BA (Hons) Creative Direction for Fashion

Explore the role of creative direction within fashion communication. Develop skills and knowledge to produce imaginative creative outcomes across a range of new and traditional media.

Student Stefano Colombini talks about his experiences of the course.

Mobile app concept video by Rebecca Thomas, Jasmine Lee, Daniella Wild, Papillion Lucus-Box, Jane Quan, Matilda de Kantzow.

Course Leader Jason Kass gives an introduction to the course

Machine-A / Claire Barrow, by Filip Lelitzki - BA Creative Direction for Fashion, 2016. View Showtime profile.

Lea Sorli, Soundcapes Retail Extension for Fuastine Steinmetz - BA (Hons) Creative Direction for Fashion - view Showtime profile.

Graphic work
Eddy Bruzas

Digital presence for PETRIe magazine -an Inventory of Art Culture Film Music and Style byEddy Bruzas, BA (Hons) Creative Direction - view Showtime profile.

Arrangement of foods for tasting on a brown surface on this creative direction course
Raquel Sanchez Cerqueiras, 2014

Raquel Sanchez Cerqueiras, 2014 - view Showtime profile

Funding opportunities

Use UAL's fees and funding calculator to estimate how much your studies may cost you in your first year, and what funding may be available to you.

Use UAL’s scholarships search to find out what you might be eligible for.


Course Leader

Jason Kass

Course Location

Lime Grove

Study LevelUndergraduate
Study ModeFull time
Course Length3 years
Home/EU Fee

£9,000 per year.


International Fee

£17,230 per year.

Autumn Term Dates26 Sep - 9 Dec 2016
Spring Term Dates9 Jan - 17 Mar 2017
Summer Term Dates18 April - 23 June 2017
Application Route


Application DeadlineApplications for 2016/17 entry are now closed. Applications for 2017/18 entry will open in Autumn 2016.
UCAS CodeW290
University CodeU65

Content and structure

The BA (Hons) Creative Direction for Fashion course is situated in the School of Media and Communication, and focuses on how creative direction is used as part of a complex system of communication within fashion. In other words, we are not looking at the process of garment design (which also involves creative direction), but instead at the various ways that global fashion brands use communication design to attract, engage, and motivate people to respond to messages. In particular, the impact of new digital communication technologies on the practice of creative direction for fashion is central to the course. 

As a student on the course you will be introduced to many exciting concepts, some of which will be familiar to you, and others that will be completely new. You will expand your view of fashion to understand that it is more than just an industry and is also a multifaceted cultural and social phenomenon. The course gives you an understanding of brands, audiences and their needs to ensure that you develop into a skilled designer with an awareness of markets and trends. You will learn technical and practical skills alongside intellectually stimulating ideas about fashion and culture that will help you to develop compelling and visually interesting creative outcomes. These creative outcomes will take many forms including print publications, websites, mobile applications and interactive installations. To realise these outcomes you will experiment with a range of media, both new and traditional, and gain the ability to conceive and propose imaginative and original responses to live and simulated client briefs. Relevant media include photography, graphic design, moving image, physical computing, projection and sound. Team work and project management are also important aspects of the course and you will learn about some of the ‘behind the scenes’ activity, like budgeting and risk assessment, that help turn creative ideas into reality.

Your course will prepare you for a career in fashion communication and related creative industries, giving you the skills to present yourself with confidence. You will learn how to identify and respond to developments within fashion communication and culture at large. Students who graduate from the course may pursue opportunities in design studios, advertising agencies and publishing companies, or decide to work ‘in-house’ for a brand. Some students choose to work in a freelance capacity or start their own small businesses. You will have the opportunity to work with industry through a number of projects, for example, this year first year students produced moving image content to promote ‘Knomi’ a soon-to-launch fashion discovery app ( Knomi are currently selecting from a shortlist of student work. Their selections may be used on the brand’s website, social media or shown in a special exhibition at the start of next year when the app officially launches. Students also produced a 2-second ident for Dazed Digital. Winning idents will feature live on the site in front of a range of moving image content. Last year, three students had their work selected. First year students participated in All Walks Beyond the Catwalk’s Diversity NOW! 2015 competition, and two students were selected as finalists in the Photography and Styling category of the competition.

