UNIT TITLE The Tailoring Atelier: Craft and Heritage Unit ...webdocs.ucreative.ac.uk/Fashion Atelier...

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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

CONTENT This unit will introduce the precision and attention to detail needed in the construction and assembly of tailored garments. This form of production relies on craft skills that have evolved over centuries. Through the realisation of tailored garments you will therefore learn to understand and work with the influences and implications of heritage. The unit focuses on developing your ability to use informed research, applied to cut, fit, balance and detail in order to achieve contemporary tailored garments that demonstrate an understanding of tradition. Tailoring, perhaps more than any other area of garment construction is rooted in tradition and you will investigate its origins and contemporary formulations. You will explore the many ways in which designers use tailoring traditions, based on heritage and craftsmanship, for their personal creative statements. You will be encouraged to undertake primary and secondary research to develop your understanding of historical references within tailored garments. In this way, you will examine how the application of creative technical solutions have been utilised and will focus on the continuation of tradition and its adaptation within contemporary practice. 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: buttons and buttonholes, braids and rosettes

Through sustained research, written reflection and the production of finished tailored garments you will develop an understanding of production processes where tradition and modernity meet, and consider the implication of tailoring as both craft, heritage and contemporary garment in the twenty-first century. AIMS The aims of this unit are: A1 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 A2 Encourage research into traditional and contemporary innovations within craft

production and tailoring methods

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A3 Further develop skills of two-dimensional design communication of process and practice

A4 Further develop three-dimensional skills of creative pattern cutting and the use of

details and finishings within atelier practice A5 Consideration of future employer engagement through continuous reflective

practice and appreciation of tailoring craft and heritage in a fashion industry context.

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate competencies in the moulding and shaping of tailored garments and

an understanding of balance, fit and proportion LO2 Demonstrate knowledge of both historical and contemporary practice within the tailoring atelier LO3 Communicate three-dimensional forms through flat drawing techniques and digital

technology in the presentation of both portfolio and studio based project work LO4 Demonstrate an ability to apply both heritage and contemporary details and

finishing methods, which enhance the quality of tailored garments LO5 Demonstrate through research, knowledge and understanding of the

contemporary tailor, their profession and place within the wider fashion industry. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity1 250 No. of hours of independent activity 150 No. of hours of placement activity This will comprise:

Practical Specialist Demonstrations Lectures, Workshops Tutorials Research Trips (museums, archives, workshops) Learning material on myUCA Formative and Summative Assessment

11 This data is required for KIS. 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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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 Tailored sample garments & technical dossier

100% Tailored sample garments (including one jacket.) Documentation of

toile experimentation & technical dossier Supporting portfolio

Portfolio

N/A

Table A2 – KIS 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 KIS data Assessment Category Total % for Unit Written Coursework 100% Practical

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Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING

OUTCOME Knowledge of Contexts, Concepts, Technologies and Processes Understanding of tailoring processes and the relationship between historical and contemporary craft practice

LO2 LO5

Ability to analyse and synthesise relevant knowledge in order to produce creative outcomes

LO5

Understanding through Application of Knowledge Communicate and present information comprehensively in visual, oral and written forms

LO3 LO5

Analyse information through experiences, formulate independent judgements and develop ideas through to successful outcomes

LO4

Application of Technical and Professional Skills Awareness of and application of appropriate technologies to meet current professional standards and good practice.

LO1

REFERENCE MATERIAL2 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)

Recommended

Author Date Title & publication details Risatti, Howard 2009 A Theory of Craft: Function and Aesthetic Expression 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 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 Illian, Kathy 1999 Bodymapping: The step-by-step guide to fitting real bodies

2 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form 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

CONTENT This unit aims to prepare you for both your third year and their future career. 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 that is relevant to your potential career direction and contributes to the fulfillment of the course aims and objectives. 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. AIMS The aims of this unit are: A1 Develop skills in research, observation, analysis and evaluation to develop a deeper

understanding of their practice in a professional context A2 Explore personal career aspirations and develop technical and professional skills that

will promote future employability

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A3 Apply knowledge and understanding in a professional context within which specialist

atelier skills are applied A4 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 the structure of the fashion industry through research

and documentation LO2 Document and demonstrate professional skills appropriate for employment LO3 Evidence the ability to relate educational and industrial experience to inform

professional development and future aspirations LO4 Produce an articulated and structured placement report/case study that demonstrates

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

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/Case Study Report Presentations Learning Material on MyUCA Summative Assessment

Option 2:

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

33 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH 44 This data is required for KIS. 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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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 OR Case study report

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

Option 1: Placement Option 2: Report

1000 word minimum 2000 words

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


Report 100% Coursework


Portfolio Coursework



Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS 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 of an understanding of the structure and functions of 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.

