unit title the tailoring atelier: craft and heritage...

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UNIT TITLE The Tailoring Atelier: Craft and Heritage Unit Code RFAT5006 Location Rochester Level Level 5 Duration (number of weeks) 13 weeks Credit Value 40 Total Learning Hours for Unit 400 Date of approval of this version April 2019

Course(s) to which this unit contributes BA (Hons) Fashion Atelier

CONTENT This unit focuses on developing your ability to use informed research, applied to the cut, fit, balance and attention to detail, in order to achieve contemporary bespoke tailored garments that reference a precision and demonstrate an understanding of tradition. Through the realisation of tailored garments, you will therefore learn to understand and work with the influence and implications of heritage to inform craft skills which have evolved over centuries. Research is an important part of this unit and you will investigate the origins of tailoring and its contemporary formulations through primary and secondary investigation, exploring the many ways in which designers use the heritage and craftsmanship of tailoring for their creative statements. In this way, you will be able to examine how the application of creative technical solutions have been utilised in order to explore the continuation of tradition and its adaptation within contemporary practice. Through sustained research, written reflection and the production of finished bespoke tailored garments, you will therefore develop an understanding of production processes where tradition and modernity meet in the twenty-first century. The production of several tailored garments will be the primary means for this unit’s examination of tailoring techniques. These will be analysed in three ways:

• The Outside: You will expand your vocabulary of both flat and three-dimensional pattern cutting skills through concentration on cut, fit and balance.

• The Inside: You will examine the inner workings of the jacket: canvases, felts, seam tapes and generations-old methods of pressing and hand sewing.

• The Details: You will expand your understanding of details and finishing touches based on historic practice, such as buttons and buttonholes, braids and rosettes

AIMS The aims of this unit are: A1 To investigate and organise in-depth research into traditional and contemporary use

of details and finishings and innovations within tailoring and garment craft production, as well as identifying concepts suitable for sustained investigation.

A2 To further investigate both flat and three-dimensional means of shaping and moulding

garments and the role that fit and ‘balance’ play within the structured form A3 To further develop two and three-dimensional skills of creative pattern cutting within

atelier practice

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A4 To further develop design communication skills for process, practice and realisation LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate individuality in concept development whilst referencing depth of

knowledge of both historical and contemporary professional tailoring practice and its place within the wider fashion industry

LO2 Demonstrate competencies in the moulding and shaping of bespoke tailored

garments and an understanding of balance, fit and proportion LO3 Evidance technical proficiency in creative pattern cutting and draping, demonstrating

a synthesis of knowledge which enhances the quality and relevance of finished tailored garments

LO4 Successfully communicate technical and design information, specialist knowledge

and three-dimensional forms through a range of two-dimensional media, including the use of digital technology in the presentation of both portfolio and studio based project work

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 200 No. of hours of independent activity 200 No. of hours of placement activity This will comprise:

• Project Briefings • Practical Specialist Demonstrations • Workshops • Tutorials • Research Trips (Fashion retailers, museums, archives, workshops) • Learning material on myUCA • Formative and Summative Assessment

ASSESSMENT REQUIREMENTS Table A1- Assessment Components Assessment Component

List all separate

components

Weigh-ting (%)

Typical Indicative Assessment tasks

Where the component comprises more than one assessment task

Assessment Type For each component

double click in the box to see options.

The options equate to the assessment types in table

A2

Word Count Approx word count where

applicable Portfolio 100% Bespoke Tailored

sample garments (including one

Portfolio

N/A

11 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH

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jacket/outerwear.)

Documentation of garment developments & technical dossier

Research

Supporting portfolio

Table A2 – Categories for Assessment

Assessment Type % of assessment Category

Written exam Written

Set exercise (under exam conditions but not testing practical skills)

Written

Written assignment, including essay Coursework

Report Coursework

Dissertation Coursework

Portfolio 100% Coursework

Project output (other than dissertation) Coursework

Set exercise (not under exam conditions, e.g. critiques)

Coursework

Oral assessment and presentation Practical

Practical skills assessment (including production of an artefact)

Practical

Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING

OUTCOME Knowledge of Contexts, Concepts, Technologies and Processes Analyse, communicate and present technical and creative information comprehensively in visual and written forms

LO4

Understanding through Application of Knowledge Understanding of concepts and research to inform tailoring processes and the relationship between historical and contemporary craft practice