Second year students across the School pitched ideas for revitalising King’s Road, Sloane Street and Duke of York Square to attract a young fashionable crowd to the Cadogan Estate, with final presentations to the MD held in Cadogan Hall. Second year students were also commissioned by H&M’s Sustainability team to pitch concepts for creative window displays to promote the brand’s global garment collection initiative.  Mentored by the course tutors and staff from the Centre for Sustainable Fashion, they presented their ideas directly to the client. Seven groups have been selected to realise their concepts and install their work in H&M shops throughout the UK in September. 

In the third year one student worked on moving image content for London-based designer, Faustine Steinmetz. Another student co-directed a video for Kovert Designs that currently has had over 100,000 views on YouTube. Delivered by experienced practitioners, academics and industry specialists, the course is future-facing and aims to produce the next generation of innovative communication designers for fashion. You will study alongside, and be encouraged to collaborate with, students from diverse disciplines such as public relations for fashion, fashion photography, fashion journalism, hair and make-up and performance.

BA (Hons) Creative Direction for Fashion is based at Lime Grove in Shepherd’s Bush, just west of Holland Park and Notting Hill. The area, which is rich in cultural influences from across the world, is home to Shepherd’s Bush Market and the many fabric shops lining the Goldhawk Road. There are numerous restaurants, cafes, delis and food stores, as well as the market, which reflect the many cultures of the people living there. Nearby is the Shepherd’s Bush Empire, an excellent venue for live bands, and the Westfield Shopping Centre, one of the largest retail complexes in Europe that caters for the luxury market as well as the high street. Holland Park with its Orangery and Leighton House Museum are both worth visiting.

Course Structure

Year One  -  Stage One  -  level 4  -  120 credits 

Term One: Introduction to Study in Higher Education: Creative Direction for Fashion (20 credits); Visual Communication for Fashion (20 credits)

Term Two: Introduction to Cultural and Historical Studies (20 credits); Fashion Interfaces: Page and Screen (20 credits)

Term Three: Fashion Spaces (40 credits)


Year Two  -  Stage Two  -  level 5  -  120 credits

Term One: Cultural and Historical Studies Option (20 credits); Fashion, Brands and Audiences (20 credits)

Term Two: Professional Development (40 credits)

Term Three: Research Methods for Creative Direction for Fashion (20 credits); Future Directions (20 credits)


Third Year  -  Stage Three  -  level 6  -  120 credits

Term One: Final Major Project: Research and Development (20 credits)

Terms One and Two: Cultural and Historical Studies Dissertation (40 credits)

Term Two and Three: Final Major Project: Production and Evaluation (60 credits)

Travelling across London

The renowned London College of Fashion library is at our John Prince’s Street site, and you will need to travel to this site, and possibly others, during your course to use the library, which is open seven days a week in term time, and for tuition and special events.

Additional Costs

All courses will require you to spend money on necessary materials during the course, (stationery, and variables according to your subject) and, in some cases, equipment so that you start the course with what you need. Details of approximate additional costs for this course will be available as a download shortly. Please note that prices may change and we cannot guarantee that costs quoted will be exact.



Our excellent resources for educating our students are two-fold: people and premises. People includes everyone at the College who contributes directly in some way to your education, whether as a subject tutor, a technician, an Open Access officer, a librarian or a study support tutor. Premises include the buildings and the facilities contained in them, such as specialist machinery, design studios and workshops, lecture and seminar rooms, and the library.

The extensive facilities at Lime Grove that support this course include the Mac suites, photography studios, edit suites, sound studios and other specialist areas which can be utilised if required.

Jason Kass is the Course Leader for BA (Hons) Creative Direction for Fashion and has a range of experience in fashion media and communication, having worked for several years in the advertising and publishing industries in New York City. Jason started his career in the photography department of GQ magazine and as an assistant on advertising campaigns for brands such as Pepe Jeans and DSquared. Following this, he was employed at Visionaire Publishing, a company that distributes three influential fashion publications. He worked closely with the chief editors on both editorial content and the production of innovative multi-format magazines. While at Visionaire he managed collaborations with brands such as Mini Cooper, Krug, and Lacoste. Most recently he held the position of Senior Account Manager with commercial clients including Marc Jacobs, Ralph Lauren and Estée Lauder.

