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2018 Guide

Unlock ing Postgraduate Pote ntial in M e dia, Communic ation & Pe r for ma nce


Contents

MA Fashion Photography MA Fashion Media Production MA Fashion Journalism MA Fashion Curation MA Costume Design for Per formance MA Fashion Cultures MA Fashion Media Practice & Criticism Collaborative Unit Technical Workshops Research Centres and PHDs Postgrad Communities Contact

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CHROM A is a n online public ation that showc ase s the postgraduate cour se s in the School of Me dia & Communic ation at London Colle ge of Fashion, pa r t of the Unive r sit y of A r ts London. O ur M A cour se s have a wor ldwide re putation for producing graduate s who are cre ati ve, focuse d, ref le ctive a nd innovati ve of te n pushing at the boundar ie s of the ir ow n discipline or wor k ing collaborative ly acros s a ra nge of pr int, scre e n a nd ex pe r ie ntial me dia to ma ke the ir ow n contr ibution to the fashion la ndsc a pe. A masters course offers individuals the unique opportunity to carve out a personal and relevant area of research or focus of study with depth and rigour. This will often be a defining point of development and can offer a key point of self-discovery, transformation and progression. This pedagogic alchemy happens in the thriving and international community of London College of Fashion and is overseen by a team of passionate and committed course leaders alongside technicians, librarians, archivists, a careers and enterprise team and a world leading research department. CHROMA was originally produced as part of the MA18 School of Media & Communication Graduation Exhibition at the Bargehouse, Southbank and is presented as both a showcase for new work and an insight into our MA courses through the voices of those who make and have lived it. LCF’s postgraduate community is a powerhouse of fresh talent, leading and influencing the fashion and creative industries on a global scale. Creative. Collaborative. Connected. #LCFMA18

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Jim Wong MA Fashion Photography


"A maste rs is a key stage in the ac ade mic and cre ative developme nt of an individual. As well as cultivating many impor tant transfe rable sk ills, it's a chance to ref le ct on and inte r rogate a ve r y spe cif ic are a with re al de pth; to be come a spe cialist, an ex pe r t, a maste r in that f ield. T his has re al value be c ause it mar ks a distinction bet we e n the broade r approach of BA programme s and of fe rs e mploye rs a unique pe rspe ctive and insight into your tale nts and abilitie s."

Calum Mackenzie Dean of the School of Media & Communication

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MA Fashion Photography

Ra m S her gill 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

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emulate what is fashionable. Looking at other things beyond fashion ensures that they won’t copy. If you only look at fashion photography, 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.


Kári Sverriss MA Fashion Photography Alumni, 2016

“ T he M A allowe d me to str ip myse lf r ight back a nd sta r t f rom scratch. I lef t the cour se stronge r, more stable a nd with a bet te r ide a of how to wor k profe s sionally, te chnic ally, conce ptually; I was more e quippe d.”

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 full-time occupation with viable career prospects. And, yes, I was able to imbue my work with its own distinct personality.

Ram Shergill MA Fashion Photography

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 memory from your time at LCF? My favourite memory 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.


MA Fashion Photography

Marisol Mendez MA Fashion Photography

“Inste ad of limiting our approach, our course le ade r e ncouraged us to look beyond fashion and photography.�

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Gaby Deimeke MA Fashion Photography

“From conne cting with othe r stude nts to net wor k ing with industr y profe s sionals at eve nts, I have gaine d a stronge r net wor k of cre ative s to inte ract with and build f rom.”

Junjie Fan MA Fashion Photography Alumni

Kári Sverriss MA Fashion Photography Alumni, 2016

“Now I k now who I am as a photographe r a nd I k now what photogra phs I wa nt to take; I am be ing commis sione d by the maga zine s I wa nt to wor k with.”