LO1

Application of Technical and Professional Skills Awareness and application of appropriate technical and creative processes to achieve intended outcomes and meet professional standards and good practice

LO2

Ability to analyse, synthesise and apply relevant technical LO3

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knowledge in order to produce creative outsomes READING LISTS2 Essential

Author Date Title & publication details Adamson, Glenn 2010 The Craft Reader (Berg) Doyle, Robert 2005 The Art of the Tailor: with a needle, a thimble and 10000

stitches (Sartorial Press)

Shoben, Martin M. 1998 Pattern Cutting and Making Up: Volume 2: The Simple Approach to Modern Tailoring. (LCFS Fashion Media)

Cabrera, Roberto 2015 Classic Tailoring Techniques for Men: A construction Guide (Bloomsbury USA 2nd Edition)

Recommended

Author Date Title & publication details

Risatti, Howard 2009 A Theory of Craft: Function and Aesthetic Expression (University of North Carolina Press)

Adamson, Glenn 2007 Thinking Through Craft (Berg) Dormer, Peter 1997 The Culture of Craft (Manchester University Press) Hollander, Anne 1995 Sex and Suits: The Evolution of Modern Dress (Kodansha) Chanhassen 2011 The Classic Guide to Sewing the Perfect Jacket (Creative

Publishing International)

Chenoune, Farid 1998 Brioni. (Universe) Martin, Richard 2006 Charles James (Assouline) Shaeffer, Claire B. 2011 Couture Sewing Techniques (Taunton) Ledbetter, N. Marie 1981 Tailoring: Traditional and Contemporary Techniques

(Prentice-Hall) Wyllie, Ethel 1987 Today's Custom Tailoring (Glencoe Pub. Co.) Wilcox, Claire 2001 Radical fashion (V & A Publications) Fan, J. 2004 Clothing Appearance and Fit: science and technology

(Woodhead) Illian, Kathy 1999 Bodymapping: The step-by-step guide to fitting real bodies

(Krause) Sherwood, James and Ford, Tom

2010 Savile Row:The Master Tailors of British Bespoke (Thames and Hudson)

Von Nordheim,

2012 Vintage Couture Tailoring (The Crowood Press ltd) Aldrich, Winnifred 2001 Pattern Cutting for Womens Tailored Jackets: Classic and

Contemporary (John Wiley and Sons)

2 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

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UNIT TITLE Professional Preparation: Industry Placement Unit Code RFAT5007 Location Rochester Level 5 Duration (number of weeks) 5 weeks Credit Value 10 Total Learning Hours for Unit 100 Date of approval of this version April 2019


CONTENT This unit aims to prepare you for both your third year and your future career. This work placement unit will also enable you to develop individual ambitions and experience real working environments, whilst providing scope for you to evolve personally and professionally within the work place. You will select one of the following options:

Option 1: Industry Placement This option enables you to undertake a five-week self-initiated work placement within the fashion industry that is relevant to your potential career direction and contributes to the fulfillment of the course aims and objectives. As such, it is a vital aspect of professional development and career planning, as well as an opportunity to develop your communication skills. The placement will be governed by a learning agreement negotiated between you and your tutor/Unit Leader, which relates to the nature of the placement chosen.

or

Option 2: Industry Case Study This option offers the opportunity to study an aspect of the industry that you have identified as an area of interest. Through the method of case study research you will undertake fieldwork into a self-selected topic or question. Using both primary research (in-depth interviews, observations, visual or audio documentation, questionnaires) and secondary research (historical research, contemporary debates, statistical and business analysis).

The placement or case study research should not only reinforce and expand your experience and knowledge of your chosen industry focus, but also provide a foundation for the exploration, reflection and evaluation of your future career options. You will critically analyse and evaluate your findings and present them in a professionally structured Placement or Case Study Report. This unit aims to encourage the synthesis of experience and practice, as such, elements of your Contextual Studies unit, Developing Research and Critical Enquiry in term two may support you in the production of the placement report/case study through exploration of certain subject areas and evaluation of your future direction. The methodologies examined within this unit will also encourage the use of a diverse range of primary and secondary resources to inform the production of the placement report/case study.