Jason holds a BA in Art History, a BFA in Studio Art and a MFA in Computer Art from the School of Visual Arts in Manhattan. He is currently pursuing a PhD at Winchester School of Art (University of Southampton), joint-supervised in the schools of art and psychology. His research investigates theoretical notions of modes of address in pictorial art in relation to cognitive and perceptual processes.

Kelly Dearsley is the Programme Director for the Fashion Communication courses, which include BA (Hons) Creative Direction for Fashion, BA (Hons) Fashion Public Relations and Communication and MA Fashion Media Practice and Criticism. Kelly began her career as an advertising executive in the 1980s working with clients in the film and entertainment industries. She returned to study Fashion Photography at the London College of Fashion and has worked as a freelance photographer for publications including Guardian, Vogue Pelle and ID magazine. She has made a number of short films which have been shown at film festivals across the world, including Leeds, Liverpool, Greece, Sweden, London, Slovakia, Croatia and Brazil. Her most recent new work ‘I’ve a Feeling We’re not in Kansas any more’, a fine art installation/performance was devised and performed in Glasgow at the New Territories International Festival of Live Art in March 2011. Kelly is currently studying for a PhD at LCF. Her research, a comparative study of the reading practices and reception of fashion media in print and digital formats, will be a wholly written thesis that uses phenomenology as a methodology to explore the reception of fashion media paying particular attention to the role of new media in this process.

Antony Price is an accomplished photographer and post-production digital artist with over 15 years of industry experience. Past clients include The Face, Mixmag and Dazed & Confused. His expertise spans the areas of photography, film, editing, post-production, page layout, graphic design, typography and visual projection. Anthony’s specialist skills are currently combined in his role as Creative Director of audio-visual company Anomalous Visuals and studio A_SPACE. Antony is also an experienced DJ with a background in promotion and an interest in London club culture. He is a nightlife photographer with an extensive archive of photographs that chart the evolution of London's musical subcultures from the 1980's to the present day. This archive has been the focus of two major exhibitions.

Kim Coleman is a visual artist working primarily with ideas of performance. She has produced major commissions for The Jerwood Space (2012), Frieze Projects at Frieze Art Fair (2009), Glasgow International Festival of Visual Art (2010), and the ICA (2008), all in collaboration with Jenny Hogarth. In 2011, Kim was awarded a National Galleries of Scotland Fellowship and in 2009/10 was an Associate Artist with LUX, London. Under the auspices of Kim Coleman Projects, Kim has produced critically-acclaimed live lighting and stage shows for pop musicians including Django Django and Veronica Falls. In addition to her own artistic practice, she co-founded several artist-run projects including Edinburgh’s Embassy gallery and Annuale festival. Kim trained at Edinburgh College of Art and holds an MA from Chelsea School of Art.

Charlotte Troy has a background in both fashion communication and art publishing. After graduating with a degree in Womenswear Design, she made clothes and accessories that were sold around the world, bought by celebrities and featured in magazines including i-D and Harper’s Bazaar. She also worked as a stylist receiving commissions from editors including Isabella Blow for the Sunday Times. In 1997, while working for Browns as a buyer and visual merchandiser, she helped establish the concept of Browns Focus as a platform for emerging design talent. Charlotte soon became interested in art publishing and has published many books and projects for her own imprint, CT Editions. She has served as a consultant and editor, with clients including The Hayward Gallery, The Contemporary Art Society, Deptford X, The National Museum of Media, and Philippa and Grayson Perry. She has collaborated with artists and fashion creatives in her publishing projects including Alexandra Shulman, Philip Saville, Hans Ulrich Obrist, Linda Sterling, Ed Ruscha, Penny Martin, Edward Enninful, Susan Hiller and Amos Vogel. Charlotte holds an MA in Book Publishing and an MA in Contemporary Art Theory from Goldsmiths. She is currently developing ideas for a visual listings magazine and her research interests are in aesthetics and psychological freedom.