Alumni MA Fashion Photography

Rober to Aguilar Karoliina Barlund Nikolay Bir yukov Josh Brandao Nadia Lee Cohen Camilo Echeverri Tania Franco Klein Vlad Andrei Gherman Clara Giaminardi Harun Güler Emmi Hy yppä Eliska Kyselková Nirma Madhoo Luca Piccolo Thurstan Redding Simone Steenberg Kári Sverrison

"My M A ex pe r ie nc e was a ma zing; a cha nc e to challe nge myse lf profe s sionall y a nd me et p e ople f rom all ove r the wor ld with w hom to excha ng e ex p e r ie nc e a nd grow togethe r. T he cour se taught me how to ta ke re sponsibilit y for my ow n photogra phy   proje cts, pre se nt ide as to a n audie nc e a nd te st the conc e pt. I cha nge d the way I think; I sta r te d to se e new things a nd inte r pret the m dif fe re ntl y. Profe s sionall y, I b e c a me more conf ide nt a nd p e r sonall y, more ope n-minde d"

Kári Sverriss MA Fashion Photography Alumni, 2016 (Da zed Digital, Vogue Italia, Numero Russia)

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Emitis Soltani Anna Radchenko Beinta á Torkilsheyggi Turkina Faso Alexandra Vacaroiu Amberly Valentine Nicol Vizioli Hung-Chun Wang Kasia Wozniak

Click here to apply >


Ram Shergill MA Fashion Photography


MA Fashion Photography

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Nirma Madoo MA Fashion Photography Alumni, 2015 Still from 'Future Body'

E xposing Film Makers A growing alumni of distinctive image makers have emerged from LCF’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 four years have 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 part of the London Short Film Festival (2016) and the Berlin Fashion Film Festival (2017) Students have also presented work at the Berlin Fashion Film Festival and Bokeh in South Africa.


"It has b e e n tr ul y ins pirationa l to have LCF as pa r t of the BA F TA-re c o gnise d Ae sthetic a Shor t Film Fe sti va l Showc ase Pro gra mme. Fas hion Film has b e e n a wond e r f ul addition to the fe sti va l a nd not onl y have we at tracte d new audie nc e s through it bu t we've had the cha nc e to introduc e ex isting audie nc e s to this fascinating a nd di ve r se ge nre."

Cherie Federico Director Aesthetica Maga zine & Aesthetica Shor t Film Festival

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MA Fashion Media Production

Sa r a h Ha r dca stle MA Fashion Media Production


Andy Lee Course Leader

Explorator y. Multi-disciplinar y.  Collaborative  A bespoke course for multi-media practitioners, MA Fashion Media Production is a crossdisciplinary 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 offer bold alternatives are positively encouraged through playful 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 necessary 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. 

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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 journalism, 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 supportive 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 LA. 


“M A Fashion M e dia Production showe d me that the fashion me dia industr y is a ve r s atile spac e a nd the most inte re sting things come f rom its pe r iphe r y... My v iew of fashion f ilm totally cha nge d whe n I was ex pose d to the pione e r ing wor k be ing cre ate d.”

David Mcgovern MA Fashion Media Production Alumni, 2014

Helen Woltering MA Fashion Media Production Alumni, 2015

What is your job title? Art Director for Branded Content at Refinery 21 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. 


MA Fashion Media Production

Shida Cao MA Fashion Media Production

Liyuan Shu MA Fashion Media Production

“M A Fas hion M e dia Production he lp e d me to g et a f ull und e r sta nding of the industr y a nd to innovate proje cts that he lp e d me to d eve lop id e as in my f u ture job. Re se a rc h was the most impor ta nt pa r t as we ll as b e ing awa re of the to ols we have to c ommunic ate a nd le a r ning how to wor k in a te a m. B e ing a ble to ta lk to re a ll y impor ta nt p e ople in the industr y a nd g et the ir ad v ic e, the f r ie nds hips that I mad e a nd just London as a cit y; I w ill a lways b e so gratef ul on so ma ny leve ls"

MelaniĂŠ Dagher MA Fashion Media Production Alumni, 2014

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Chirag Grover MA Fashion Media Production Alumni, 2104

“Be prepared to explore, experiment and create.” What is your job title? Lead Digital and Branding Designer at Holition 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 masters 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.