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AIMS The aims of this unit are: A1 To develop skills in research, observation, analysis and evaluation, in order to develop a

deeper understanding of your own practice in a professional context that will promote future employability

A2 To apply knowledge and understanding in a professional context within which

specialist atelier skills are applied. A3 To promote the skills and methodologies of evidence-based research in developing first

hand industry knowledge and commercial awareness through targeted industry sources

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate an understanding of various organisational structures within the fashion

industry through documentation of research, to inform your future direction LO2 Evidence the ability to apply, document and relate educational experience to industrial

experience, to inform professional development and future aspirations LO3 Produce an articulate and structured placement report/case study that demonstrates

insight and reflective analysis of placement period/company profiles. INDICATIVE TEACHING & LEARNING METHODS Option 1: Industry Placement

No. of hours of scheduled activity3 5 No. of hours of independent activity 20 No. of hours of placement activity 75 This will comprise: • Briefings • Work Placement • Placement Blog • Student Placement Report Presentations • Learning Material on MyUCA • Summative Assessment


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Option 2: Case Study

No. of hours of scheduled activity4 20 No. of hours of independent activity 80 No. of hours of placement activity 0 This will comprise: • Briefings • Industry Fieldwork • Case Study Report and Presentations • Individual Tutorials • Learning Material on myUCA • Summative Assessment


List all separate

components

Weigh-ting (%)


Where the component

comprises more than one assessment task

Assessment Type For each component double

click in the box to see options.

The options equate to the assessment types in table A2


applicable Portfolio

100% A typical portfolio will include: Option 1: Industry Placement: Statement evaluating future academic and career aspirations; CV dossier; Blog entries describing placement experiences; Analysis of company profile, market level and operations Option 2: Case Study: Statement evaluating future academic and career aspirations; CV dossier; Analysis of company profiles, market level and operations; Plus Case study

Portfolio Portfolio

800 -1000 word 2000 words

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Table A2 – Categories for Assessment




Written


Report Coursework





Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING OUTCOME Knowledge of Contexts, Concepts, Technologies and Processes Evidence understanding of the various organisational structures and functions within the fashion industry

LO1

The ability to analyse and evaluate different business philosophies and apply these to specific examples drawn from personal research and/or industry practice.

LO3

Understanding through Application of Knowledge Evidence of the application of knowledge gained on the course to projects and tasks set during the unit.

LO2

Ability to reflect on and learn from experience to inform future academic and career development

LO3

Application of Technical and Professional Skills Understanding of the principles of focused and methodological research and its formulation into a report / case study presentation, evidencing professional transferable skills

LO3

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READING LISTS5 Essential

Author Date Title & publication details Kawamura, Y. 2011 Doing Research in Fashion and Dress: 2nd edition (Berg) Gaimster, J. 2011 Visual Research Methods in Fashion (Berg) Francis, P. 2009 Inspiring Writing in Art and Design (Intellect) Recommended

Author Date Title & publication details Buchanan, David A. 2013 Organisational Behaviour: an introductory text, (Harlow).

Cullen, K. 2005 Letter Writing (Chambers) Grainger, M. 2010 The Fashion Intern (Fairchild) Middleton, J. 2005 High Impact CVs (Infinite Ideas) Sharp, G. 2002 A Guide to Working in Fashion (Heinemann) Cope, M.

2003 Personal networking: how to make your connections count, (Prentice Hall)

Verity, J. 2004 Succeeding at Interviews (How To Books) Cotterell, S. 2013 The Study Skills Handbook (Palgrave) Flynn, J.

2009 Research Methods for the Fashion Industry, (Fairchild)

Berlendi, 2011 The Role of Social Media within the Fashion and Luxury Industries (LAP Lambert Academic Publishing)

Hyatt, H 2012 Platform: Get Noticed in a Noisy World (Thomas Nelson)

Barton, G 2016 Don’t get a Job…….Make a Job (Laurence King) Brown, C 2015 Fashion and Textile Business Entrepreneurship (Lincoln)

5 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook..

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UNIT TITLE The Flou Atelier Unit Code RFAT5003 Location Rochester Level 5 Duration (number of weeks) 11 Weeks Credit Value 30 Total Learning Hours for Unit 300 hours Date of approval of this version April 2019