Karen Savage is a designer, stylist, trend forecaster, creative director, blogger and artist with a wealth of experience. Karen came on the scene in the early 1990’s with her own critically-acclaimed fashion label, SAVAGE, garnering extensive media coverage for her controversial slogan t-shirts. Karen has worked with many clients over the years including Absolut Vodka, BBC3, Directory of Social Change, Exposure PR, Hotel Pelirocco, Mobile 3, Nokia, Ogilvy and Mather, Taiwan Textile Federation, The Fawcett Society, The Observer and Traid. She is currently a freelance Creative Director in Print and Licensing for the UK high street and independent market. Karen holds a PG Cert in Teaching and Learning, has been a Visiting Fellow at The Hong Kong Design Institute, and is a recent recipient of the UAL Teaching Award.

Kathryn Ferguson is a filmmaker with an esteemed list of clients including Chloe, Selfridges, Sinead O’Connor, Sony, Lady Gaga, and SHOWstudio. Her films have been featured on MTV, Dazed Digital, Nowness, BBC, and In 2014, she became ‘Filmmaker in Residence’ at Selfridges and created four films as part of their six week Beauty Project programme. Kathryn’s experimental film work has been selected for film festivals including onedotzero, the 59th Berlinale, ASVOFF, Aesthetica Short Film Festival and Birds Eye View Film Festival. Her work has been screened and shown at the V&A, the Pompidou Centre and the BFI. She also works as a curator, notably the ‘Fashion Loves Film’ strand at the annual Birds Eye View Film Festival at the Institute of Contemporary Arts and British Film Institute from 2008 to 2011. More recently, she has been working with the British Council and The British Fashion Council as a curator specialising in the emerging genre of fashion film. Her work with the British Council has seen her travel around the world visiting cities including Sarajevo, Lagos (Nigeria), Lisbon, Jakarta, Manila, Moscow and Ljubljana to host talks, screenings and filmmaking workshops.

Visiting Practitioners and Guest Lecturers include:

Fred Butler, accessory designer (

Alun Davies, art/creative director (

Nova Dando, creative director (

Perry Curties, photographer/creative director (

Christopher Simmonds, creative director (

Kim Howells (

Allon Kaye, designer (


Developing your skills

All our undergraduate courses are concerned with the development of your personal and professional skills. On your course you will evolve from learning basic skills in your discipline through to a position where you are an independent creative thinker capable of making an effective contribution to the relevant sector of the fashion industry. Personal and Professional Development (PPD) skills are embedded in all units on every course. Speaker programmes with contributions from alumni, members of industry and others are a part of many courses, as are work placement opportunities in industry. Where relevant, students have the chance to attend trade fairs, enter industry competitions, visit exhibitions and go on field trips and visits. The central position of our John Prince’s Street site in the West End affords students easy access to all sectors of the fashion retail market. In addition, our position as a constituent College in the University of the Arts London means that our students have access to the wide range of activities and events that occur in all the Colleges and at the University’s centre. Last but not least, being in London gives every student opportunities to explore and be inspired by the cultural, intellectual and social life of one of the great capital cities of the world.

Future careers and graduate prospects

Graduates who wish to continue their education at postgraduate level are encouraged to progress to suitable courses within the College, the University or elsewhere.

Graduates from this course are well placed to take up a number of positions within the fashion media industry. Design and technical skills learnt on the course equip graduates to work as effective fashion communicators, where an overview of brand strategy and the ability to create and realise an effective creative vision across multiple platforms with a team of creative practitioners is required, for example, one of this year’s graduates has taken a position as Creative Researcher for Selfridges.

LCF Careers

LCF Careers provides a comprehensive career management service supporting our students to become informed and self-reliant individuals able to plan and manage their own careers.

Entry requirements

Opportunities for All

We are committed to making university education an achievable option for a wider range of people and seek to recruit students from diverse socio-economic, cultural and educational backgrounds. We are committed to supporting all our students in achieving their potential both during and after their courses.