Sarah Hardcastle MA Fashion Media Production


Alumni MA Fashion Media Production

Natalie Grogan CEO & Co-Founder of All Eyes & The Search St yle Collective

Philipp Humm Ar t Director, DJA

Chirag Grover Lead Digital and Branding Designer, Holition

Miguel Angel Cellabas Creative Technologist, Holition

Nadia Osmani Multimedia Content Producer, Tech Nor th

Irene Rodriguez Estée Lauder, Social Media, Milan

Daniel Rodriquez Condé Nast Traveller

David McGovern Video Producer, Future Laborator y

Shreya Jain Vogue India

Melanié Dagher Aishti, Group Creative Director

Lorenzo Cisi Award-winning film-maker

Larissa Nicolato Defilippo Visual Merchandiser, Urban Out fit ters Miguel Ángel Ceballos MA Fashion Media Production Alumni, 2015

“M A Fashion Production linke d me dire ctly to a par t of the industr y that I ge nuine l y e njoy. Cre ative ly it pushe d me to spe culate what ‘ fashion me dia’ e ncompas se s. It taught me to sta nd up a nd sta r t again...ma ny time s a nd to let go.” 18

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Marie-Therese Hildenbrandt Award-winning fashion film-maker

Click here to apply >


MA Fashion Journalism

S ha nnon Cha n MA Fashion Journalism


Andrew Tucker Course Leader

Open-minded. Pragmatic. Fearless. An opportunity to understand markets, genres, audiences and the business of publishing, MA Fashion Journalism offers 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 industry 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 pointof-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

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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 multitask, 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.


Isabelle Thibault MA Fashion Journalism ELLE /LCF competition winner

“ T he ex pe r ie nce was a f ullthrot tle imme rsion into the inne r wor k ings of a top maga zine public ation.”

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-withina-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.    What did you learn from it? My imagination of how a magazine 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.  

“M A Fashion Jour nalism prov ide d me with invaluable industr y insight f rom tale nte d tu tor s a nd profe s sionals f rom the fashion industr y. Cre ating my own public ation with its ups a nd downs was a n all- consuming cre ati ve jour ney a nd was a def ining one for me as a n indi v idual.”

Elisabeth Krohn MA Fashion Journalism Alumni


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MA Fashion Journalism

Joanna Mason MA Fashion Journalism


“I le ar nt the impor ta nc e of or iginal ide as, wor k ing as a te a m a nd the ef for t that goe s into eve r y minu te detail. It has laid the foundations for w hat I hope will be a f uture in this industr y.�

Ella Storey MA Fashion Journalism ELLE /LCF competition winner

Morgane Ny fler MA Fashion Journalism ELLE /LCF competition winner


Alumni MA Fashion Journalism

Electra Kotsani Head of Content, VICE

Ravi Kelay Senior Shoot Co-Ordinator, ASOS

Naomi Atwood Beaut y Editor, ASOS

Georgia Murray Writer, Refiner y 29

Bojana Kozarevic Junior Fashion Editor, ID

Irene Ojo-Felix Editor, Models.com

Karen Dacre Eleonora Garofalo MA Fashion Journalism

London Evening Standard

Chloe Fosborook Digital Marketing, Accessorize

Laura Hawkins far fetch.com

Nadia Bean Alexander McQueen PR

“I have le a r nt so much a bou t life, myse lf a nd the industr y. T he re a re so ma ny eve nts orga nise d by LCF a nd UA L; LCF is a gre at way to build cre ati ve net wor ks a nd strong conne ctions. M A Jour nalis m is a ll a bou t ex plor ing a nd improv ing your se lf. You just get throw n in at the de e p e nd w hic h was te r r if y ing at f ir st bu t ultimate l y gre at. Now I’m re a ll y c onf ide nt a bou t orga nising photo shoots, talk ing to photogra phe r s a nd ma ke -up a r tists, re se a rching a nd inte r v iew ing. Now I fe e l like I could wor k a ny w he re; I a m conf id e nt e nough to gi ve a ny w he re a tr y.”

Henriet ta Seregi MA Fashion Journalism Alumni, 2018

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Petra Stofsberg Wardrobe Icons

Bernie Lampe deVolkskrant

Iranzu Baker Studio Veronica Dit ting

Click here to apply >


MA Fashion Curation Sus a nna h S hubin MA Fashion Curation


Jeff Horsley Course Leader

Rigorous. Bespoke. Experimental. Offering a unique opportunity to investigate the ways that contemporary 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.

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. 

