people in the industry and get their advice, the friendships that I made and just London as a city; I will always be so grateful on so many levels" Melanié Dagher (Alumna, 2014)

Lixian Yin

What is your job title? Senior Digital Designer at Fitch How did your MA help you professionally and creatively? Before the masters I was a print designer and wasn’t even sure if I wanted to base my career on being one. The MA introduced me to the digital platform and made me realise my love for it, and also the freedom it gave me to explore and experiment during the course really helped my creative talents develop further. How would you describe the course? A master s which introduces you to everything creative within the digital and fashion film sector and lets you explore. Be prepared to experiment and create. What was the most valuable thing you learnt? How important it is to collaborate and keep evolving with this ever growing industry. What are your favourite memories? The friends I made and the projects we did together are my favourite memories.

Alumni MA Fashion Media Production

INTERVIEW Chirag Grover (Alumnus, 2014)

Natalie Grogan CEO & Co-Founder of All Eyes & The Search Style Collective Philipp Humm Art Director, Wednesday Agency Chirag Grover Senior Digital Designer, Fitch Miguel Angel Cellabas Creative Technologist, Holition Nadia Osmani Multimedia Content Producer, Tech North Irene Rodriguez Estée Lauder, Social Media, Milan Daniel Rodriquez Condé Nast Traveller David McGovern Video Producer, Future Laboratory Shreya Jain Vogue India Melanié Dagher Aishti, Group Creative Director Lorenzo Cisi Award-winning film-maker Larissa Nicolato Defilippo Visual Merchandiser, Urban Outfitters Marie-Therese Hildenbrandt Award-winning fashion film-maker

“MA Fashion Production linked me directly to a part of the industry that I genuinely enjoy. Creatively it pushed me to speculate what ‘fashion media’ encompasses. It taught me to stand up and star t again...many times and to let go.” Miguel ángel Ceballos (Alumnus, 2015)

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Qingru Xie

MA Fashion Media Production

M A Fashion Journalism

Esther Newman

MA Fashion Journalism

Andrew Tucker Course Leader

Open-minded. Pragmatic. Fearless. An oppor tunity to understand markets, genres, audiences and the business of publishing, MA Fashion Journalism of fers the chance to produce a mature and focused journalistic project while learning from experienced professionals in their fields. “MA Fashion Journalism has a strong pragmatic business approach. Anyone that signs up needs to be free-thinking and innovative - not caught up by a narrow definition of what’s cool. Today’s industr y needs individuals with great ideas; someone who can show passion, individuality, even eccentricity. Technical skills are important but no good if you don’t have original concepts to back them up. What makes you employable is if you’re interesting; have a point-of-view, be passionate, stand out from the crowd. Some graduating students will initially go on to be employed online but others will go along the line of independent publishing. Elisabeth Krohn, for instance, who edits Sabat, a publication about contemporary witchcraft, has been featured in the New York Times, won a D&AD award and has already published her third issue. Other titles that have come from the course include Dash, a magazine about fashion illustration, and Jdeed, a fashion and lifestyle title published in Lebanon. As the way we consume print changes, magazines that are doing well in the industry now aren’t generalist; it’s the specialist bi-annuals or quarterlies around a specific topic that are seeing real growth – it’s a fascinating

time to enter the industry. That said, having run the course for over 15 years, our alumni have gone on to multiple different career paths working for titles as diverse as The Evening Standard, Vice, Refinery 29, Elle, Farfetch and NET-A-PORTER. Some have gone on to set up their own SMEs in areas such as PR and events, while others work successfully as freelancers in many media sectors. As a fashion journalist today, you could feasibly be a social media editor, a writer, a stylist or a combination of the above. Writing is a crucial part of the mix, but there’s much more to it than that – you need to have an understanding of how the fashion media functions and where you might sit within that. When MA Journalism students leave, they should create a final project that will help them to fulfill their goals. They should feel confident, be able to multi-task, collaborate and be open to many possibilities. It’s great when people find skills that they didn’t know that they had. Seeing students bloom is just brilliant, one of the greatest pleasures of the job. The MA is all about opening minds. Where do you want to go? How can you get there? How can we help you achieve that?” Formerly senior fashion writer at Drapers, author of a number of books on fashion and talent scout for the British Fashion Council, Andrew Tucker is a regular contributor to The Gentlewoman and Fantastic Man. He has also consulted for a number of diverse brands and organizations including McQ, London 2012 Olympics, and interiors specialist Colour Hive.

INTERVIEW Isabelle Thibault (Alumna, 2018) ELLE/LCF competition winner How did you find the experience of working on an issue of ELLE magazine? The experience was a full-throttle immersion into the inner workings of a top magazine publication. In a sense, our LCF team was tasked with creating a magazine-within-a-magazine; a bubble of ideas that had to have a beginning, middle and end, as well as a theme. Working with the ELLE team in establishing how we could all make this happen was incredibly interesting and rewarding, as it’s more than just brain storming, it’s about using industry contacts, sticking to deadlines, and consistently pitching your vision while taking into account a medley of others. Being a part of the June 2017 issue was one of my proudest moments as a young fashion creative.

“The experience was a fullthrottle immersion into the inner workings of a top magazine publication.”

What did you learn from it? My imagination of how a maga zine runs met with the practical operations of it. Although it was a bit like in my imagination (especially when I got to see the styling room complete with the newest season’s looks and accessories), it was also eye-opening to witness the sheer dedication and teamwork it takes to craft an issue. Although having great ideas is a large part of it, it’s also about learning to present them in an enticing and sensible way, and making them applicable to the central message of the issue. Every single detail informs the end product; which means visibility at every step is crucial. Professionally was it a useful and relevant experience? Absolutely. I got to work very closely with the ELLE team, who were all amazing in allowing us to tap into their breadth of experience and talent. They were also honest and direct with us, which made it easier to understand their vision and tailor my contributions as such, while still trying to bring something new to the table. At times, the amount of work seemed daunting, but our collective passion and want for creating an amazing Culture Collective allowed for it to still be fun and inspiring. There’s no opportunity quite like it; especially if you wish to end up working for a publication.

Xiaoxue Jian

MA Fashion Journalism

Esther Newman

â&#x20AC;&#x153;MA Fashion Journalism provided me with invaluable industr y insight from talented tutors and professionals from the fashion industr y. Creating my own publication with its ups and downs was an all-consuming creative journey and was a defining one for me as an individual.â&#x20AC;? Elisabeth Krohn (Alumna, 2016)

Angea Miscana

Alumni MA Fashion Journalism

Xinyi Yan

Electra Kotsani Head of Content, VICE Ravi Kelay Senior Shoot Co-Ordinator, ASOS Naomi Atwood Beauty Editor, ASOS Georgia Murray Writer, Refinery 29 Bojana Kozarevic Junior Fashion Editor, ID Irene Ojo-Felix Editor, Models.com Karen Dacre London Evening Standard Chloe Fosborook Digital Marketing, Accessorize Laura Hawkins farfetch.com Nadia Bean Alexander McQueen PR Petra Stofsberg Wardrobe Icons Bernie Lampe deVolkskrant Iranzu Baker Studio Veronica Ditting

â&#x20AC;&#x153;I learnt the importance of original ideas, working as a team and the effort that goes into every minute detail. It has laid the foundations for what I hope will be a future in this industry.â&#x20AC;? Ella Storey (Alumna, 2018) ELLE/LCF competition winner