Course Entry Requirements

Entry to this course is highly competitive: applicants are expected to achieve, or already have, the course entry requirements detailed below.

Two ‘A’ level passes at grade C or above PLUS passes in three GCSE subjects at grade C or above

OR equivalent awards

Preferred subjects include Art, Design, English, and Maths.

This course requires a minimum 160 UCAS tariff points.

Exceptionally, applicants who do not meet these course entry requirements may still be considered if the course team judges the application demonstrates additional strengths and alternative evidence. This might, for example, be demonstrated by: related academic or work experience; the quality of the personal statement; a strong academic or other professional reference; or a combination of these factors.

English Language Requirements

All classes are conducted in English. If English is not your first language you will be asked to provide evidence of your English language ability when you enrol.

The level required by the University for this course is IELTS 6.0 with a minimum of 5.5 in any one skill.

Please visit the UAL Language Requirements page. Read carefully and look at the relevant documents.                          

Student Selection Criteria

What We Look For

The course team seeks to recruit students who can demonstrate:

  • A broad interest in fashion, visual imagery and an awareness of technology
  • An understanding of the need for a critical and analytical approach to the area of study
  • An approach suited to the demands of the course and the projected career futures

Portfolio and Interview Advice

For this course you will be required to upload a mini portfolio. Further instructions will be sent by the course administrator after application submission. International students should contact the International Office to find out about the portfolio application process.

For this course your portfolio should show evidence of: drawing / presentation skills; examples of creative visual imagery; research skills; experimentation; and engagement with technology for image production.

Applicants will be expected to demonstrate the following at interview: a strong interest in, and awareness of, contemporary fashion; a cultural awareness of society and current global issues; visual awareness evidenced through portfolio work; an interest in, and knowledge of, digital and social media; a motivation for working in creative media; and a motivation to succeed on the course.

Please note that the majority of interviews for Home/EU applicants will take place in the week Monday 22 February to Friday 26 February.

International applicants should contact the International Office about portfolio requirements (if applicable), interview times and dates.

How to apply

Home EU Applicants

You can apply online through the Universities and Colleges Admissions Service (UCAS).

Go to ‘Apply’ from the UCAS home page, where you will be able to register and create a password that gives you unique access as you complete your application form.

You will need the University code, the UCAS code for this course, and the deadline date for your application. You will find these on the Facts tab.

Contact us on: 

Telephone: +44 (0)20 7514 7973 / 7582 / 7344

Or you can use the UAL Course Enquiry Form

International Applicants

For advice about how to apply as an international applicant please visit the UAL International Application Advice page.

To apply, visit the Undergraduate section of LCF's Support for International Students page.

The International Recruitment Office at London College of Fashion will help to guide you through the application process and answer any specific questions that you may have regarding our courses. This may include portfolio advice, the application process and fee advice. We offer a ‘drop-in’ facility for applicants who may be in London and wish to obtain further course and admissions information. Please contact us for further information on this facility. We can also arrange a tour of our facilities if we are given prior notice. 

Our contact details are:

International Recruitment Office, London College of Fashion, 20 John Prince’s Street, London W1G 0BJ

Telephone: +44 (0)20 7514 7656 / 7678 / 7629 / 7940

Or you can use the UAL Course Enquiry Form

Deferred Entry

Deferred Entry is normally only allowed in exceptional circumstances. Please contact us before you submit your application if you are considering applying for deferred entry.

What happens next?

All application forms, personal statements and references are read and considered by the course team against the selection criteria listed on the entry requirements tab, under what we look for.

Depending on the quality of your application, you may be asked to submit a number of images of your work. If the course team wish to consider your application further, you will be invited to an interview where the course team will look at your portfolio and ask you questions to establish your suitability for the course. If you are successful at the interview stage you will be offered a place. Applicants are not guaranteed to be asked to upload work, nor are they guaranteed an interview.

Please note that if you are unable to attend the College may not be able to re-schedule.

If you applied through UCAS the result of your application will be communicated to you via UCAS through ucastrack. You will only receive further communication directly from the College if your application has been successful. This will be in the form of a full offer pack including details of accommodation, fees, and other important information.