LO4

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

LO2, LO3

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

LO3, LO4

Application of Technical and Professional Skills Understanding of the principles of focused and methodological research and its formulation into a report / case study

LO1, LO4

Evidence of the development of presentation and transferable professional skills

LO2

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REFERENCE MATERIAL5 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. 20013 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

Hyatt, H 2012 Platform: Get noticed in a Noisy World


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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

CONTENT The French Haute Couture workrooms use the term "le flou" in reference to the softly sewn garments with a fluid handle to them. This unit, The Flou’ Atelier focuses on the “soft sewing,” where traditionally crepe de chine, georgette, mousseline, lace and other fragile or unstructured fabrics were sewn. The ‘flou’ is about fabric handle in the relationship to the garment construction, the cut, the drape, the hang, the finishing methods and the type of garment tightly interdependent with all these vital techniques. It is very 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 sample garments for this unit will be made for a ‘client’ which will further develop professional and technical skills from stage one. 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 the initial technique of 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. At its simplest, it requires that the grain crossing at a forty-five degree angle be placed at the centre of a pattern piece to provide maximum stretch and drape. However once the technique is developed 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. John Galliano has often constructed bias dresses with no apparent seams due to the insertion of decorative motifs which accommodate all shaping and also rely on two historical Haute Couture methods – stepping into clothes and fastening them on the shoulders and secondly the fact that bias stretch will twist around the body to create a slim shape when worn. This task encompasses bias cut and also the detailing achieved through spiral and bias cut to achieve lightness and fluidity. The key to this task is the soft handling and manipulation of fabrics correctly aligned to the body. The benefits of working with fabrics straight onto a mannequin/body are that the designer can visualise the garment design three-

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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. The spiral cutting technique is an excellent example of creating designs onto a stand by placing tapes on the stand which prepares the design lines in a three-dimensional manner for the garment design to be created. The fabric is then placed in the selected area between the tapes. Testing of different fabric grains being sewn together is achieved before any toile is made. 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 for your specific design work. The flou’ dossier also provides the learning vehicle for personal development planning (PDP) in reflective practice. Research: Will be essential to underpin the studio work practice in this unit 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 avant garde designers including Martin Margiela, Issey Miyake, Marc le Bihan 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, moved it on from the historical and limited to the modern and multi purpose. The research book will examine the applications of the ‘bias’ through analysis of where it is successful. Special reference will include handling and finishing techniques. AIMS The aims of this unit are: A1 To investigate the essential alignment between straight cut and bias cut woven fabrics

to draped toile’s and garments A2 To research into historical and avant-garde designers in the evaluation of all types of

bias cutting from two-dimensional to three-dimensional forms A3 To further develop skills of design communication, which are used in the atelier and

design studio, including the use of digital technology in designing. A4 To further explore the hand craftsmanship of the atelier skills through fabric

manipulation and finishing techniques A5 To provide a context for reflective practice on the effectiveness of the flou’ outcomes

LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate flou’ techniques through bias cut garments, showing an understanding of

the importance of fabric handing in achieving successfully draped toiles and garments

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LO2 Demonstrate knowledge of ‘expert practitioners’ work within the art of the Flou Atelier LO3 To communicate the sophisticated three-dimensional form through photography, flat

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

LO4 Apply hand craftsmanship skills learnt by applying them to the flou sample garments LO5 Articulate and synthesise knowledge and understanding through reflective writing outcomes (PDP) INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity6 120 hours No. of hours of independent activity 180 hours No. of hours of placement activity 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 their 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


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List all separate

components

Weigh-ting (%)


Where the component comprises more than one

assessment task



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 Project research Illustration portfolio

Portfolio

N/A




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

Written


Report Coursework





Coursework



Practical

Set exercise testing practical skills Practical Table A3 – Summary KIS data Assessment Category Total % for Unit Written Coursework 100% Practical