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Alma Fabiani

MA Fashion Journalism

MA Fashion C uration

Cyana Madsen

MA Fashion Curation

Jeff Horsley Course Leader

Rigorous. Bespoke. Experimental. Offering a unique opportunity to investigate the ways that contemporar y fashion and historical dress can be curated and displayed in a range of contexts and locations, MA Fashion Curation combines theoretical concepts and debate with the practical skills required to enter this fast paced, growing field. “With an exhibition, there is lots of work that happens that you don’t see. You make hundreds of decisions – each one informed by experience, practice and intuition. Students come here to be guided by leading professionals in the field. We act as a fulcrum between the student and their existing practice; MA Fashion Curation opens up the breadth of the discipline and works with students to see how their practice might have potential within this. There isn’t an undergraduate degree in Fashion Curation so our students come from a wide range of academic backgrounds from history to journalism to menswear. They come to LCF because they see themselves moving forward through curation but they don’t always come with an established curatorial practice. Fashion Curation can mean many things. It can mean doing research into collections or cataloguing an archive. Exhibition making isn’t the main activity; there are lots of others. It’s about consolidating what’s been done before, redirecting and reflecting on it then moving it on. We get lots of people who have been

working 5 or 10 years with a good range of life experience – and lots of mature students. There is potential to be involved in the Centre for Fashion Curation projects. In the past MA Fashion Curation students have helped with the installation of Judith Clark’s exhibition, The Vulgar at The Barbican and key members such as Claire Wilcox of the V& A deliver seminars and tutorials. Amy de la Haye, Judith Clark and myself are all active practitioners and our practice feeds directly into our teaching making it a ver y relevant learning experience. MA Fashion Curation has an excellent international reputation which is why we attract students from all around the world.” An exhibition maker with over thirty years experience, Jeff Horsley comes from a theatre background and completed his PhD at LCF in 2012 which explored innovative approaches to the presentation of fashion in museums.

“One of the best things about how the course is arranged is that Professors Judith Clarke and Amy De la Haye have such different approaches to fashion. That was one of the things that gave me the confidence to be the type of curator that I wanted to be, rather than fitting a mould.” Tor y Turk (Alumna, 2009)

“It’s such a detailed, practical course on one hand, but so theory based on the other and gives you all the tools to find all this information, to seek it out and apply it. So, you’ve got this real grounding.” Shonagh Marshall (Alumna, 2010)

Eva Broekema

Alumni MA Fashion Curation

Tory Turk Curator and Pop culture specialist whose current exhibition Super Sharp at the Fashion Space Galler y, LCF celebrates the 1990s UK Jungle and Garage scenes. Jacob Moss Curator, Fan Museum Sophie Parr Exhibition co-ordinator, V& A Hayley Dujardin Established archive for Guy Laroche

Annabel Hoyng van der Meijden Shonagh Marshall Former fashion curator at Somerset House, co-curated/curated: Isabella Blow: fashion galore!; Valentino: master of couture; Hair by Sam McKnight. She has also archived for Alexander McQueen and Christian Louboutin. Helen Ritchie Research Assistant, Applied Ar ts, Fitzwilliam Museum, Cambridge Dawn Jung Manager of the Simone Handbag Museum, Seoul, South Korea Circe Henestrosa Curated Appearances Can Be Deceiving: The Dresses of Frida Kahlo, Frida Kahlo Museum, Mexico City Xenia Capacete Caballero and Fiona McKay Created The White Line Project and have collaborated with the National Gallery, and worked on a street style exhibition in China.

â&#x20AC;&#x2DC;Exhibiting Fashion: Before & After 1971â&#x20AC;&#x2122; by MA Fashion course tutors Judith Clark, Amy de la Haye and Jeffrey Horsley ( Yale University Press)

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M A C ostume D esign for Performance

Radvile Kisieliute

MA Costume Design for Performance

Agnes Treplin Course Leader

Body. Movement. Narrative. The MA Costume Design for Per formance at London College of Fashion aims to develop confident and experimental practitioners who will push the boundaries of the subject of costume beyond its established traditional role. The course encourages students to locate their practice within the wider realms of contemporary culture and art, as well as within the relevant dramatic, social and political contexts. The MA Costume Design at LCF has been pioneering the approach to costume design whereby the costume itself not merely aids the performance but generates it. “MA Costume Design for Performance is a course that aims to change attitudes about what costume can be. The costume shouldn’t play a subservient role to the concept itself. It’s not an object on a stand but an interactive piece that moves with the body, be this in a performance or through film. Ultimately, Costume Design for Performance is about engaging the audience on many levels. An audience should have their imaginations stimulated which can lead them to think about bigger issues such as sustainability, politics or feminism for example. We have an intimate relationship with what we wear – we intuitively understand messages from clothing. If this can be harnessed to a message, maybe political, psychological or cultural – it can be a really exciting combination.

Fashion is what we wear ever yday; costume is specifically made to tell the stor y of a character for a production. It’s about the person who is wearing it; what we can convey about that person and who they are. It doesn’t need to be concerned with trends and marketing in the way that fashion does. It is not always an easy thing to communicate but when it works, people will remember it. Engaging with new technologies to push the discipline for ward is key; there are now so many platforms available to costume makers through which to present their work. Collaboration is also vitally important on a course like this. Here in London and at UAL, there is a great deal of potential to develop many exciting oppor tunities. MA Costume Design for Per formance students have often collaborated with LCC & CSM students to create very exciting work. Here, rather than being simply par t of a production, students are encouraged to also think of themselves as artists in their own right.” A practitioner in both theatre, fashion and set design, Agnes Treplin is the Course Leader of the internationally regarded MA Costume Design for Performance.

â&#x20AC;&#x153;We were taught to always keep pushing the boundaries and to never settle for the first idea. And that if you follow your vision and passion, it will help you to end up where you are meant to be.â&#x20AC;? Kathleen Nellis (Alumna, 2017)

Mady Berr y

Daheng Liu

MA Costume Design for Performance

“I learnt about myself as a creative practitioner; my strengths and weaknesses, concepts and themes I wish to explore further and how powerful collaboration can be in the creative industries.” Welber Leão (Alumnus, 2018)

Nashwa Matouk

â&#x20AC;&#x153;The course is a limitless hub for creativity and allows the freedom to give those with ideas a platform to be released. Expert sessions throughout with theatre directors and filmmakers helps you to understand how costume works in both sectors.â&#x20AC;? Kathleen Nellis (Alumna, 2017)

â&#x20AC;&#x153;I now see myself as a multidisciplinary artist working across the mediums of costume, textiles and performance art. I am also keen to investigate the possibility of furthering my research in these fields through a PhD at LCF.â&#x20AC;?