Showing your Work

All final year students are given the opportunity to profile their work online via Showtime. London College of Fashion can make no guarantee that your work (either in sum or in part) will be shown, exhibited or profiled in any way as part of your course. All student work appearing in College organised events, catwalk shows, exhibitions and other forms of showcase, is selected by a panel of senior staff and, in some instances, external industry judges.

Course units

Year One

In the first term you will study two units:

Introduction to Study in Higher Education gives you an understanding of your personal and professional development at university, with three core purposes: to introduce you to the necessary learning skills for undergraduate study; to show you where you are situated within the College and the University; and to help you understand what you will learn on your course and how you will develop your skills.

The Visual Communication for Fashion unit allows you to develop a solid grasp of basic design elements such as form, texture and colour, before you can create more complex communication design outcomes for fashion. This unit will explore these fundamentals of design alongside principles of visual communication. It will introduce the relationship between a fashion designer’s visual aesthetic or style and the look and feel of related pieces of visual communication design such as logos, look books, campaigns, and in-store visuals. You will explore this relationship by translating a designer’s aesthetic across a range of media using a variety of processes and image-making techniques. To support your experimentation, you will need to conduct in-depth research into past and present examples of visual communication design within fashion. By the end of the unit you will have produced an extensive portfolio of image experiments alongside a curated portfolio of final images in response to a brief.

In the second term you will study two units:

Introduction to Cultural and Historical Studies introduces you to key concepts and ways of thinking about fashion and its context in society and culture. You will attend lectures, seminars and workshops, and do a significant amount of reading of academic texts in order to complete a formal academic essay for assessment.  Completion of this unit will allow you to make an informed choice of subject for study in the second year Cultural and Historical Studies unit.

The Fashion Interfaces: Page and Screen unit builds on the previous term, providing an opportunity for you to improve your design skills with additional emphasis on typography, layout and picture editing. The unit looks at ‘fashion interfaces’ or the places where fashion messages are communicated and received. This includes print publications, websites, blogs and mobile applications, each with their own rules of engagement. You will be introduced to the process of pitching a creative concept and identifying appropriate collaborators and contributors. In addition, you will be asked to consider and apply ideas from cultural and historical studies to your practical outcomes. Importantly, you will prepare a visual and verbal presentation as part of a group that critically evaluates contemporary fashion interfaces. By the end of the unit you will also have created a professional and designed concept proposal for an original fashion interface in response to a brief.

In the Fashion Spacesunit you will explore how space is used in fashion. From concept stores to pop-up shops, virtual catwalks to interactive installations, there are many ways to offer unique fashion-related experiences in both physical and virtual spaces. In this unit you will be introduced to time-based media including moving image, sound and performance and investigate their role in creating engaging experiences. Through a review of contemporary practice and new technology you will examine how multi-sensory messages can be communicated in various fashion contexts including fashion shows, retail spaces and site-specific events. In addition to technical knowledge surrounding the production of time-based media for fashion you will become familiar with effective project management, budgeting and health and safety concerns. By the end of the unit you will have produced a series of time-based media outcomes alongside a proposal for a related fashion space.

Year Two

In the first term you will be able to study a Cultural and Historical Studies unit of your choice that will broaden or deepen your learning of areas relating to your interests in your chosen field. You will have the opportunity to participate in lectures, seminars and workshops with students from other courses within your School, and will read relevant academic texts and complete a formal academic essay for assessment.

Also studied in the first term, the Fashion, Brands and Audiences unit will provide you with the in-depth theoretical and practical knowledge required to deliver innovative and appropriate communication design outcomes to an increasingly global range of fashion clients and brands. You will be introduced to branding models and to the tools at your disposal for analysing a client’s strategic communication needs and objectives. You will learn about markets, trends and audiences and the role of creative direction in maintaining and/or shifting audience attitudes towards brands. You will work on developing a client brief based on identified communication objectives and propose a communication design outcome that appropriately answers the brief. You will need to apply your evolving knowledge of cultural and historical studies alongside primary research such as interviews and focus groups in order to evaluate and propose an appropriate creative solution.