CONTENT The French Haute Couture workrooms use the term "le flou" in reference to softly sewn garments with a fluid handle to them. This unit, The Flou’ Atelier focuses on the principle of ‘soft sewing,’ where traditionally crepe de chine, georgette, mousseline, lace and other fragile or unstructured fabrics were sewn. The ‘flou’ is about garments with these particular characteristics and their interdependence in relation to vital techniques such as fabric handle, construction, the cut, the drape, the hang, and the finishing methods employed . It is important to note that in recent years the flou’ studios have often been asked to make soft and unstructured tailored pieces using their specialist techniques to bring a modern lightness to outerwear. This does not alter the basic premise behind the flou’ studio – light, airy, weightless pieces, with appropriate techniques and soft sewing. The ‘Flou’ Techniques’ for this unit will concentrate on: The Drape: The drape plays a key role within the creative cut process. Many of the greatest exponents of couture have interpreted drape in highly individual ways. However, the process is often simpler than a first glance might suggest. Key factors are fabric and patience. Subtle shifts in the handle of drape are key to understanding its' use in creative cut. For this task you will be introduced to fabric manipulation techniques, such as the ‘knot’ as a basis for drape. The knot is a technique used to prepare the drape prior to setting it onto the mannequin. The placement and handle of the ‘knot’ is then managed on the stand which will then progress into the garment design stage. This process develops an understanding of the essential alignment between fabrics with inherent drape and the finished garment. The Bias: Madeleine Vionnet was an expert exponent and showed great understanding of why and how bias cutting and construction methods worked, requiring both analysis and precision. When bias cutting techniques are employed, the interaction between differing planes of fabric and the handling of both the proportions around the body and the amount and placement of the bias, can produce extraordinary results. This task will encompasses bias cut and also the detailing achieved through spiral and bias cut to achieve lightness and fluidity. Key to success within this task will be the soft handling and manipulation of fabrics correctly aligned to the body. The benefits of you working with fabrics directly onto a mannequin/body will be that you, as the designer, can visualise the garment design three-dimensionally. Even as far back as Poiret, simple folded and stitched garments relied less on pattern cutting, and more on live models and stand work to realise their lines, silhouette and form.

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You will compile a technical flou dossier which will focus not only on the skills you nave acquired in this unit, but particularly on your implementation of these skills – fittings, fabric selection and experiments with appropriate methods of production and finish for your specific design work. The flou’ dossier also provides the learning vehicle in which to evidence your reflective practice. Research: Conceptual, contemporary and historical research will be essential to underpin the studio work practice in this unit. This will be achieved through investigating the links and heritage of drape from Greco Roman Classicism, through the 1930’s with Madeleine Vionnet and Alix/Madame Gres, through to Jean Desses in the 1950’s and coming up to date with the work of designers such as Mr Valentino who practiced these techniques in contemporary fashion. It will also be essential to research into other contemporary designers including Martin Margiela, Issey Miyake, Marc le Bihan, Maria Grachvogel and Veronique Branquinho, who have also re-interpreted drape for the modernist. Designers such as Margiela and Prada have re-examined how bias is worked, finished and even through fabrication have progressed this method, from the historical and limited to the modern and multi purpose. Your research book will examine the applications of the ‘bias’ through analysis of where it is successful. Special reference will include handling and finishing techniques and this in turn will reference new methodologies and interpetations of the bias in the 21st century. AIMS The aims of this unit are: A1 To investigate the essential alignment between straight cut and bias cut woven

fabrics to that of successfully draped garments A2 To further explore the atelier skills of hand craftsmanship through specialist fabric

manipulation and finishing techniques A3 To research into historical, avant-garde and contemporary designers in the evaluation

of bias cutting and fabric manipulation from two-dimensional to three-dimensional forms

A4 To further develop skills of design communication and reflective practice, including

the use of digital technology in designing and presentation LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Apply hand craftsmanship skills learnt in demonstrating flou techniques of fabric

manipulation and bias cutting, showing an understanding of the importance of fabric handling in achieving successfully draped samples

LO2 Demonstrate knowledge of ‘expert practitioners’ work within the art of the Flou

Atelier LO3 To communicate the sophisticated three-dimensional form through photography,

drawing and illustration techniques, applying digital technology throughout the professional presentation of project work

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LO4 Articulate and synthesise knowledge and understanding through fully documented visual processes and written reflection

INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity6 100 hours No. of hours of independent activity 200 hours No. of hours of placement activity NA This will comprise: Combine taught timetable days and self directed study days The Fashion Atelier Studio will provide a professional environment for you to practice the required unit/project skills. Specialist demonstrations will be the main teaching and learning strategy for this unit Technical advice and support will continue during the practical sessions You will continue to experiment on your self directed study days with support from distance learning materials Research visits to specialist high-end retailers and couture boutiques in London will provide you with vital knowledge of flou’ techniques in practice. You will also prepare your work placement application pack for the independent work placement unit in term three. Learning material on myUCA. Formative and Summative Assessment.