“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 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 very relevant learning experience. MA Fashion Curation has an excellent international reputation which is why we attract students from all around the world.” 

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

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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.


Shonagh Mar shall MA Fashion Curation Alumni

Gill MacGregor MA Fashion Curation

“It’s such a detaile d, practic al cour se on one ha nd, but so the or y base d on the othe r a nd give s you all the tools to f ind all this infor mation, to se e k it ou t a nd a ppl y it. So, you’ve got this re al grounding.”


MA Fashion Curation

“I re ally love social histor ie s and I love the way that gar me nts c an tell a stor y of a life lived.�

Mat teo Augello PhD Student

Susannah Shubin MA Fashion Curation

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‘E xhibiting Fashion: Before & Af ter 1971’ by MA Fashion course tutors Judith Clark, A my de la Haye and Jef frey Horsley ( Yale Universit y Pre ss)

“One of the best things about how the course is arranged is that Judith and Amy have such dif ferent 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 MA Fashion Curation Alumni


Alumni MA Fashion Curation

Tor y Turk Curator and Pop culture specialist whose current exhibition Super Sharp at the Fashion Space Gallery, LCF celebrates the 1990s UK Jungle and Garage scenes.

Jacob Moss Curator, Fan Museum, Greenwich, London

Sophie Parr Exhibition co-ordinator, V&A

Hayley Dujardin Established archive for Guy Laroche

Shonagh Marshall Former fashion curator at Somerset House, cocurated/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 Arts, 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.

Click here to apply > 30

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MA Costume Design for Performance

Kelly Mur r ay MA Costume De sign for Per formance


Agnes Treplin Course Leader

Body. Movement. Narrative. The MA Costume Design for Performance 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.

message, maybe political, psychological or cultural – it can be a really exciting combination. Fashion is what we wear everyday; costume is specifically made to tell the story 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 forward is key; there are now so many platforms available to costume makers through which to present their work.

“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

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 opportunities. MA Costume Design for Performance students have often collaborated with LCC & CSM students to create very exciting work. Here, rather than being simply part of a production, students are encouraged to also think of themselves as artists in their own right.”

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A practitioner in both theatre, fashion and set design, Agnes Treplin is the Course Leader of the internationally regarded MA Costume Design for Performance.


Kathleen Nellis MA Costume Design for Per formance Alumni, 2017

Andie Scot t MA Costume Design for Per formance

“ T he cour se is a limitle s s hub for cre ativ it y a nd allows the f re e dom to gi ve those with ide as a plat for m to be re le ase d. E x pe r t se s sions throughout with the atre dire ctor s a nd f ilmmake r s he lps you to unde r sta nd how costume wor ks in both se ctor s.�


Kelly Murray MA Costume Design for Per formance

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MA Costume Design for Per formance

“ We we re taught to always ke e p pushing the bounda r ie s a nd to neve r set tle for the f ir st ide a. A nd that if you follow your v ision a nd pas sion, it will he lp you to e nd up w he re you are me a nt to be.”


Ziyuan Wang MA Costume Design for Per formance

“I now se e myse lf as a multidisciplina r y a r tist wor k ing acros s the me diums of costume, tex tile s a nd pe r for ma nce ar t. I a m also ke e n to inve stigate the pos sibilit y of f ur the r ing my re se arch in the se f ie lds through a PhD at LCF.� Emma Ly th MA Costume Design for Per formance


Alumni MA Costume Design for Per formance

“I le ar nt about myse lf as a cre ati ve practitione r; my stre ngths a nd we a k ne s se s, conce pts a nd the me s I wish to ex plore f ur the r a nd how powe r f ul colla boration c a n be in the cre ative industr ie s.�

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 Contemporary Arts Museum in Shanghai and the National Centre of Performing Arts, Beijing in 2017 as part of the Evolving Design for PerformanceExhibition.

Daphne Karstans and Clare McGarrigle Won medals at the World Stage Design Exhibition in Taipei, Taiwan, 2017

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 Artist and scenographer was the winner of the MA Centenary 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 Bar ve Award-winning milliner and costume designer.