In the second term the Professional Development unit provides opportunities to apply previous learning through real or simulated work experience and focuses on your professional development. This may involve industry placements and/or participation in live projects alongside course delivery on campus and/or online. Through these experiences and accompanying research you will gain a deeper critical understanding and appreciation of professional practice, as you investigate the role of creative direction within fashion and related industries. The unit asks that you contextualise professional practice in terms of contemporary debates and cultural concepts. The unit also demands a critical approach to the management of your own learning through reflection and planning as well as demonstration of suitable individual and collaborative professional working. You will consider how to communicate and present yourself in a professional context by preparing an online portfolio of work to promote yourself to the industry. By the end of the unit you will be in an excellent position to take up further opportunities within the creative industries.

In the third term you will do two units:

Research Methods for Creative Direction for Fashion provides an introduction to, and overview of, a variety of different research methods for the collection of data relevant to all the work you will undertake in your third year. With reference to your Cultural and Historical Studies Dissertation you will explore two areas to enable you to produce your dissertation proposal. These are the literature review and research and you will examine their relationship to one another. You will look at primary and secondary sources, ways of originating and developing research, and ways of realising the research appropriate to cultural and historical studies.

Alongside this, an introduction to the Final Major Project reviews the importance of research towards informing creative outcomes. You will consider how qualitative, quantitative, primary and secondary research methods can be used to generate interesting and appropriate creative solutions. You will combine your understanding of cultural and historical studies and the contemporary practice of creative direction with market and trend analysis to develop and propose a research plan to be undertaken at the start of your final year.

The Future Directions unit develops your previous experience where you have explored creative direction through fashion interfaces, fashion spaces and how brands use these and other communication design outcomes to connect with and engage audiences. This unit will run like a research and development (R&D) lab and will require an exploratory approach to identifying possible future trends and ‘hot topics’ within fashion communication and culture at large. The focus will be on innovative and enterprising approaches to fashion communication and their impact upon patterns of consumption. This includes analysis of, and investigations into, areas such as emerging technology, on-going concerns around sustainability, and the perceived phenomenon of globalisation, all in relation to fashion. You will examine how creative direction and communication design within fashion can lead positive change and impact the way we lead our lives. Working in teams you will identify and research a “problem”, develop and test solutions, and pitch a relevant and inventive creative outcome.

Year Three

In the first term you will do the Final Major Project: Research and Development unit. You will undertake the research plan that you proposed at the end of the second year via an intensive period of research and development (R&D). This period of R&D will include reading and analysing theoretical texts, identifying and evaluating market and trend reports, and recognising and questioning the contemporary practice of creative direction for fashion. You will also expand your skills and knowledge around prototyping, iterative design and the importance of testing and checking of ideas throughout the concept development process. Appropriate primary research will also be developed and conducted. Towards the end of the unit you will evaluate and synthesise your research findings towards the construction of a carefully considered proposal for your Final Major Project. The proposal must define and address a specific set of communication objectives for a fashion-related client (live or simulated) of your choosing. You will realise and evaluate your proposed project in the following term.

In the first and second terms you will undertake a major piece of written work for the Cultural and Historical Studies Dissertation unit. This allows you to demonstrate your understanding of the critical and analytical perspectives developed within cultural and historical theory, and how you can apply these theoretical perspectives in a specific study, which you will have already identified in the third term of the second year.

The dissertation gives you the opportunity to undertake primary and secondary research that examines in depth cultural issues relating to a particular aspect of fashion, lifestyle, the body, performance or the media, and to produce a written piece of work that reflects the critical debates around your chosen topic.

The Final Major Project: Production and Evaluation unit follows on from the previous term and supports you in producing an original and coherent Final Major Project that evidences the consolidation of knowledge acquired on the course. The project will reflect an understanding of the contemporary practice of creative direction for fashion and apply insights from cultural and historical studies concepts. This client-specific, extended body of work must be at an advanced level conceptually, technically and aesthetically. Whereas the previous unit was focused on research and development, this unit focuses on production and reflective practice. The format of your project will reflect your individual interests, skills, personal and professional goals and will be negotiated with the course team.

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