List all separate

components

Weigh-ting (%)


Where the component comprises more than one

assessment task


double click in the box to see options.

The options equate to the assessment types in

table A2


applicable Portfolio 100% Range of sample

garments (to include evidence of the knot & bias cutting)

Technical skills dossier

Portfolio

N/A


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Project research & design

Illustration portfolio

Table A2 –Categories for Assessment




Written


Report Coursework





Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING

OUTCOME Knowledge of contexts, concepts, technologies and processes Aticulate and synthesise knowledge and understanding through the visual documentation of specialist processes and written reflection

LO4

Understanding through application of knowledge Knowledge of historical and contemporary practice within the area of Flou in the development and evaluation of research and concepts.

LO2

Application of drawing and digital technology to communicate design and product development ideas to inform the professional presentation of work

LO3

Application of technical and professional skills Knowledge and application of craft skills within Flou in understanding the importance of fabric handling and manipulation to create successful garments

LO1

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Understanding and application of bias cutting as a garment construction technique to create successful garments

LO1

READING LISTS7 Essential

Author Date Title & publication details Mears, Patricia 2008 Madame Gres: Sphinx of Fashion,

New Haven, Conn: Yale University Press Kirke, Betty 2012 Madeleine Vionnet, San Francisco: Chronicle Books Koda,Harold 2003 Goddess: The Classical Mode,

New York: Metropolitan Museum of Art Holman, Gillian 2001 Bias-cut Dressmaking, London: Batsford Steele, V. 2007 Ralph Rucci: The Art of Weightlessness, Yale University Press Wolfe, C 2003 The Art of Manipulating Fabric, 2nd edition, Krause

Publications Recommended

Author Date Title & publication details Amaden-Crawford, Connie 2012 The Art of Fashion Draping, New York:

Fairchild Armstrong, Helen Joseph 2013 Draping for Apparel Design, New York:

Fairchild Richardson, Keith 2007 Stretch Fashion, New York: Fairchild Desveaux, Delphine 1998 Fortuny, London: Thames and Hudson Spilker, Kaye Durland 2007 Inspirational Pattern Cutting [videorecording].

Breaking the mode: contemporary fashion from the Permanent Collection Los Angeles County Museum of Art, Milano: Skira

Holborn, Mark 1995 Issey Miyake, Köln: Taschen Nudelman, Zoya 20016 The Art of Couture Sewing, New York:

Fairchild; Oxford: Berg (distributor) 2nd edition Schaeffer, C., 2011 Couture Sewing Techniques, Taunton Press Maynard, Lynda 2010 The Dressmaker’s Handbook of Couture

Sewing Techniques: essential step-by-step techniques for professional results, London: Quarto, A & C Black

Farnault, H 2014 Haute Couture Ateliers: The Artisans of Fashion, Thames and Hudson

Steele, V 2009 Isabel Toledo: Fashion from the Inside out, Museum at the Fashion Institute of Technology

Mears, P, Bluttal S (ed) 2001 Halston, Phaidon Press Bramson ,J, Lenehan, S 2014 Bias cut blue prints: a geometric method for

clothing design and construction Jones, T (ED) 2013 Rick Owens, Taschen

7 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook. .

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UNIT TITLE Developing Research and Critical Enquiry Unit Code RFAT5008 Location Rochester Level 5 Duration (number of weeks) 9 weeks Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version April 2019

Course(s) to which this unit contributes BA (Hons) Fashion Atelier, BA (Hons) Fashion

Design, & BA (Hons) Fashion Textiles CONTENT The final year of the degree programme is an intensive and demanding experience in which skills and knowledge developed throughout the course of study are further tested and enhanced. This unit provides space to consider the research and inquiry options available to you in the final year, and evaluate your future direction. Through exploration of a subject area related to either broader contextual issues or concerns within the industry, you will develop appropriate research skills applicable to your final year of study. The unit encourages a critical approach to evaluating a range of research material in order to identify appropriate and useful sources from which to develop your final year research enquiry. Furthermore, through this research you will gain valuable insight into and knowledge of your chosen area of enquiry and related debates and concerns. The unit culminates in the production of work, which critically analyses and evaluates relevant sources and evidences critical engagement with the process of research itself. AIMS The aims of this unit are: A1 To provide an opportunity to gain knowledge and understanding of your chosen topic

area A2 To enable you to develop a more critical approach to selecting, analysing and

evaluating appropriate research sources. A3 To enable you to develop skills in synthesising a range of arguments derived from

relevant sources into a structured and coherent argument according to appropriate academic conventions.