Welber Leao MA Costume Design for Per formance

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Click here to apply >


Wen Shi MA Costume Design for Per formance


MA Costume Design for Per formance

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MA Fashion Cultures A nushka Tay MA Fashion Culture s


Johannes Reponen Course Leader

Theoretical. Conceptual. Rigorous MA Fashion Cultures encourages students to view fashion as material object, representation and practice both historically, theoretically and in contemporary contexts. Using multi- and interdisciplinary approaches to the investigation of fashion in relation to a range of independently negotiated topics, many career researchers, PhD students and fashion scholars have started their journey here.

thinking, research abilities, conceptual and creative skills. Education and the creative industries (including fashion) need those who can make sense of the world around us, be this historical or contemporary. We have a recently launched publishing platform that allows students to publish work, margueritedeponty.com. Bloomsbury Publishing approached our students to write paid pieces for the Berg Fashion Archive.

“People often ask, what is the career route from a purely theoretical course? MA Fashion Cultures is not just for academics, scholars and writers. Sometimes we have practitioners who want to increase their historical, cultural or theoretical understanding of a subject and we help those individuals contextualise their practice. Individuals come to this course from any field but all MA Fashion Cultures students are fascinated by some aspect of fashion and wish to understand and discuss this from an academic perspective. 

Fashion Cultures has two pathways: History & Culture which I lead on and Fashion & Film lead by Pamela Church-Gibson. This year, we’ve seen a wide range of interests emerge from the reputation of fur in the fashion media to the changing modes of funereal shrouds; the aesthetics of the films of Wes Anderson to the representations and meanings of ‘millennial pink’. Since its onset, the course has produced some of the leading scholars in the field of Fashion Studies. Students should leave this course with robust research skills that can be applied to a range of other fields such as teaching, curation or research linked activities.”  

It’s a course with a defined framework but every unit is open and allows students to direct their studies and cultivate their own body of knowledge around a subject. There are lots of jobs that support thinking and scholarship. By doing a postgraduate degree, your chances of employment are increased. It’s a course that requires rigorous

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Johannes Reponen is Editor of ‘Address – journal of fashion criticism’ alongside writing for a number of international fashion publications engaging with fashion scholarship as an academic, researcher and educator.


Tara Tierney MA Fashion Cultures Alumni, 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 1979-2010 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 interdisciplinary 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 important documentation and policies. Creatively, the course presented new and interesting ways of unpacking the meaning of fashion and dress objects, which reflected the history 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 Culture s students developing primar y re search sk ills work ing with objects and archive s at Bath Museum.

“ T he M A programme af f ir med my cre ative powe r and reve aled to me the scope of my inte lle ctual abilitie s.�

Helene Marie Thian MA Fashion Cultures Alumni, 2012

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M a ny graduate s f rom this cour se have ex te nde d the ir re se a rch to PhD.

“T he MA gave me an academic contex t for the commercial work I was doing. As a fashion historian, the MA was invaluable to my learning and practice.� Amber Butchar t MA Fashion Cultures

A mber Jane Butchar t is a historian and author work ing across cultural heritage, broadcast and academia. Her books include: Nautical Chic (2015) T he Fashion of Film (2016) Fashion Illustration in Britain: Societ y & T he Seasons (2017)

Stude nts f rom this cour se have won the Costume Societ y Yar wood Awa rd eve r y ye ar since 2012.


Alumni MA Fashion Cultures

Timothy Long Curator of Fashion & Decorative Arts at the Museum of London

Amber Jane Butchar t Amber Jane Butchart 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 Porter. 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

Laura 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

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 postwar 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

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MA Fashion Media Practice & Criticism Ver onica Blagoeva MA Fashion Media Practice & Criticism


Johannes Reponen Course Leader

Critical.   Cultural.    Practice-Lead    On the MA in Fashion Media Practice and Criticism, students engage with a combination of theoretical and practical ideas that foster rigour and innovation in their approach to fashion communication. Students are introduced to a variety of fashion communication tools such as writing, image-making, moving-image as well as editorial and curatorial practices from a critical perspective before specialising in their chosen fashion communication discipline and create major portfolio projects around this in order to enquire a specialist knowledge in their chosen field.  “We need people who have the tools to question and interrogate the fashion industry. This year’s themes have included the negative effects of social media, identity, global uncertainty and embodiment. This is a unique four year, integrated Masters which allows students to complete three years at Undergraduate level plus one year at Postgraduate to specialise and focus.  During the first two years, students produce projects around image-making, writing, publishing, film-making, curatorial practice and produce work that use these communication skills in a critical way. During Year 3 and 4, students