Alumni MA Costume Design for Performance

Gabriel Lotaif

Lara Jensen Costume designer and milliner has worked with Karl Lagerfeld, Jessie J, Peaches and Lady Gaga and built a reputation for creating bespoke pieces for advertising, art, catwalk and the stage. Daphne Karstens Exhibited her MA work at the Mingyuan C o nte mp o r a r y A r t s Mu s e u m in Shanghai and the National Centre of Performing Arts, Beijing in 2017 as part of the Evolving Design for Performance Exhibition. Daphne Karstans and Clare McGarrigle Won medals at the World Stage Design Exhibition in Taipei, Taiwan, 2017

Emma Lyth Alexander Ruth Winner of the Linbury Prize, Professor of Research into Fashion & Performance at Keimyung University in South Korea Guilia Pecorari Experimental costume designer and maker for performance and films now runs BA Costume for Performance. Kate Lane Ar tist and scenographer was the winner of the MA Centenar y Award for Costume. She is founding member of the performance collective, Brave New Worlds. Her work has been shown nationally and internationally. Oliver Cronk Costume designer won the Shakespeares Tribes competition by the V& A in 2014 and now a costume deisgner for films. Utpala Barve Award-winning milliner and costume designer.

Louise Byford

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Isobel Pellow

MA Costume Design for Performance

M A Fashion Cultures

MA Fashion Cultures

Dr Rosie Findlay Course Leader

Theoretical. Conceptual. Rigorous. MA Fashion Cultures encourages students to view fashion as material object, representation and practice both historically, theoretically and culturally in a range of contemporar y contexts. Using cross-disciplinar y approaches to the investigation of fashion in relation to a range of independently negotiated topics, many career researchers, PhD students, archivists and fashion scholars have started their journey here. Fashion Cultures is a theory based course where research, critical thinking skills and academic writing is foregrounded. We question what’s going on industry and interrogate scholarship on cultures of fashion and dress. We approach our areas of interest from multiple directions, which is fitting as our students come from a range of backgrounds from around the world. We have many guest speakers from academia and industry join us on the course and conduct visits to museums and archives; we look at everything from philosophy to exhibitions to films to personal photographs. So, the cultural industries, industry and academia all constitute a core presence within the course, which makes it a varied learning experience. Fashion is an industr y that invigorates human culture and touches so many areas of human life: everyday, artistic and cultural. So, it’s a rich field to engage with, and indeed the diversity if cultures of fashion, style and dress calls for scholarship that engages closely with its political, social, cultural and ethical implications. We encourage the cultivation of criticality, which is as important 40

for our students as to have an interest in fashion and dress While this is a course with a defined framework, every unit allows students to tailor their studies to their interests and cultivate a body of work around a core area of enquiry. Every student is assigned two supervisors to support the writing of their dissertation which gives a great balance. MA Fashion Cultures develops key research skills, analytical thinking and a close awareness of a relevant fashion context that students hope to become part of. We are looking for students who are curious about all aspects of fashion, style and dress, and who enjoy engaging with and generating ideas. We work closely with students to develop their skills of academic communication and to make theory compelling through their long-form writing. There is a great diversity of career paths from public-facing broadcast and publishing, working in archives, or persuing doctoral study. We’re equipping people for a path in rigorous scholarship as well as research in industry. It’s a very dynamic course. Dr Rosie Findlay completed her PhD in the Department of Theatre & Performance Studies at the University of Sydney. Her work has appeared in journals such as About Performance, Cultural Studies Review and Fashion Theory, and Personal Style Blog: Appearances that Fascinate was published in 201. Her current research engages with postfeminist branding on Instagram.

INTERVIEW Tara Tierney (Alumna, 2015) What is your current job title? Digital Curator for the YOOX NET-A-PORTER Runway Show Collection ( this is a catwalk archive spanning the years 19792010 and contains over 5500 hours worth of footage). How would you describe MA Fashion History & Culture as a course and learning experience? The MA in History and Culture of Fashion was an ever-evolving and truly engaging learning experience. It completely changed my approach to education and how I viewed the world of dress and fashion. The course covered a variety of subject areas from fashion history to the production, consumption and media representation of clothing. However, the highlight for me was the teaching of theoretical concepts and analysis that underpinned the complete content of the course. An interdisciplinar y approach introduced important concepts from sociology, philosophy and cultural studies, which were then discussed in terms of their relevance within fashion analysis and thinking. This allowed students to apply complicated theoretical concepts to fashion and dress discussions and create a deeper understanding of the representation of fashion in the world. Additionally, the course aided in developing and strengthening communication, written and research skills. All students were expected to present their ideas for final course unit assessments, and additionally, were encouraged to put forward proposals for academic conferences to present and discuss research findings. How do you feel that it helped you develop academically/professionally/creatively? Academically, in the respect of gaining knowledge of completely new subject areas and honing my research skills, and more importantly, how to extract the information acquired through researching and apply it in a critical and analytical way. Professionally, the course enabled me to analyse facts and figures in a more insightful manner rather than taking a formulaic,

linear approach. Furthermore, I was able to use and apply academic written skills when drafting impor tant documentation and policies. Creatively, the course presented new and interesting ways of unpacking the meaning of fashion and dress objects, which reflected the histor y and culture of the world around us. I had become very use to assessing fashion on a purely, one-dimensional aesthetic. The teaching on the course challenged me to step back, apply original thought and really question what was being represented through fashion and clothing in our society. Did you change through doing the course? If so, how? Yes, I feel I changed and developed throughout the course in many ways. One of the main areas of transformation was my approach to managing different and separate areas of my life. I had been working in quite a high-pressured environment for a long time and even though I continued to work, whilst studying, I was able to create a more balanced, confident approach to getting work and study completed. Additionally, and probably most importantly, returning to studying reawakened my curiosity for learning and built up my confidence when communicating complex ideas and findings. What was the most valuable thing about doing the course? The most valuable part of the course for me was starting at the beginning with a very vague dissertation proposal, and then building on this with support, guidance and development from my tutor to produce a final dissertation project. After completing my dissertation, I was invited to present at a number of conferences and I also managed to get parts of my dissertation published, which was very satisfying and worth all the hard work and effort.

MA Fashion Cultures

MA Fashion Cultures students developing primar y research skills working with objects and archives at Bath Museum.

â&#x20AC;&#x153;MA Fashion Cultures has broadened my horizons, imbued me with a rigorous academic practice, a professional and ethical approach to research, and my writing style has benefited too. Whilst applying for a PhD - something I had never considered before this course, I am also now pursuing a freelance career as a writer and trend consultant.â&#x20AC;? Susan Muncey

â&#x20AC;&#x153;The MA gave me an academic context for the commercial work I was doing. As a fashion historian, the MA was invaluable to my learning and practice.â&#x20AC;? Amber Jane Butchart (Alumna)

Amber Jane Butchar t is a historian and author working across cultural heritage, broadcast and academia. Her books include: Nautical Chic (2015) The Fashion of Film (2016) Fashion Illustration in Britain: Society & The Seasons (2017)

Alumni MA Fashion Cultures

Timothy Long Curator of Fashion & Decorative Arts at the Museum of London Amber Jane Butchar t Amber Jane Butchar t is a historian and author working across cultural heritage, broadcast and academia. Her books include: Nautical Chic (2015) The Fashion of Film (2016) Fashion Illustration in Britain: Society & The Seasons (2017) Tara Tierney Tara Tierney works full-time as a digital curator for Net a Por ter. Her essay Appropriation, articulation and authentication in Acid House: The evolution of women’s fashion throughout the early years (1987 – 1988) of the Acid House Culture, based on her dissertation, was published in Fashion, Style & Popular Culture, 2017 L aura Jones Laura Jones whose research into Jewish tailoring lead to her working as a researcher for Moses, Mods and Mr Fish: The Menswear Revolution at The Jewish Museum, 2016

Many graduates from this course have extended their research to PhD.