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Table A4 – Assessment Criteria CRITERION MAPS TO LEARNING

OUTCOME Understanding through application of knowledge Understanding the importance of fabric handling to create garments

LO1

Understanding of bias cutting as a garment construction technique

LO1, LO2

Application of technical and professional skills Application of digital technology as a tool in the communication, presentation and development of design ideas and product development

LO3

Application of drawing and illustration as a tool for the communication of design concepts

LO3

Application of reflective practice as a means of documentation LO5

Knowledge of contexts, concepts, technologies and processes Knowledge of historical and contemporary practice within the area of Flou

LO2

Knowledge of the use of craft skills within Flou LO4 REFERENCE MATERIAL7 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

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


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Nudelman, Zoya 2009 The Art of Couture Sewing, New York: Fairchild; Oxford: Berg (distributor)

Schaeffer, C., 20011 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

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UNIT TITLE Developing Research and Critical Enquiry Unit Code RFAT5008 Location Rochester Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version

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. In the third year you will have the choice of either completing the Dissertation or

Research for Industry. 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 a concern within the industry

you aspire to work in, 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 a literature review which analyses and evaluates relevant sources and a

research journal to evidence critical engagement with research material and the process of

research itself.

AIMS The aims of this unit are: A1 To provide an opportunity to gain knowledge and understanding of the student’s

chosen topic area A2 To enable students to develop a more critical approach to selecting, analysing and

evaluating appropriate research sources. A3 To enable students 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 students to develop abilities of critical reflection on research processes and

future direction.

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LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate knowledge and understanding of the chosen topic area LO2 Demonstrate a critical approach to selecting, analysing and evaluating appropriate

research sources. LO3 Demonstrate skills in synthesising a range of arguments derived from relevant

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

LO4 Demonstrate abilities of critical reflection on research processes and future direction. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity8 13 No. of hours of independent activity 187 No. of hours of placement activity 0 This will comprise: Project briefing Lectures Workshops Tutorials Learning materials on myUCA


List all separate

components

Weigh-ting (%)


Where the component


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% Essay and Journal Portfolio

3000


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Written exam 0 Written

Set exercise (under exam conditions but not testing practical skills) 0 Written

Written assignment, including essay 0 Coursework

Report 0 Coursework

Dissertation 0 Coursework


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 KIS data Assessment Category Total % for Unit Written 0 Coursework 100 Practical 0 Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge and understanding of the chosen topic area

LO1

A critical approach to selecting, analysing and evaluating appropriate research sources

LO1, LO2

Synthesis of a range of arguments derived from relevant sources into a structured and coherent argument according to appropriate academic conventions.

LO1, LO2, LO3

A critical reflection on research processes and future direction

LO1, LO4

REFERENCE MATERIAL9 Essential Cooper, S. & Patton, R. (2012) 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 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form 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. Kawamura, K. (2011) Doing Research in Fashion and Dress: An Introduction to Qualitative Methods. Oxford: Berg.

Ridley, D. (2008) The Literature Review: A Step-by-Step Guide for Students. London: Sage. Recommended Adamson, G. (ed.) (2009)The Craft Reader. Oxford: Berg. Black, S et al. (eds.) (2013)The Handbook of Fashion Studies. London: Bloomsbury. Gale, C. & Kaur, J. (2004) Fashion and Textiles: An Overview. Oxford: Berg. Hemmings, J. (ed.) (2012)The Textile Reader. Oxford: Berg. McNeil, P. & Karaminas, V. (eds.) (2009)The Men's Fashion Reader. Oxford: Berg. Welters, L. & Lillethun, A, (eds.) (2011)The Fashion Reader. Oxford: Berg.