A4 To enable you to develop abilities of critical reflection on research processes and

future direction. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Explain key ideas, concepts and theories related to the chosen topic area

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LO2 Critically select, analyse and evaluate appropriate research sources related to the

chosen topic LO3 Synthesise a range of arguments derived from relevant sources into a structured and

coherent argument according to appropriate academic conventions. LO4 Critically reflect on the choice of research and the direction of the chosen topic

area. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity8 13 No. of hours of independent activity 187 No. of hours of placement activity N/A This will comprise:

• Project briefing • Lectures • Workshops • Tutorials • Learning materials on my UCA

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate components

Weigh-ting (%)


Where the component

comprises more than one assessment task


double click in the box to see options. The options equate to the assessment types in table A2

Word Count Approx

word count where

applicable

Portfolio 100% Literature review and Journal

Portfolio Literature review 3000



Written exam 0 Written


0 Written

Written assignment, including essay 0 Coursework

Report 0 Coursework

Dissertation 0 Coursework


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Project output (other than dissertation) 0 Coursework


0 Coursework

Oral assessment and presentation 0 Practical


0 Practical

Set exercise testing practical skills 0 Practical Table A3 – Summary of Table A2 data

Assessment Category Total % for Unit Written Coursework 100% Practical

Table A4 – Assessment Criteria

CRITERION

MAPS TO LEARNING OUTCOME

Knowledge of Contexts, Concepts, Technologies and Processes

Through explaining key ideas, concepts and theories related to the chosen topic area

LO1

Understanding through Application of Knowledge By selecting a range of sources, which are analysed and evaluated to determine their appropriateness to the chosen topic

LO1, LO2

Through recorded reflection on the choice of research sources and direction of the chosen topic

LO1, LO4

Application of Technical and Professional Skills By integrating arguments from relevant sources into a structured and coherent argument according to appropriate academic conventions.

LO1, LO2, LO3

READING LISTS9 Recommended Adamson, G. (ed.) (2009) The Craft Reader. Oxford: Berg. Black, S et al. (eds.) (2013) The Handbook of Fashion Studies. London: Bloomsbury. Cooper, S., (2015) Writing Logically, Thinking Critically. 8th ed. Boston: Pearson Cottrell, S. (2011) Critical Thinking Skills: Developing Effective Analysis and Argument.(2nd ed.). Basingstoke: Palgrave Macmillan.

9 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook. .

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Feak, C.B. & Swales, S.M. (2009) Telling a Research Story: Writing a Literature Review. Michigan: University of Michigan Press. Gale, C. & Kaur, J. (2004) Fashion and Textiles: An Overview. Oxford: Berg. Hemmings, J. (ed.) (2012) The Textile Reader. Oxford: Berg. Kawamura, K. (2011) Doing Research in Fashion and Dress: An Introduction to Qualitative Methods. Oxford: Berg. McNeil, P. & Karaminas, V. (eds.) (2009)The Men's Fashion Reader. Oxford: Berg. Ridley, D. (2012) The Literature Review: A Step-by-Step Guide for Students. 2nd ed. London: Sage. Welters, L. & Lillethun, A, (eds.) (2011)The Fashion Reader. Oxford: Berg.

http://ucca.ent.sirsidynix.net.uk/client/en_GB/default/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:171753/ada?qu=the+fashion+reader&te=ILS

http://ucca.ent.sirsidynix.net.uk/client/en_GB/default/search/detailnonmodal/ent:$002f$002fSD_ILS$002f0$002fSD_ILS:241474/ada?qu=the+fashion+reader&te=ILS

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UNIT TITLE Design Concepts & Contexts Unit Code RFAT5010 Location Rochester Level 5 Duration (number of weeks) 9 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version April 2019 Course(s) to which this unit contributes