Lena Stampoulou Lena Stampoulou was awarded Special Prize for her animated film, The Nimble Fingers of Fashion at the Athens Film Festival, 2016, the first time this had been awarded to a student made film Bethan Bide Bethan Bide progressed onto an AHRC CDA funded PhD in 2017 exploring post-war austerity London through the fashion consumption, making practices and clothes of the city’s inhabitants. She is now a lecturer in Fashion Visual Cultures at Middlesex University

Click here to apply > 44

M A Fashion M edia Practice & Criticism

Clara Finnigan and Aylin Delmen

MA Fashion Media Practice & Criticism

Dr Daniel Felstead Course Leader

Inventive. Hybridity. Criticality. On the MA Fashion Media Practice & Criticism, students engage with a combination of theoretical and practical ideas that foster rigour and innovation in their response to fashion communication and the creative industries. Students are introduced to a variety of fashion communication tools such as writing, image-making and moving image as well as editorial and curatorial practices from a critical perspective before specialising in their chosen fashion communication discipline. From this they will create a major portfolio project and develop specialist knowledge in their chosen field. The key thing about the course is criticality; it means asking lots of questions from and about fashion. As part of this, practice and theory totally support each other. This course is for students interested in fashionâ&#x20AC;&#x2122;s broader aspects: political, socio-economic, cultural and theoretical. There is a focus on critical engagement with technology and the mode of criticality is also embedded in practice. We are moving to a society where everyone is more engaged with important issues such as sustainability. What is the aesthetic here if it is not based on the display of material objects? Criticality is reflected in the making of the project not just the reflection of what already exists and students are encourage to develop inventive methods to realise their ideas. Alongside the text based written dynamic to the course, the critical aspect is equally focused in the production of digital platforms, sources and experiences that relate to social engagement. Forms of media such as podcasts alongside design fictions or

examples of speculative design and design strategies are also vehicles for critical thinking and doing. Some of the areas that MA students have been exploring include sharing economies in fashion as a response to the decline of community institutions such as the pub and high street; gender in relation to technology and the digital voice which extends into the use of Artificial Intelligence and sex education in Malaysian culture.. Our students leave as critical practitioners not just people that reiterate what is already out there but those who can look at fashion from a theoretical, practical and design based perspective. To capture these ideas requires a vocabulary and practice which is rich and nuanced. These graduates bring a cultural perspective to fashion and take progressive media communication in the creative industries by addressing issues such as diversity, sustainability and diversification. These students are inventing the future. Dr Daniel Felstead completed his BA in Visual Communication at Ravensbourne specialising in Interactive Design. He trained and worked as an experiential designer for 20 years for The Tate, V& A, Science Museum, British Museum, Serpentine Galllery, Google & Apple specialising in installations and exhibitions. He completed his PhD in 2016 at the Royal Collegeâ&#x20AC;&#x2122;s School of Speech and Drama in which he researched participatory art in relation to socio-political conditions.

"The course completely changed my perception of how I see the world around me. From a creative point of view, I think I have found my voice. I know what subjects and aesthetics I'm attracted to; I am aware that they define me and make me stand out as a practitioner." Veronica Blagoeva (Alumna, 2017)

Anastasia Baker

Alumni MA Fashion Media Practice & Criticism

Jasmine Bee Boni-Ball (Alumna, 2018)

Anastasia Baker Jasmine Bee Boni-Ball Ella Copping-Howard Ner ys D'esclercs Amara Glenister Carolina Marques De Paiva Cassaro Ella Neish Muhaddisa Walji

Ruby Bell

Click here to apply > 48

Collaborative Unit

MA per formance and media students work with the East Wall Dance Company, 2018

The oppor tunity to collaborate and co-create with like-minded creatives and fashion contemporaries is available to ever y MA student through the Collaborative Unit, a core component of ever y course. A chance to innovate and engage with the collaborative process through live industr y projects or student-lead iniatives, this fifteen week unit facilitates networking, negotiation and working collectively to a brief; all vital skills for the creative and cultural industries. “The Collaborative Unit is like a microcosm of the creative industries. All the par tcipants learn something from each other and make their own unique contribution. They are able to work with colleagues they might not usually meet and share information from their own specialisms and disciplines. Because three LCF schools: Media and Communication; Design and Technology and the Fashion Business School, are engaged in this at the same time, it’s a chance for individuals to share perspectives, exchange knowledge and work in an inter-disciplinar y way. We’ve had some amazing industr y par tners including Diesel, Google, Net –a-Por ter and many others. They will often return and numbers grow ever y year. Sometimes the Collaborative Unit can lead to internships, freelance opportunities and even full-time employment once students complete their MAs. The Collaborative Unit is organised legally so if industry wish to purchase any of the 50

Collaborative Unit

Tiff Radmore Collaborative Unit Leader

intellectual property or ideas that students have evolved, then that is possible. From industries point of view; they can gain an entirely fresh perspective on their product or brand. The postgraduate community at LCF is a very international pool of creative problem-solvers, so is able to offer perspectives from across the world on issues we all face – such as sustainability. The Collaborative Unit is a central element of ever y MA Course at LCF; it unlocks an air of challenge and experimentation that gives our postgraduate students a chance to do whatever they want. It is student-led and the projects can’t happen without a lot of motivation from team members. I love helping to make it happen and seeing how excited our students become about what they can produce together. When you sing together and skillsets are pooled, you get a sense of mutual support and purpose and are able to achieve great results, as our MA students have showed again and again”. Tiff Radmore is the Collaborative Unit Coordinator at London College of Fashion. With 20 years’ experience working in the creative industries and education, Radmore has a proven ability for working directly with makers and project stakeholders at Vital Arts, Hidden Art and Crafts Council. Alongside her post at LCF, she works on a freelance basis for the Design Museum, and has devised creative educational projects for Barbican, Design Council and Wellcome Trust.

"It was an opportunity to work collaboratively that lead to my job that I love." Chirag Grover (Alumnus, 2014)

MA per formance and media students work with the East Wall Dance Company to develop a choreographed performance celebrating Londonâ&#x20AC;&#x2122;s historical heritage, 2018

Collaborative Unit

Campaign developed by MA students to change perceptions of the Barnardo’s brand to a younger demographic.

MA Students go to Valencia, Spain to present a new proposal for the Balenciaga Museum.