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focus on cultivating the skills they find most relevant to them.    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 is for students interested in fashion’s broader aspects; political, socio-economic, cultural, theoretical. Two students are currently editing LCF’s publication Pigeons & Peacocks.  I would hope students leave as critical practitioners, not just someone who reiterates what is already out there; someone who can look at fashion from a theoretical and practical perspective. To capture these ideas requires a vocabulary that is rich and nuanced. These graduates will bring a cultural perspective to fashion practice and help take  media communication forward by addressing key issues such as of diversity, sustainability and globalisation.” Johannes Reponen is Editor of ‘Address – journal of fashion criticism’ alongside writing for a number of international fashion publications engaging with fashion scholarship as an academic, researcher and educator.


"T he course completely changed my pe rce ption of how I se e the wor ld around me. From a cre ative point of view, I think I have found my voice. I k now what subje cts and ae sthetic s I'm at tracted to; I am aware that they def ine me and make me stand out as a practitione r."


MA Fashion Media Practice & Criticism

Veronica Blagoeva MA Fashion Media Practice & Criticism

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Collaborative Unit


Tiff Radmore Collaborative Unit Leader

The opportunity to collaborate and co-create with like-minded creatives and fashion contemporaries is available to every MA student through the Collaborative Unit, a core component of every course. A chance to innovate and engage with the collaborative process through live industry 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 partcipants 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-disciplinary way. We’ve had some amazing industry partners including Diesel, Google, Net –a-Porter and many others. They will often return and numbers grow every 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

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wish to purchase any of the 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 every 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.


Still from 'Trumped' Gaby Deimeke, MA Fashion Photography Sara Barrow, MA Fashion Photography Sereena Karaman, MA Fashion Media Production

IBIS collaboration

"It was an oppor tunit y to wor k collaborative ly that le ad to my job that I love."

Chirag Grover MA Fashion Media Production Alumni, 2104


Collaborative Unit

Collaborative Unit Industr y Par tners Aesthetica Holition Kering

Ecco Leather collaboration

Coach Diesel Fendi Victoria and Alber t Museum Bloomsbur y Publishing Google Cultural Institute with LCF Fashion Archives LVMH – Celine Making for Change Net-a-Por ter Group Tateossian Wrap David Foy Ecco Leather G.H. Bass and Co. Ramber t Dance Company Kokoon Underpinnings Museum 3D Systems Jack Masters

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Technical Workshops


Adam Grice Technical Coordinator

Our 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. We offer postgraduate students a range of options to access technical support including workshops, supported studio time, online learning resources and direct 1-2-1 technical consultation. Our focus is on matching the skills we support and teach to the skills our students need so we encourage students to take an active role in defining where, when and what they want to learn to achieve their own goals and further their practice.

“ W hile the M A gave us the the or y, the wor kshops gave us the practic al sk ills we ne e de d. He re, you c a n tr y a ny thing a nd le ar n sk ills to ma ke new wor k.”

Al ï Bailon MA Fashion Media Production Alumni, 2016 Set Designer

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Research at LCF


LCF hosts two world leading UAL Research Centres: Centre for Fashion Curation and Centre for Sustainable Fashion; the Digital Anthropology Lab and ten research hubs. Research spans practice and theory 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.

Research at LCF

All MA students become part 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 College’s unique specialist and transdisciplinary environment and is supported and resourced by dedicated research facilities such as the cosmetic science and digital laboratories, Fashion Space Gallery and world-class library and archive.

