FACULTY OF FINE ARTS AND DESIGN
Department of Textile and Fashion Design
FA 302 | Course Introduction and Application Information
| Course Name |
Fashion Editorial and Writing
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
FA 302
|
Fall/Spring
|
3
|
0
|
3
|
4
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
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| Course Type |
Elective
|
|||||
| Course Level |
First Cycle
|
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| Mode of Delivery | Online | |||||
| Teaching Methods and Techniques of the Course | DiscussionGroup WorkCritical feedbackLecture / Presentation | |||||
| Course Coordinator | ||||||
| Course Lecturer(s) | ||||||
| Assistant(s) | - | |||||
| Course Objectives | The course intends to provide students with both practical and theoretical information on fashion media, to make use of for their future brand communication steps. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | The course provides a basis for understanding and practicing fashion communication and pr techniques in fashion media. Informative, interpretative, and critical text contents are studied and produced. Also styling, photography, visual presentation, and editorial skills will be developed and experienced through an editorial photoshooting project by the end of the course. |
|
|
Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction to the course | |
| 2 | Fashion Media: a historic A glimpse on the evolution of fashion journalism | Dr Sanda Miller & Peter McNeil -Fashion Journalism: History, Theory, and Practice (2021) Part 2, Understanding Fashion Journalism , How did it all begin ? p.60-93 What’s the Point of a Fashion Magazine Now?, article on NY Times |
| 3 | Content of Fashion Journalism : Historiographical reading of designer . Quiz 1 | Farid Chenoune, Jean Paul Gaultier, New York 2005, 415., Fashion Now Taschen, 2008 + Dr Sanda Miller & Peter McNeil -Fashion Journalism: History, Theory, and Practice (2021). Part 3: Fashion Journalism : Practice p.120-150 . Featuring a Designer ( one page response paper in class) |
| 4 | Fashion writing: Reading sample articles and understanding the value of criticism | McNeil & Miller - Fashion writing and criticism. History, theory, practice Chapter 5 ‘Charles Baudelaire: the beginning of fashion criticism; the art critic of the salons, pages 65 - 80 |
| 5 | Fashion writing and analysis: Discursive Conceptual reading of designer . Quiz 2 | Reading and analysis: Caroline Evans, “No man’s land”, in: Hussein Chalayan, Rotterdam/Groningen 2005, pp. 815. / writing a critical essay on a collection of an avantgarde designer. Response paper ( one page) |
| 6 | Fashion writing : review Developing a personal voice to write . Quiz 3 | A fashion collection review: Watch a catwalk video and write a critique on the show + editorial ad + campaign coverage |
| 7 | Fashion writing : Interview . | Listening podcast of Suzy Menkes and screening Show.Studio by Nick Knight Interview reading and discussion |
| 8 | Talking about personal style and fashion icons –Quiz 4 | Joanne Eicher a.o., The visible self, New York 2000, pp. Signature Style : Falling of the Fashion Train with Frida, Georgia, and Louise by Jo Ann C.Stabb, pp.390-394 Analysis the style of a fashion icon |
| 9 | Guest speaker, a fashion writer explains their job | Routine of a fashion journalist |
| 10 | Fashion Styling Elements of a fashion shooting : a simulation of a photo shooting Quiz 5 | Jo Dingemans - Mastering Fashion styling, Chapter 2, ‘Ediorial Styling’, pages 7 – 32 Computer with a camera, personal wardrobe (Editorial Moodboard :Collage) |
| 11 | Fashion Styling project : Production | Photoshooting :Computer with camera Jacqueline Mc Assey and Clare : Buckley- Styling- Chapter 4- pages 112-136 |
| 12 | Discussion and Brainstorming about the future of fashion press | Film screening and discussion |
| 13 | Fashion Styling project : Post production | Computer with camera Jacqueline Mc Assey and Clare Buckley- Styling- Chapter 5- pages 140-167 |
| 14 | Production presentations and sample gathering for the photo shoot Story of a fashion shooting | Student presentations |
| 15 | Review of the Semester | |
| 16 | Review of the Semester |
| Course Notes/Textbooks | Farid Chenoune, Jean Paul Gaultier, New York 2005, 415., Fashion Now Taschen, 2008 Caroline Evans, “No man’s land”, in Hussein Chalayan, Rotterdam/Groningen 2005, pp. 815. Joanne Eicher a.o., The visible self, New York 2000, pp. Signature Style: Falling of the Fashion Train with Frida, Georgia, and Louise by Jo Ann C.Stabb, pp.390-394 |
| Suggested Readings/Materials | Norberto Angeletti & Alberto OlivaIn Vogue: the illustrated history of the world’s most famous fashion magazineISBN-ISSN 978-0-8478-2864-7
Marian Frances WolbersUncovering fashion: fashion communications across the media
Anne Stegemeyer & Holly Price AlfordWho’s who in fashion
Françoise Marquet & Manfred HeitingHelmut Newton: work |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation |
1
|
10
|
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques |
5
|
40
|
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury |
1
|
20
|
| Project |
1
|
30
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam | ||
| Total |
| Weighting of Semester Activities on the Final Grade |
8
|
100
|
| Weighting of End-of-Semester Activities on the Final Grade | ||
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
10
|
1
|
10
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
5
|
4
|
20
|
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
1
|
30
|
30
|
| Project |
1
|
12
|
12
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
0
|
||
| Total |
120
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to develop and design a collection independently. |
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| 2 | To be able to do maintain a design research individually or as a team. |
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| 3 | To be able to develop entrepreneurship- and managerial skills for a future professional practice. |
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| 4 | To be able to understand, interpret and apply theoretical knowledge in fashion and textile design. |
X | ||||
| 5 | To be able to analyze and integrate the particular local and regional needs and of their profession. |
|||||
| 6 | To be able to obtain a multidisciplinary point of view, follow and analyze the new issues, changes and trends in contemporary design and art in such a way that they can be integrated into design practice. |
X | ||||
| 7 | To be able to apply industrial requirements, knowledge of material & usage and know-how knowledge in the creation of high quality fashion products. |
|||||
| 8 | To be able to use digital information and communication technologies at a level that is adequate to the discipline of fashion and textile design. |
X | ||||
| 9 | To be able to develop an ongoing analytical and professional approach to academic and design research. |
|||||
| 10 | To be able to recognize the need and importance of a personal lifelong learning attitude towards their chosen area of interest. |
X | ||||
| 11 | To be able to collect data in the areas of fashion and textile design and communicate with colleagues in a foreign language ("European Language Portfolio Global Scale", Level B1). |
|||||
| 12 | To be able to speak a second foreign at a medium level of fluency efficiently. |
|||||
| 13 | To be able to relate the knowledge accumulated throughout the human history to their field of expertise. |
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*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest
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