Collaborative Unit Industry Partners Aesthetica Holition Kering Coach Diesel Fendi Victoria and Albert Museum Bloomsbur y Publishing Google Cultural Institute with LCF Fashion Archives LVMH – Celine Making for Change Net-a-Porter Group Balenciaga Museum Barnardo Balenciaga Museum in Getaria, Spain Barnardo’s East London Dance Mix Magazine Moon & I GRUBB

Digital Anthropology Lab

It is important that UAL has a space where technology can be experimented with as another material. As director of the Digital Anthropology Lab (DALab), which launched in 2015, I work with a team of researchers and technical experts to direct the vision and positioning of the Digital Anthropology Lab as well as working with external partners and organisations to create new opportunities around areas where technology, craft and human experience meet. Drawing on a craft background and as a digital entrepreneur, I believe that it is vital to bring together the implicit knowledge of how we make physical things, with the way in which we experience and describe the digital to generate new forms of knowledge, artefacts, and immersive opportunities across geographies and sectors. At the Digital Anthropology Lab, we are interested in what digital has to do with the fashion landscape. We research the materiality and experience of making in the digital realm and question how to make digital outputs more relevant, seamless, and ultimately more human. We actively engage with new audiences across industry and academia, often blending technologies with concepts and student outputs to create new and challenging responses to what it means to consider fashion in a digital environment. We are lucky to work on multiple collaborative projects with LCF students and industry. Working with many 'digital natives,’ supports future concept generation to push and motivate industry collaborators and support academic developments for the DALab. In the past, we’ve worked with IOTIC Labs on the Internet of Things which was a very successful project. We are not about producing a polished commercial output, rather, DALab suppor ts collaborators to experiment with the stage before; we aim to test and try things. The DALab aims to maintain a fluidity of approach using, 'digital 54

Digital Anthropology Lab

Lynne Murray Director of Digital Anthropology Lab

sketch-making’ to generate new innovations, markets and applications. We create experiences and experiments where we learn from the process of collaboration, and co-creation around technology. We exploit opportunities around trial and error, and recognise that it is possible to fail when technology is our material. We are at the beginning of imagining the range of outcomes that this space affords, and that is an amazing opportunity when placed in such a creative environment. The Digital Anthropology Lab is a live, agile and evolving space. The MA Collaborative Unit allows us to work with up to 12 student fellows per year. We co-create and are currently working on our project titled, Programmable (Fashion) Matter. We’ve worked with project titles including: 'If my Clothes Could Talk, What Would They Say?’ and 'No Hands.’ We’ve worked with physical computing technologies and code-based problems, from retail to environmental, which are potentially speculative but could be built into more concrete ideas. The Collaborative Unit allows our research team to set imaginative propositions for student projects which can in turn inform research outputs. With our student projects, we specifically operate with requirements for technical outcomes to function and be well documented through creative concept films. At the DALab, it’s not about project results or simply looking good; projects have to be technically possible, imaginative and provide a little glimpse to the future. A pioneering creative entrepreneur with a distinct portfolio and expertise in building new applications for emerging technologies across retail, luxury, design and technology sectors. Lynne is a recognised thought leader across public and private sector roles specialising in areas of emerging technologies, AR, fashion, jewellery and digital anthropology futures.

Digital Learning Lab

LCF x Microsoft project at BA18

The Digital Learning Lab (DLL) at London College of Fashion’s Mare Street is an adaptive, experimental, free and open space for digital practice and discover y. Here we are able to develop pedagogic delivery and host new, exciting technologies and new ways of collaborating and learning. It's easily accessible - it's not a room full of the tech locked away in cabinets or simply a room full of computers. We have hardware that includes Microsoft Surface Studios – which are interactive screens and high end work stations, HTC Vive Pro VR headsets, a mixed reality HoloLens and lots of curious wonders from internet-of-things wearable technology to holographic mobile displays. The DLL space has been host to projects to exciting technology based events and workshops such as The Creative Dance Project and Microsoft Future of Fashion Incubator. We also have sign-up workshops exploring 3D Print, Virtual Reality, Mixed Reality and Augmented Reality (all the realities!), 3D capture, wearable tech and app creation. Technology changes constantly. Much of our hardware is comparable to what you might find in the gaming industry or in the studio of a digital visual artist. Students in this space might also have the opportunity to work with industry guests – recently we have guests ranging from a start-up company developing Haptic Gloves, another company working with holographic displays, performance artists and 56

Digital Learning Lab

Peter Hill Technical Manager Digital Learning Lab

designers such as Bart Hess. We now have Digital Learning Lab West at the Lime Grove campus which has two VR Rigs, 3D software, projection mapping, motion capture and high end workstations. The focus of this new space is our media, communication and performance students. We have seen a rapid growth of interest in Ar tificial Intelligence with students across a number of courses working on this. Masters students are able to engage with researchers in the Digital Learning Lab alongside our PhD students. The MA students who spend time in the Digital Spaces will exit their courses with a high degree of digital awareness and skills. They will be able to develop lines of enquiry and critical thinking around technology and articulate relevant project briefs, pathways, prototypes and unique outcomes. Fashion tech is at the heart of everything that goes into the Digital Learning Labs. It’s a chance for students to engage with technology in a way that is relevant to their course or discipline. Students don’t need prior knowledge and we work with them to develop their skills and understanding. Peter Hill is the Technology Manager at LCF for 3D and Material Science, his expertise is in £D software, 3D capture and additive printing. As well as managing the digital spaces, and helping to shape LCF's digital strategy he rides a large black annoyingly loud Harley Davidson and runs a small company making video games.

Digital Innovation and Learning at LCF

In the School of Media and Communication, LCFâ&#x20AC;&#x2122;s technical team support the analogue and digital processes around the Fashion Media disciplines from styling and image capture to post production and publication, from traditional practices to experimental new media technique. Postgraduate students are offered a range of options to access technical support including workshops, supported studio time, online learning resources and direct 1-2-1 technical consultation.

Digital Innovation and Learning at LCF

“While the MA gave us the theory, the workshops gave us the practical skills we needed. Here, you can try anything and learn skills to make new work.” Alï Bailon (Alumna, 2016) Set Designer

Clockwise from left Franky Lehmeier Specialist Technician Hair & Make-up for Performance Maximilian Glatzhofer Support Technician Media Stephanie Hargreaves Support Technician Media Anastasia Graham Specialist Technician Photography 58

Postgraduate Communities at UAL

UAL PG Community Event - Pop Up Common Room: Grayson Perr y Studio

Doing an MA or a PhD represents a massive commitment both financially and personally for any individual. UAL is made up of six leading art schools and colleges. I say to all the new PG students I meet, don’t just experience your own course – create your own learning experience parallel to it. While you are here, plot your own postgraduate route by taking advantage of the incredible things happening at UAL: talks, events, opportunities – there is so much on offer across the university; the contacts you can make here are invaluable. Once you are part of the UAL Postgraduate Community Programme, you are part of it for life. You can become involved in fantastic, extra-curricular activities that will allow you to meet individuals from other colleges and different disciplines. Even after you leave, you will still have access to these links and live events. Through our channels, you can let people know what you are doing. Our blog, a very lively international community, is now 90% produced by current postgrad students and alumni. This is also a place where you can meet new creative people and find collaborators for projects. The postgrad students at UAL are the ultimate creative dream team. When they work together, they can change the world. blogs.arts.ac.uk /pgcommunity

Postgraduate Communities at UAL

Rachael Daniels UAL Postgraduate Community Manager

Pop Up Common Room: Stanley Kubrick Archive at LCC

â&#x20AC;&#x153;The Collaborative Unit is unique to our offer; something that gives the qualities and possibilities of enterprise and employability in the world beyond a postgraduate taught experience." Tiff Radmore

Postgraduate Communities at UAL

Ar t for the Environment Residency Programme - Naomi Bailey Cooper, Amazon Rain Forest, Brazil

Film Maker Isaac Julien took four postgrads to the Venice Biennale

Research in the School of Media and Communication

Kami Anderson Joint funded PhD student, LCF and V&A

LCF hosts world leading UAL Research Centres: Centre for Fashion Curation and Centre for Sustainable Fashion; the Digital Anthropology Lab and numerous research hubs. Research spans practice and theor y in design, performance, curation, artefact, psychology, cosmetic science, social science, sustainable and material practices, creative business and management, digital production and communication; film, media and cultural studies. As one of six constituent colleges of University of the Arts London, LCF contributed to the last Research Excellence Framework (REF 2014), where UALâ&#x20AC;&#x2122;s research was assessed as being 83% World Leading and international, is first in the Power ranking for Art and Design: History, Practice and Theory. LCF research feeds directly into the University of the Arts London Research Strategy.