Digital Anthropology L ab Sensor y Jeweller y for Wellbeing

As one of six constituent colleges of University of the Arts London, LCF contributed to the last Research Excellence Framework (REF 2014), where UAL’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 E xhibition

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All Through Progression; MA to PhD

Katherine Rees Par tnership PhD Student

“ T he re se arch that I’m unde r ta k ing now was ‘my thing’ dur ing my time in industr y, before stud y ing a nd what I’m still inte re ste d in 30 odd ye a r s late r, re ading a nd w r iting a bou t it. You have to have a re al pas sion for your subje ct to continue to imme r se your se lf in it. A PhD will suppor t my long te r m goals a nd he lp continue to ma ke the discus sions a round clas s v isible”

Liza Bet ts A Fashion Histor y & Culture (MA Fashion Cultures) Current PhD student


Digital Anthropology L ab

Dr Jane Harris PhD Associate Dean of Research Professor of Digital Design and Innovation

Hussein Chalayan Per forming Dress Lab

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Research at LCF

“ T he Fashion Se ctor prov ide s a unique le ns for the re leva nt high-leve l e me rge nt re se a rch, loc ally a nd inte r nationally w hich infor ms the core of our role.�


PhD Research Hub

Research Hubs at LCF

The LCF Research Student Monthly Hub is a forum for postgraduate students. Welcoming both practice and theory-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 supports events that are held approximately twice per term and are open to all UAL postgraduates and LCF research academics.

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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 hosed 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.

Cultural and Historical Studie s Hub: E xplore s current re search into fashion and popular culture within the broader subject area of Cultural Studie s.

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 expertise. The first three in the series have featured The Gentlewoman’s Penny Martin, designer Henry Holland and writer Pandora Sykes.

Masculinitie s Hub: Brings together practitioners and theorists intere sted in all aspects of menswear and masculinitie s.


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 Centres at LCF Research at LCF

RNUAL (Research Network University of the Ar ts London)

Centre for Sustainable Fashion sustainable-fashion.com Director Professor Dilys Williams

Centre for Fashion Curation fashion-curation.com Co-Directors Professor Amy de la Haye and Professor Judith Clark Website

Digital Anthropology Lab digital-anthropology.com Director Lynne Murray

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

De sign for Per formance Hub: O f fers a space for discussion on the topics of costume, scenography and per formance at LCF and across UAL.

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, 19651975 Supervisors: Pamela Church Gibson, Neil Kirkham, Shaun Cole. 60

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Kami Ander son Joint funded PhD student, LCF and V& A


Research at LCF

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Postgraduate Communities at LCF and UAL

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


Postgrad Communities

"T he C ollaborative Unit is unique to our of fe r; something that give s the qualitie s a nd pos sibilitie s of e nte r pr ise a nd e mploya bilit y in the wor ld beyond a postgraduate taught ex pe r ie nce." Shaun Cole Postgraduate Communities, LCF As a postgraduate student at UAL, you have opportunities to interact with students across the creative and cultural disciplines from all parts of the college and university. The really important thing about London College of Fashion is the sense of community. It brings together the course leaders, staff, students, technical teams, librarians, the careers and enterprise team and many others - who all work together to make individuals grow in every way: intellectually, academically, creatively, professionally. We have a breadth of very specific courses that each have shared postgraduate elements. This structure allows opportunities for interaction between and across courses, so courses are specialist but on the other hand there is a chance to come together through this common interest of fashion. 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. Beyond industry and employment, the Postgraduate Final Project is a pipeline that can extend into further study and research; PhDs or MPhils. Courses are increasingly preparing students to further their education to pursue their research interests to research degree level.

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Pop Up Common Room: Stanley Kubrick A rchive at LCC

Film Maker Isa ac Julien took four postgrads to the Venice Biennale


Postgrad Communities

A r t for the Environment Re sidency Programme -Naomi Bailey Cooper, A ma zon Rain Fore st, Bra zil

Rachael Daniels UAL Postgraduate Community Manager 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, extracurricular 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

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Contact


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

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Editor Nilgin Yusuf Art Direction Studio LP Project Co-ordinator Rebecca Mallinson Headshots Claudia Brookes School of Media & Communication Dean; Calum Mackenzie

CHROMA: Unlocking Postgraduate Potential in Media, Communication & Performance  

CHROMA is an online publication that showcases the postgraduate courses in the School of Media & Communication at London College of Fashion,...

CHROMA: Unlocking Postgraduate Potential in Media, Communication & Performance  

CHROMA is an online publication that showcases the postgraduate courses in the School of Media & Communication at London College of Fashion,...

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