BA (Hons) Fashion Design, BA (Hons) Fashion Atelier & BA (Hons) Fashion Textiles

CONTENT It is important for designers to look outside their own discipline, broadening their frames of reference to situate their practice culturally, socially, politically and economically. Therefore, the unit introduces students to a range of cultural and critical theories and design contexts and concepts that are vital for developing a broader contextual understanding that underpin the student’s main pathway and future contextual studies units. The unit will explore significant movements and moments in the history of design and the arts in order to help students develop a widening appreciation of the aesthetic forces, which shape culture and potentially the student’s own work. In addition, the unit aims to introduce a range of theoretical concepts and perspectives that students can employ to analyse cultural expression and cultural change. Introduction to these contexts and concepts will be through lectures, seminar discussion and evaluation of academic texts. The unit enables students to improve key skills in research, analysis and communication developed in year one. AIMS The aims of this unit are: A1 To introduce a range of factors affecting design, culture and society within broad

historical and cultural contexts. A2 To develop skills in using appropriate research methods, analysis and evaluation of

relevant academic and non-academic textual material. A3: To tntroduce skills in the analysis of a range of examples of design and significant

aspects of society and culture. A4: To further develop formal communication skills and effective use of academic

conventions. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1: Explain significant factors shaping design, culture and society within a specified

context. LO2: Evaluate and utilize a range of appropriate research materials in the construction of

arguments

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LO3: Apply knowledge to the analysis and evaluation of specific examples of design, society and culture

LO4: Effectively use formal communication and academic conventions in the production of

coherent structured arguments INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity10 18 No. of hours of independent activity 182 No. of hours of placement activity 0 This will comprise: Project briefing Lectures Seminars Workshops Tutorials Learning materials on myUCA

ASSESSMENT REQUIREMENTS Table A1- Assessment Components

Assessment Component

List all separate

components

Weigh-ting (%)


Where the component comprises more than one assessment task

Assessment Type For each

component double click in the box to

see options. The options equate to the assessment types in table A2

Word Count Approx word count where applicable

Portfolio 100% Essay And Seminar comprehension and analysis documentation

Portfolio

2500 words



Written exam 0 Written


0 Written

Written assignment, including essay 0 Coursework

Report 0 Coursework

Dissertation 0 Coursework



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Project output (other than dissertation) 0 Coursework


0 Coursework

Oral assessment and presentation 0 Practical


0 Practical

Set exercise testing practical skills 0 Practical Table A3 – Summary of Table A2 data Assessment Category Total % for Unit Written Coursework 100% Practical Table A4 – Assessment Criteria CRITERION MAPS TO

LEARNING OUTCOME

Knowledge of Contexts, Concepts, Technologies & Processes Through explaining how specific factors have shaped particular aspects of society, culture and cultural expression.

LO1

Understanding through Application of Knowledge Through integrating a range of relevant ideas and concepts from appropriate textual sources in the construction of an argument

LO2

Through identifying and using relevant ideas and concepts to analyse and evaluate specific instances of design, society and culture

LO3

Application of Technical and Professional Skills Through producing a coherent, structured argument that uses formal communication and abides by academic conventions

LO4

READING LISTS11 Recommended Adamson, G. (2011) Postmodernism: Style and Subversion, 1970-1990. London: V&A. Barnard, M. (2014) Fashion Theory: An Introduction. London: Routledge, Taylor & Francis Group. Craik, J. (2009) Fashion: The Key Concepts. Oxford: Berg. English, B. (2013) A cultural history of fashion in the 20th and 21st centuries: from catwalk to sidewalk. (2nd ed.) London: Bloomsbury. Featherstone, M. (2007) Consumer Culture and Postmodernism. (2nd ed.) London; SAGE Publications. Geczy, A. (ed.) (2018) The End of Fashion: Clothing and Dress in the Age of Globalization. London: Bloomsbury.

11 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.

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Geczy, A. and Karaminas, V.A. (2017) Critical Fashion Practice: From Westwood to van Beirendonck. London: Bloomsbury. Geczy, A (2017) Fashion and Orientalism: Dress, Textiles and Culture from the 17th to the 21st Century. Oxford: Berg. Heuer, M. (ed.) (2018) Eco-Friendly and Fair: Fast Fashion and Consumer Behaviour. London: Routledge, Taylor & Francis Group. Jansen, M.A. (ed.) (2016) Modern Fashion Traditions: Negotiating Tradition and Modernity Through Fashion. London: Bloomsbury. Rocamora, A.E.S. (ed.) (2016) Thinking Through Fashion: A Guide to Key Theorists. London: I.B. Tauris. Thomas, S. (2018) Fashion Ethics. London: Routledge. Wilk, C. (2008) Modernism: Designing a New World, 1914-1939. London: V&A.

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