Nick Waplington Alexander McQueen Exhibition

Research

All MA students become par t of the vibrant and multi-faceted research community at LCF with opportunities to attend lectures, participate in research hubs and engage with research centres. Research at LCF thrives within the Collegeâ&#x20AC;&#x2122;s unique specialist and transdisciplinar y environment and is suppor ted and resourced by dedicated research facilities such as the cosmetic science and digital laboratories, Fashion Space Galler y and world-class librar y and archive.

All Through Progression; MA to PhD

Current PhD Research Titles

The specialist research environment at London College of Fashion, UAL, provides a wide-ranging opportunity for research students to attend, participate in and initiate conferences, seminars and cross college activities. General activities include: research themed away days which facilitate student presentations and workshops and an annual LCF event at which all research staff and students are invited to present their work in progress.

Ioanna Karagiorgou Masculinities and male blogging: creation and representation of masculinities through male fashion and lifestyle blogs. Supervisors: Shaun Cole, Anna MariAlmari, Ian King.

The University-designated Centre for Sustainable Fashion and the Centre for Fashion Curation, in addition to established and emerging College Research Hubs, regularly provide opportunities to develop and share interests and ideas. Many are also open to staff and research students across the University to encourage cross and transdisciplinary links. Hub events currently take place weekly. LCF is co-founder of the Global Disability Innovation Hub with Stratford East partners, UCL, Loughborough London, Sadler’s Wells and the V& A. The Research Student Hub is a dedicated hub led and organised by research degree students with a schedule of social events including seminars, conferences and an evolving publication. ‘In conversation at LCF’ is a series of open events for research students and their supervisors which aims to explore new and emerging research themes and methodologies. Conferences and symposiums: international conferences, participatory workshops and seminars, which take place at LCF, led by researchers, are mostly free or with special rates to encourage students to attend and participate. Recent examples include: LCF Archive presents Sartorial Stories: In conversation with Henry Holland Launch of the Masculinities Hub with Grayson Perry Better Lives lecture NATURE: Sustainability and fashion a human library Current PhD student Naomi Bailey-Cooper discusses snakeskin and sustainability

Lisa Colpaer t Screen-to-measure: Designing Patterns from Film Costumes a practice-based and historical study of Edith Head’s costume designs in the 1940s noir thrillers (AHRC Techne Scholarship; Supervisors: Donatella Barbieri, Pamela Church Gibson. Kelly Dearsley A comparative study of print and digital fashion media: reading practices and reception. Supervisors: Agnes Rocamora, Ian King. Anna Camilla Gregersdotter Flodin New Ways of Seeing Fashion: Moving-Stills. Supervisors: Agnes Rocomora, Prof. Helen Thomas. Ellie Flodin Groupie representation and the groupie experience in British rock culture, 1965- 1975. Supervisors: Pamela Church Gibson, Neil Kirkham, Shaun Cole. Paul Baven Photography per formed: what are the possibilities when photography becomes an act of its own investigation and does this embody the void between image and event. Supervisors: Lucy Or ta, Dr Wiebke Leiste, Ian King. Jennifer Hay ton How do the archive materials and costume objects in the Central Saint Mar tins Museum and Study Collection: Theatre Archives and Stage Costume: Special Collection influence current costume practices? Supervisors: Donatella Barbieri, Anna Buruma. Lorraine Henr y Good Guys in Black; Costume & Ethnicity in Hollywood Films. Super visors: Pamela Church-Gibson, Agnes Treplin. Nichola- Jane Hodgkinson Nostalgia and the Now: Does anachronism in film costume have validity as par t of the dialogue between Film Costume and Fashion? Has it earned its place in the Curation of Fashion Histor y? Supervisors: Pamela Church Gibson, Ligaya Salazar. Maya Amrani Exploring and creating social media-inspired por traiture in print and textiles, amalgamating selfie images, text and moving-image. Super visors: DOS Charlotte Hodes, James Putnam, Claire Bunyan. Claudette Bonnick Inclusive Teaching: Exploring multisensor y methodology for integrating students with visual impairment at mainstream fashion university. Super visors: DOS Sandy Black, Jessica Bugg. Sonia-Doris Andras The Women of Little Paris: Fashion as a Mirror to Society in Bucharest (1919-1939). Supervisors: Djurdja Bar tlett, Elizabeth Wilson.

Liza Betts (Alumna, 2018)

Katherine Rees Partnership PhD Student

Research

“The research that I’m undertaking now was ‘my thing’ during my time in industry, before studying and what I’m still interested in 30 odd years later, reading and writing about it. You have to have a real passion for your subject to continue to immerse yourself in it. A PhD will support my long term goals and help continue to make the discussions around class visible”

School of Media & Communication Research Community

The School of Media & Communication benefits from a large body of leading and active researchers from Professors to Readers and Creative Fellows involved in scholarly activity and the creation of new knowledge across all spheres of media, communication and performance. Their research is a great source of enrichment for teaching, learning, our culture and the broader community.

The making of a Museum ( Yale University Press). Recently published with Yale University Press is Exhibiting Fashion: Before and After 1971, co-authored with Amy de la Haye. In 2018 Clark became an Associate in Historic Carving at City and Guilds Art School of London, where she is carrying out practice based research.

Amy teaches across BA, MA and PhD and Objects of a Passion is her most used lecture title.

Professors

Judith Clark Judith Clark is a co-founder of the Centre for Fashion Curation (CfFC) at LCF. Recent exhibitions include The Concise Dictionar y of Dress with Adam Phillips at Blythe House, London; Diana Vreeland after Diana Vreeland at Palazzo Fortuny, Venice, and Chloe. Attitudes at the Palais de Tokyo, Paris. In July 2012, she opened South Korea’s first Handbag museum documented in Handbags:

Amy de la Haye Amy de la Haye is a co-founder of the Centre for Fashion Curation (CfFC) at LCF as well as a dress historian, curator and Rootstein Hopkins Chair of Dress Histor y & Curatorship at London College of Fashion. Major exhibitions include Streetstyle: From Sidewalk to Catwalk ( V& A 1994), The Cutting Edge: 50 Years of British Fashion ( V& A, 1997) The Land Girls: Cinderellas of the Soil (Brighton Museum) and Coco Chanel: A New Por trait by Marion Pike. Paris 19671971 (LCF 2013 and Polazzo Morando, Milan, 2013-2104). Widely published,

Dr. Agnès Rocamora Dr. Agnès Rocamora Reader in Social and Cultural Studies at London College of Fashion, UAL is the author of Fashioning the City: Paris, Fashion and the Media. Her writing on fashion and fashion media has appeared in Fashion Theory, Journalism Practice, Sociology, Sociétés, and the Journal of Consumer Culture. Co-editor of Thinking Through Fashion: A Guide to Key Theorists; The Handbook of Fashion Studies, and Fashion Media: Past and Present, She is also a co-founder and co-editor of the International Journal of Fashion Studies and is currently developing her work on digital fashion media.