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UNIT TITLE Modernism and Postmodernism Unit Code RFAT5009 Location Rochester Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version

CONTENT The theories that originate, not only in cultural studies, but in diverse fields such as, sociology, psychology, media and film studies and art and design history clearly demonstrate that the analysis of the fashion industry can and must use sources and research material from outside its own discipline. After a year of looking at fashion specifically, this unit is devoted to the investigation of a broader spectrum of cultural production. This ensures a thorough understanding of the connection between fashion and culture and the relevance of clothes to modern life. The first year unit demonstrated that clothing acts as a signpost for aesthetic, cultural and social change, and that these transformations can be realised directly on the consumer’s bodies. The examination of a body of work that seeks to explain, theorise and philosophises cultural change will extend this understanding to a wider area of aesthetic practice. To enable the analysis of your discipline in more depth, this unit will examine the theoretical notions of Modernism and Postmodernism by looking at their visual manifestations in both high and low culture (i.e. architecture, fine arts, design, film, magazines etc.) The debates surrounding Modernism and Postmodernism are at the core of cultural studies, the unit will therefore expand your spectrum of analysis by introducing these concepts, which are often vital for future contextual studies units and to bring conceptual underpinning to projects within your main studies. The lectures and seminars will acquaint you with the ideas of what is considered a modern cultural expression and how it can be ‘read’, that is interpreted and explained. AIMS The aims of this unit are: A1 To introduce the major theories surrounding aspects of modernity and Modernism in

contrast to the notion of post-modernity and Postmodernism. A2 To further develop abilities in research, selection and evaluation of relevant sources. A3 To enable discussion and critical evaluation of a range of theoretical and visual concerns

within modernity, Modernism, post-modernity and Postmodernism. A4 To develop skills in providing a structured and coherent argument according to

appropriate academic conventions.

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LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Demonstrate knowledge and understanding of the theoretical concepts that underpin the

historical and contemporary perception of modernity, Modernism, post-modernity and Postmodernism.

LO2 Demonstrate abilities in research, selection and evaluation of relevant sources. LO3 Demonstrate a capacity to recognise and critically assess theoretical and visual concerns

within modernity, Modernism, post-modernity and Postmodernism LO4 Provide structured and coherent argument according to appropriate academic

conventions. INDICATIVE TEACHING & LEARNING METHODS

No. of hours of scheduled activity10 20 No. of hours of independent activity 180 No. of hours of placement activity 0 This will comprise: Project briefing Lectures Seminars Workshops Tutorials Learning materials on myUCA


List all separate

components

Weigh-ting (%)


Where the component




The options equate to the assessment types in table

A2


applicable Portfolio 100% Essay and Journal Portfolio 2500 1010 This data is required for KIS. 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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Written exam 0 Written

Set exercise (under exam conditions but not testing practical skills) 0 Written

Written assignment, including essay 0 Coursework

Report 0 Coursework

Dissertation 0 Coursework

Portfolio 100 Coursework

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 KIS data Assessment Category Total % for Unit Written 0 Coursework 100 Practical 0 Table A4 – Assessment Criteria CRITERION There should be at least one criteria against each learning outcome for the unit

MAPS TO LEARNING OUTCOME

Knowledge of concepts Knowledge and understanding of the theoretical concepts that underpin the historical and contemporary perception of modernity, Modernism, post-modernity and Postmodernism.

LO1

Understanding through application Ability to research, select and evaluate relevant sources

LO2

Capacity to recognise and critically assess theoretical and visual concerns within modernity, Modernism, post-modernity and Postmodernism

LO3

Application of Provision of structured and coherent argument according to appropriate academic conventions

LO4

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REFERENCE MATERIAL11 Essential Adamson, G. (2011) Postmodernism: Style and Subversion, 1970-1990. London: V&A. Harvey, D. (1990) The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. Malden, MA: Blackwell. Jameson, F. (1991) Postmodernism or the Cultural Logic of Late Capitalism. London: Verso. Sarup, M. (1993) An Introductory Guide to Post-Structuralism and Postmodernism. (2nd ed.). Harlow: Longman. Wilk, C. (ed.) (2006) Modernism 1914-1939: Designing a New World. London: V&A. Recommended12 Berman, M. (1988) All that is Solid Melts into Air: The Experience of Modernity New York: Viking Penguin. Featherstone, M. (2007) Consumer Culture and Postmodernism. London; Los Angeles: Sage. Greenhalgh, P. (ed.) (1990) Modernism in Design. London: Reaktion Books. Houze, R. & Lees-Maffei, G. (eds.) The Design History Reader. Oxford: Berg. Jencks, C. (2010) The Post-modern Reader. Chichester: John Wiley. Woods, T. (2009) Beginning Postmodernism. (2nd ed.). Manchester: Manchester University Press.

11 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook. 12 Further reading will be listed in the unit handbook

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