Dr. Reina Lewis Dr. Reina Lewis is an ar t historian and professor of cultural studies at London College of Fashion, UAL . Widely published, her titles include: G e n d e r i n g O r i e n t a l i s m (19 9 6 ) R e t h i n k i n g O r i e n t a l i s m (20 0 4), M u s l i m Fa s h i o n: C o nte m p o r a r y St yle Cultures (2015) Her current research explores t wo interconnected areas: feminist postcolonial studies; and lesbian, gay, and queer studies (concerned mainly with the role of dress in the formulation of sexed and gendered identities) The Modest Dressing project extended

Readers

Djurdja Bartlett Djurdja Bartlett is Reader in Histories and Cultures of Fashion at London College of Fashion, UAL. She has widely published and lectured on the theme of fashion during socialism and post-socialism. Bar tlett is author of Fashion East: The Spectre that Haunted Socialism (Cambridge, Mass.: MIT Press, 2010) European Fashion Geographies: Style, Society and Politics (Bloomsbury Academic, 2016) and editor of the volume on East Europe, Russia and the Caucasus in the Berg Encyclopedia of World Dress and Fashion (2010). Bar tlett is Coordinator of the Transnational Fashion Hub at London College of Fashion, UAL.

Claire Wilcox Claire Wilcox was Senior Curator of Fashion at the V& A since 2004 where she had overall responsibili-

ty for collections, programming and research, before taking up a two-year secondment to LCF. She has curated many exhibitions at the V& A including Radical Fashion (2001), Vivienne Westwood (2004), The Golden Age of Couture: Paris and London 1947-1957 (2007) and From Club to Catwalk: London Fashion in the 1980s (2013). She instigated Fashion in Motion (live catwalk events in the Museum) in 1999. She has published widely, most recently The V& A Galler y of Fashion to accompany the refurbishment and redisplay of the Museumâ&#x20AC;&#x2122;s permanent fashion display.

Pamela Church Gibson Pamela Church Gibson is Reader in Cultural and Historical Studies at London College of Fashion, UAL. She has published extensively on film, fashion, fandom, history and heritage; recent books include Fashion Cultures Revisited: Theories, Explorations, Analysis (with Stella Bruzzi, Routledge, 2013) and Fashion and Celebrity Culture (Bloomsbury, 2012). Principal Editor of the journal Film, Fashion & Consumption, which she founded in 2012, she is now editing a new series for Edinburgh University Press and is researching screen spies of the 1960s and their impact on images of masculinity past and present.

Research

Charlotte Hodes Charlotte Hodes is a painter, whose practice includes ceramics, glass, papercuts and installation. She was awarded first prize in the Jerwood Drawing Prize 2006. Solo exhibitions include Fragmented Images, The Wallace Collection (London, 2007) and Drawing Skirts (2008), University of Northumbria. Her work has featured in Glasstress Venice Biennale (2009 & 2013); MillesgĂĽrden (Stockholm, Sweden 2011) Inscription: Thinking/ Drawing/Making (Jer wood Space Galler y 2010) and the International Design Biennial Design Museum (London, 2003). Her work is also held in many public collections including British Council, Victoria and Albert Museum, Brighton Museum and Art Gallery.

this work and looked at how women from Christian and Jewish as well as Muslim faith backgrounds are developing new trends in modest fashion. A prolific author, Reina has also acted as consultant curator on the exhibition Contemporar y Muslim Fashions at the San Francisco Fine Ar ts Museums and convenes the public talk series Faith & Fashion at London College of Fashion, UAL.

Fellows

Donatella Barbieri Scholar and scenographer Donatella Barbieri publishes extensively, lectures publically, presents work in international exhibitions, curates events and devises per formances around costume. She has pioneered methodologies of designs which have, through MA graduates, extended their influence internationally. In 2010 she was awarded the Joint Research Fellowship V& A and LCF where she founded Studies in Costume and Performance biannual research journal published by Intellect. Recent practice includes Wearing Space at Prague Quadrennial (2015) and Shakespeare in Ten Acts at the British Library also included in World Stage Design 2017, at Kuandu Museum of Fine Arts Taipei.

Alison Moloney Alison Moloney is a researcher within the Centre for Fashion Curation at London College of Fashion, UAL. She curates an international programme of exhibitions around the discipline of fashion and dress and exhibitions are developed in collaboration with international museums and galleries, educational institutes, independent designers and London College of Fashion alumni, staff and students. These have included Foot Notes (2018) an exhibition of LCF’s eclectic and historic shoe collection and Cabinet

Stories in collaboraton with Jessamine Tierney, an exhibition of local narratives that toured non-museum spaces including prisons and hospitals. Before joining LCF, Alison worked as the Fashion and Textiles Advisor for the British Council’s Architecture, Design and Fashion department.

James Putnam Jame s Putnam is an indepe ndent curator and writer and Senior Research Fellow. He founded and was curator of the British Museum’s Contemporar y A r ts and Cultures Programme d from 1999 to 20 0 3 and former curator of the British Museum’s Depar tment of Ancient Egypt. He has organised a number of critically acclaimed exhibitions for major museums juxtaposing the work of contemporar y ar tists with their collections and curated projects for international ar t biennials. His book Ar t and Ar tifact – The Museum as Medium, published by Thames & Hudson (2010) sur veys the interaction between contemporar y ar tists and the museum.

Ligaya Salazar Ligaya Salazar is the Director of the Fashion Space Gallery. Her work as a curator and commissioner focuses on contemporary design, fashion and graphics. Curator of Contemporar y Programmes at the V& A from 20052013 here she curated the contem-

porar y exhibitions Memor y Palace in 2013, Yohji Yamamoto in 2011 and Fashion V Sport in 2008 for which she also edited the accompanying publications. She devised the V& A Friday Late programme from 2008 –2010 and a series of fashion-related V& A Friday Late events at Wanderlust in Paris in 2012. She writes regularly on contemporary design and fashion and is Contributing Editor to Varoom magazine.

Dr Hannah Zeilig In 2014 Zeilig was principal investigator on an AHRC funded project Mark Making a national review of the role and value of the arts for people living with a dementia. This involved wide engagement with PWD, staff and ar tists running par ticipative arts groups. Zeilig has subsequently been invited to contribute to the Prime Minister’s Champion Group on dementia and become a fellow of the RSA. Throughout 2014 Zeilig has been pursuing her interest in the cultural representation of age and ageing with the Cosmetic Science department at LCF. This has resulted in the project Fine Lines in collaboration with Caroline Searing that investigates the language of cosmetic advertising pre and post the introduction of Botox and the role of make up for older women.

Creative Fellows

Post Docs

Kathryn Ferguson Ferguson works as a filmmaker, curator and lecturer. She has made films for fashion designers, brands and musicians including Chloé, Selfridges, Sinead O’Connor, Lady Gaga, Richard Nicoll, SHOWstudio, Charlie Le Mindu and Domino Records. These films have been featured on MTV, Nowness, Dazed Digital, the BBC and in Vogue. Her film work has been selected for festivals, screenings and group shows around the world including OneDotZero, Aesthetica Film Festival, the 59th Berlinale, the V&A, the Pompidou Centre, ASVOFF, and Birds Eye View Film Festival at the BFI. In October 2012, she curated an extensive fashion film exhibition called Dressing the Screen, which opened at the UCCA in Beijing. Kathryn is currently working on her first feature film.

Whitney McVeigh McVeigh’s work explores the psychological and physical aspects that underlie and define us as humans. She has travelled extensively to carry out her practice and has held residencies in Mexico, India and China and more recently at the Nirox Foundation in South Africa. She has exhibited and lectured internationally including a solo show at London’s A Foundation and presentation of her work at Louise Bourgeois' Salon in New York.

Jeffrey Horsley Jeffrey Horsley Course Leader of MA Fashion Curation, London College of Fashion. He studied his MA in fashion at Manchester Metropolitan University which led to a PhD, completed in 2012, at London College of Fashion, which examined experimental strategies for the presentation of fashion in museums, focusing on work at ModeMuseum, Antwerp. Formerly, Jeff worked as a curator at Manchester Art Gallery where he curated and commissioned exhibitions focused on contemporary art and design including work by Derek Jarman, Peter Saville, Central Station Design and Trojan. Recent exhibitions include Present Imperfect: Disorderly Apparel Reconfigured, Gluck: Art & Identity and Conscious Contemporary Craft and a site-specific installation for The State of Fashion: Searching for the New Luxury in De Melkfabriek.

Anna-Mari Almila Anna-Mari Almila holds BA and MA degrees in Art and Design, with the

major subject of Clothing, from University of Lapland (Finland), and PhD in Sociology from University of Aberdeen. She also has completed minor subject studies in Social Psychology at University of Helsinki. She worked as a research assistant for the Healing Wool interdisciplinary research project (University of Lapland), which focused on designing and testing woolen garments in the treatment of hospitalised patients experiencing chronic pain, as well as in luxury fashion design at K AZU Shop and Atelier in Zurich, Switzerland. At LCF, Anna-Mari teaches social theory to postgraduate media and communication students.

Research

Solo exhibitions include Language of Memory at Summerhall Arts in Edinburgh (2015-16), Inventory: Invisible Companion at Kettle’s Yard, Cambridge (2015) and Contours, Hazard Galler y, Johannesburg (2016) and many more group exhibitions.

PhD Research Hub

Research Hubs at LCF

The LCF Research Student Monthly Hub is a forum for postgraduate students. Welcoming both practice and theor y-based researchers, the hub provides a space for exchanging ideas, sharing concerns and fostering a sense of community amongst postgraduate fashion researchers across UAL. The Hub suppor ts events that are held approximately twice per term and are open to all UAL postgraduates and LCF research academics.

Fashion Media and Imagery Hub Masculinities Hub Cultural and Historical Studies Hub Creative Management, Branding and Enterprise Hub Forum for Fashion Design and Visual Art Practice Design for Performance Hub Transnational Fashion Research Hub Wellbeing Hub Global Disability Innovation Hub

In 2017 LCF PhD Students hosted two research seminars with invited speakers and attendees spanning across UAL and the general public: PhD Research Hub: A Conversation About Interactions: Body, Performance & Materiality LCF PhD Students presented a trans-disciplinary research hub event that discussed new perspectives and research methodologies on the body in dress, dance and design.

“The Fashion Sector provides a unique lens for the relevant high-level emergent research, locally and internationally which informs the core of our role.” Dr Jane Harris PhD Associate Dean of Research Professor of Digital Design and Innovation

PhD Research Hub: The Way We Words This event mapped a playful exploration to trace the student’s varying journeys through the research process and the metaphors that may be encountered along the way. There is a wealth of research seminars and talks held at LCF which PhD students are always encouraged to attend. One example is Sartorial Stories; a new series of events inspired by the LCF Archive, in which Susanna Cordner (Senior Research Fellow), interviews leading figures from the fashion industry and invites them to bring in one item from their wardrobe or from their work. In the discussion they demonstrate how much an object can represent, and the different ways in which people think about and ‘read’ their clothes, depending on their exper tise. The first three in the series have featured The Gentlewoman’s Penny Martin, designer Henry Holland and writer Pandora Sykes.

Hussein Chalayan Performing Dress Lab

RNUAL is an extensive training programme in research methods and skills, and is a key feature of studying for a research degree at the University. A cross-college initiative, it brings together research degree students in a series of seminars and training sessions that enables students to present their work at different stages of development while helping to develop research skills. Delivered by a range of researchers and experts from both within and outside the University, RNUAL is not a taught course and is offered as a flexible training programme. Students negotiate their own use of it in relation to their field of study and training needs in addition to the three compulsory units which have to be completed in the first year.

Research

RNUAL (Research Network University of the Arts London)

Research Centres at LCF Centre for Sustainable Fashion Director Professor Dilys Williams sustainable-fashion.com Centre for Fashion Curation Co-Directors Professor Amy de la Haye and Professor Judith Clark fashion-curation.com Digital Anthropology Lab Director Lynne Murray digital-anthropology.com

Further Information For further information applying for research study or research degree please see the following links: Information on research degrees Information on how to apply Research study preparation course Research events and open evenings

University of the Arts London is a leader on the international stage for creative arts education and research. As the largest specialist arts institution in Europe, UALâ&#x20AC;&#x2122;s history and lineage in the creative industries is unparalleled. London College of Fashion, UAL students benefit from the dialogues created at the intersection of disciplines and colleges within the University. The London location of the UAL colleges exposes our students to valuable links in the creative and fashion industries and an inspirational, diverse city with a rich cultural capital and heritage.

London College of Fashion, UAL provides a unique environment for fashion in the broadest sense. Our staff and students employ fashion and the clothed body as a means of telling stories, as a vehicle for social change and to inform new industry understandings and applications. Our ecology embraces the full supply chain from production to consumption and we are thought leaders in the field in academia, practice and research.

Postgraduate courses in the School of Media and Communication

Course Course length Site MA Fashion Photography 15 months Lime Grove / John Princes St MA Fashion Media Production 15 months Lime Grove / John Princes St MA Fashion Journalism 15 months High Holborn MA Fashion Curation 15 months High Holborn / John Princes St MA Costume Design for Performance 15 months Lime Grove MA Fashion Cultures 15 months JPS MA Fashion Media Practice & Criticism 4 years Lime Grove

For fur ther information about these courses please visit: ar ts.ac.uk /fashion/courses/postgraduate Follow us on social media: Facebook Twitter Instagram Youtube

19 â&#x20AC;&#x201C; 21 March 2019 Old Spitalfields Market Join London College of Fashion, UAL in collaboration with Old Spitalfields Market for Fashion Means Business 19, an unmissable, interactive and highly informative experience. Explore the world of fashion through interactive workshops, talks and digital demonstrations. This three-day event will allow you to look at this demanding and ever-changing industry through the eyes of LCFâ&#x20AC;&#x2122;s Fashion Business School. Find out more at bit.ly/FashionMeansBusiness

Editor Nilgin Yusuf Design Studio LP Project Co-ordinator Daniela Amolini Portrait Photography Claudia Brookes School of Media & Communication Dean; Dr Jessica Bugg